Shang-Chi [2021] #12 - Marvel Comics

SHANG-CHI No. 12, July 2022

Somewhat shockingly bringing this ongoing series to an abrupt end, especially considering that “Marvel Worldwide” had previously announced in its solicitations a subsequent instalment concerning the titular character acting as “the world’s greatest spy”, Gene Luen Yang’s narrative for “Blood And Monsters” certainly still appears to resolve the vast majority of the comic’s long-term plot threads. Indeed, the American author seemingly does such a comprehensive job in pigeon-holing all of this book’s significantly large cast, that the central storyline actually finishes with a few pages to spare, and resultantly requires illustrator Marcus To to pad the publication out with a plethora of slow-paced panels; “For the first time in a long while, I am alone.”

But whilst Issue Twelve of “Shang-Chi” rather uninspiringly has the likes of the headstrong Esme supposedly returning “to the House of The Dead Dagger in France” because “she just missed home”, and the always angry Shi-Hua ‘simply disappearing from her room one morning’, the Michael L. Printz Award-winner’s script also seems to suddenly, and surprisingly sharply, veer towards the canon of the Marvel Cinematic Universe (MCU), rather than maintain its roots within the printed lore. This arguably disappointing move is best exemplified with the sudden ‘adoption’ of the Ten Rings no longer belonging to the Mandarin, but instead being “armband-like rings which work in tandem as a weapon with a variety of powers.”

In addition, Yang’s conclusion depicts the terrifying transformation which the Master of Kung Fu has so long dreaded undergoing whilst using the magical bracelets, as little more than a momentary urge to amputate his grandfather’s hand, and is quickly placed back under control with a few well-meaning words from Sister Hammer and Zheng Zhilan. Such an easy resolution to a supposedly world-changing temptation is debatably wholly underwhelming, and does little to justify why in the past the likes of Takeshi have had their allegiance to the Supreme Commander repeatedly tested for fear of what their leader might become in the future.

Happily however, what this comic probably lacks in satisfying endings, it makes up for with some seriously well-sketched, sense-shattering shenanigans. The book’s Alberta-born artist does an especially good job in pencilling the mass battle scenes occurring in both Chinatown and the Jade Palace, packing each picture with a high number of dynamically-drawn combatants and mystical creatures.

The regular cover art of "SHANG-CHI" #12 by Leinil Frances Yu & Romulo Fajardo Jr.