DOCTOR STRANGE No. 4, March 2016 |
Disconcertingly entitled “The Art Of Puking Without
Puking” Jason Aaron’s narrative for Issue Four of “Doctor Strange” is arguably both
disappointingly choppy and distinctly sedentary in nature as the Alabama-born
writer bravely attempts to explain to the title’s 52,388 strong audience just
“how magic works in the Marvel Universe”, as well as show his “All-New
All-Different” direction for the Sorcerer Supreme when compared to “the classic
stories of Steve Ditko and Steve Englehart.”
Sadly however, such focus upon the cost for “every spell,
every incantation, [and] every tampering with the mystical forces of nature”
doesn’t seemingly prove conductive to a smooth-flowing storyline, and instead
has Stephen leaping about time and space as he recalls punching the
Ancient One as hard as he could “years ago”, briefing a magic-user filled Bar
With No Doors as to the fact that “since yesterday… I’ve buried seventeen
Sorcerers Supreme”, and then momentarily flitting back to “this morning” in
order to “cast a spell of summoning… that hasn’t been cast for five thousand
years” before he resumes his monotonous meeting.
Admittedly this detailed exposition as to how the Master
of the Mystic Arts ensures that “the scales are kept balanced” does provide the
Harvey Award-winner with plenty of opportunities to highlight the more humorous
side to the magician’s life. Few readers surely wouldn’t have laughed at the New Avenger’s discomfort when he starts regurgitating “glowing” food he doesn’t
even remember eating after “casting spells all week”, or share Zelma’s
apprehensive look as Wong’s employer scarfs down a bowl of postulating purple
tentacles, frogs, snails and all manner of other squidgy horrors that “tastes
like leprosy.”; “You don’t want to watch this, Zelma. You can never unsee the
sight of me eating.”
But such drollness is by no means enough to carry the
plot for almost the entirety of this publication, and even when the Sorcerer
Supreme does inadvertently blunder into “a machine that disrupts magic” whilst visiting
“the Temple of Watoomb. Deep beneath the Indian Ocean”, Chris Bachalo’s overly
busy breakdowns makes the resultant swordplay between man and Matrix-like mechanism
rather hard to follow. It’s certainly not clear from the Canadian’s pencils
that the fight has somehow carried Doctor Strange across a seabed containing “all
manner of mystical booby traps” into the very shrine itself; at least not until
the final splash-panel cliff-hanger when the supposedly victorious former surgeon is
depicted surrounded by a pack of Witchfinder wolves.
The 'Deadpool' variant cover art of "DOCTOR STRANGE" No. 4 by Khoi Pham & Rachelle Rosenberg |
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