Shang-Chi: Master Of The Ten Rings #1 - Marvel Comics

SHANG-CHI : MASTER OF THE TEN RINGS No. 1, March 2023

As series ending one-shot’s go, this “shocking conclusion” to “Gene Luen Yang’s Shang-Chi saga” probably didn’t deliver the ground-breaking finale it’s American author was hoping for when he first penned the notion of the Master of Kung Fu meeting a much more optimistic version of “his evil parent” in Nineteenth Century China. Indeed, for those comic book collectors long enough in the tooth to recall Ron Marz and Kevin Dooley’s 1998 "Emerald Knights" storyline for “Green Lantern”, the concept of a titular character travelling back in time to meet a much more amiable incarnation of their greatest nemesis certainly isn’t a new one; “He’s younger… less angry… But he’s still unmistakably him. Father.”

Admittedly, there is something definitely intriguing about this flashback to the Opium Wars and Zheng Zu’s battle against both drug-smuggling foreigners and the disagreeable Constable Yuan. But just how the future “Fu Manchu” fails to remember fighting alongside a warrior wielding the heavenly weapons of the Jade Emperor is never mentioned, even after the stranger who cuts his “hair in exotic ways” saves the sorcerer’s life by single-handedly overcoming an entire platoon of the local policeman’s soldiers when they’re about to slice off the leader of the Golden Dawn’s head.

Disappointingly however, these oddities are just some of this publication’s frustrations, with the reader being repeatedly asked to accept quite a few contrivances in order to enjoy the ‘wibbly, wobbly’ devilries plaguing Commander Hand throughout his thirty-page long adventure. For example, what legal wranglings did Shang-Chi’s ‘on-off-on’ girlfriend Delilah Wang negotiate to arrange for Deadly Sabre to be suddenly released from the Vault? Why would someone as fanatically straight-laced as Yuan allow a hated British infantrymen to fire a musket ball directly between his eyes in the hope of luring Zheng Zu into a trap, and how did a single drop of Falo’s blood striking his long-dead ancestor’s skull cause a time portal to appear which would specifically “pull a younger version of our Master from the timeline of his life”..?

Fortunately, this comic does succeed when it comes to Michael Yg’s layouts, which do a prodigious job of depicting the ebbs and flows of Yang’s ‘timey wimey’ narrative. In fact, the “extraordinary artist” manages to add so much additional menace to the likes of Yuan’s well-armed forces and the traitorous modern-day Zheng Zu Loyalists, that it is a great pity the illustrator wasn’t given the opportunity to sketch how Sister Dagger defeated the turncoats of the Deadly Hand instead of the confrontation disappointingly occurring ‘off-screen’.

 The regular cover art of "SHANG-CHI: MASTER OF THE TEN RINGS" #1 by Jim Cheung

Shang-Chi And The Ten Rings #6 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 6, February 2023

Bringing both the Game of Rings multi-part narrative and “Shang-Chi And The Ten Rings” comic book series to a satisfying end, Gene Luen Yang’s twenty-page plot certainly must have wrong-footed a fair few of its Kung Fu fans, courtesy of some unexpected twists and turns. In fact, it’s probably difficult to decide which of this publication’s surprises is more shocking - Shen Kuei’s stomach-churning decision to scoff down the still-quivering remains of a Wyrmspawn, or the revelation as to just who is the leader of the cyborg-infested criminal organisation known as the Red Dot Collective.

Enjoyably though, these sense-shattering shenanigans aren’t simply crowbarred into the storyline just for the sake of giving its considerably sized cast something to do. But help add an extra dimension to some of the characters concerned, especially the likes of Cat, who demonstrates just how increasingly frustrated he is becoming by being continually outmatched by Commander Hand despite supposedly being the better warrior; “Frankly, it’s infuriating. You’re not stronger or faster or more skilled. Why should victory favour you?”

Similarly as solid is the pulse-pounding pugilism on show throughout this comic, with all the martial artists demonstrating some utterly insane abilities with which to either severely batter or defend against their opponents. Of course, at the centre of all these super-powered devilries lie the “mystical iron rings originating from Ta-Lo”. However, due to all the contestants having access to at least some of the Heavenly Weapons, the actual winner of the deadly tournament is debatably always in doubt – particularly after Kuei turns into a misshapen monstrosity following his disagreeable amalgamation with the spawn of the Wyrm of Desolation.

Unquestionably helping make this magazine a visual masterpiece are both Marcus To’s adrenalin-packed panels and Erick Arciniega’s atmospheric colours. Together the creative team genuinely provide this book with some stunning set-pieces, most notably the insanely fast fistfight between Shang-Chi and Cat, as well as the palpable heft to Red Cannon’s formidable hand-cannon. Indeed, many a perusing bibliophile will doubtless feel a chill of terror when Shen suddenly realises his mistake in aligning himself with a gruesome demon from a pocket dimension and is prodigiously pencilled momentarily showing that comprehension within an all-too human-looking eye.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #6 by Dike Ruan & Matthew Wilson

Shang-Chi And The Ten Rings #5 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 5, January 2023

Rather energetically explaining the tragic origin of the ten rings, Gene Luen Yang’s storyline for “Game Of Rings” surely must have ‘hooked’ this comic’s audience with its exhilarating mixture of pulse-pounding pugilism, and unhappy flashback to a time when the Jade Emperor despairingly ordered the death of the god-hero Nezha. Indeed, there’s barely a dull moment to be found inside the American author’s twenty-page long plot, as Shang-Chi battles both a maggot-infested demonic Leiko Wu and treacherous Shen Kuei for ownership of the legendary Ten Rings; “What happened to partnering until we’re the last two left!?!”

Foremost of these fights are the Master of Kung Fu’s titanic tussles with his former lover. Now an unwilling host of a spawn of the Desolation Wyrm, the possessed MI-6 agent provides a suitably dangerous opponent for Commander Hand to face, especially when he’s equally occupied keeping the Cat from inadvertently plunging to defeat through a ground-based portal, and this palpable threat to the Chi-Meister’s success genuinely helps raise the tension between the combatants as they rapidly exchange seismically-powered blows.

Equally as engaging as this book’s all-out action though, has to be the emotional drain experienced as Shang-Chi desperately tries to reach inside Leiko Wu’s head and help her battle the fiendish monster controlling her. The woman’s eventual exorcism of the grisly mind grub arguably adds an extra element to her previously somewhat unsympathetic character, whilst some genuine sadness is generated in the character's final scene when she willingly departs “maybe the only one I trust at all” with a tearful kiss and admits that the British Intelligence Service were entirely wrong to have stolen the “set of ten mystical iron rings” from the head of the Five Weapons Society in the first place.

Impressively adding plenty of jaw-breaking “HWOK” and sense-shattering “SHINGGG” to this publication’s proceedings are Marcus To’s layouts, which somehow manage to cram an awful lot of punches, kicks and throws onto each individual sheet. In fact, the sheer sense of speed created by the artist’s clever use of small panels depicting all the intense drama, really helps sell the breath-taking pace of the furious fisticuffs on show - whether it be Red Cannon cold-bloodedly falling upon an otherwise distracted Yokozuna Tak, or the leader of the Red Dot Collective savagely blowing a hole straight through an astonished Ghost Maker with his formidably-sized hand-cannon.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #5 by Dike Ruan & Matthew Wilson

Shang-Chi And The Ten Rings #4 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 4, December 2022

Probably best described as an amalgamation of the New York City-based publisher’s comic book events “Secret Wars” and “Contest Of Champions”, Gene Luen Yang’s narrative for Issue Four of “Shang-Chi And The Ten Rings” is crammed full of uncomfortable contrivances and all-too brief cameos from some of the titular character’s most nefarious past nemeses. Yet whilst all ten of the mysterious Game of Ring’s participants are implausibly whisked away to another dimension by a pair of “lion-faced gremlins” simply to set up the storyline, the vast majority of this periodical’s readers will arguably soon get caught up in the sense-shattering shenanigans it creates.

For openers, no sooner is the bemused Master of Kung Fu challenging his captors’ right to take the “mystical iron rings originating from Ta-Lo” from him, than he is fighting for his life against Doug Moench’s classic co-creation from 1975 – Darkstrider. This battle is wonderfully written, with the multi-limbed combatant being given plenty of false pride in his ability to fashion a web of dagger-fronted ropes, only to find his opponent less than impressed having witnessed Spider-Man do the same thing for real on numerous occasions; “Not to disappoint you, but I have a friend who shoots actual webs.”

Furthermore, Commander Hand’s inexplicable inability to call the outstanding nine rings back from the other competitors’ wrists to his one remaining one, suddenly provides all the supporting cast members with a chance of beating him – having all been defeated, sometimes repeatedly, by the “former ally of the Secret Avengers” in the past. This potential for disaster is raised quite early on, when Shang-Chi is saved from defeat by the intervention of his friend Shen Kuei, and therefore generates some much-needed tension when it comes to the supreme leader of the Five Weapons Society fighting against lesser challengers – especially when their rings are seemingly willing to strike at him unexpectedly, and without their new owners’ forethought.

Similarly as successful as this comic’s penmanship are its pencils by Marcus To and Erick Arciniega’s atmospheric colours. Admittedly, the Alberta-born artist’s bipedal brass lions will strike some in the audience as disconcertingly cartoonish-looking minions for “the most revered game administrators”. But there can surely be no doubting his ability to sketch a well-delivered drop-kick, ferociously fast assault or blow blocking parry when this plot’s dynamic action starts to heat up.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #4 by Dike Ruan & Matthew Wilson

Shang-Chi And The Ten Rings #3 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 3, November 2022

Quite heavily borrowing from King Arthur’s legendary tale of “The Sword in the Stone”, Gene Luen Yang’s plot for Issue Three of “Shang-Chi And The Ten Rings” certainly seems to depict the titular character at the summit of his close combat powers as he single-handedly infiltrates the headquarters of MI-6 in London, England and retakes the Heavenly Weapons of Ta-Lo which were previously stolen from him. Of course, to succeed against the likes of Tinkabelinos Hardleg and the disgusting Wyrm of Desolation, the Master of Kung-Fu admittedly still needs to ‘tap into’ the formidable energies of his mystical iron rings. But even this remarkable feat is accomplished with breath-taking ease, especially as the deadly bands are supposedly entombed within a block of rock similar to how Excalibur was ‘protected’.

Happily however, such effortlessness doesn’t debatably detract too much from the spine-chilling tension generated by this comic’s central antagonist, the grisly grub-like Wyrmspawn, which quite terrifyingly burrows itself straight down poor Clive Reston’s throat and subsequently exudes suckers through the secret agent’s bleeding eyeballs; “I’m fine, Jack, Just feeling a bit… Lonelyyy!!!” This horrific transformation genuinely seems to be a bit more gratuitous than the New York-based publisher’s usual fare and coupled with Tink’s unacceptably frank expletive early on in the comic, undoubtedly makes the periodical live up to its “Teen+” rating.

Furthermore, for those Shang-Chi fans long-enough in the tooth to remember the martial arist’s “first friends” from the mid-Seventies, the American author’s penmanship manages to give the likes of Black Jack Tarr and Leiko Wu plenty of ‘spotlight’ too. Indeed, the British secret service’s latest Director brings some much-needed humour to this twenty-page publication’s perilous proceedings, courtesy of a wicked face palm when his fairy friend from Avalon decides to elaborate upon her mystical solution to their dilemma with a “Once upon a time” story-telling session.

Nobly assisting Yang in his endeavour to depict a gripping yarn is Marcus To, whose ability to visualise Brother Hand’s sheer quickness of motion with his pencilling repeatedly steals the show. Likewise, the Canadian illustrator does an excellent job in projecting all the slimy grotesqueness of the writhing Wyrm of Desolation, as well as the raw magical momentum available to whoever successfully bends the Ten Rings to their will.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #3 by Dike Ruan & Matthew Wilson

Shang-Chi And The Ten Rings #2 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 2, October 2022

Absolutely steeped in both nostalgia and treachery, this continuation of “the epic new era of Shang-Chi” most probably mesmerised the vast majority of its audience with the return of Leiko Wu and riveting re-tread of the Master of Kung Fu’s “early days as an MI-6 agent." Indeed, Gene Luen Yang’s penmanship of “Old Friends” is so highly evocative of the martial artist’s adventures during the Bronze Age of Comics, that it’s arguably a shame this twenty-page periodical’s battle against Carlton Velcro and his gun-toting goons isn’t somewhat longer.

Foremost of this narrative’s ‘hooks’ has to be the way the American Author wastes very little time getting his cast to assemble inside the professional criminal’s formidably-sized grotto at the gulf of Lions in southern France. This sequence contains a plethora of “James Bond” type tropes which really help maintain the plot’s old school atmosphere, whether it be a scuba-swim down a secret underwater tunnel, a dash across a single-tracked rock-bridge where one wrong step will send the protagonists plummeting into a panther-packed ravine, or a lavishly furnished living quarters crammed full of ornately-armed minions.

In addition, the tense, action-packed fight scenes arguably help distract the audience from the burglary taking place in the Appalachians by a group of red-costumed ninjas. This attempt to capture the Ten Rings isn’t given anywhere near the limelight thrust upon Shang-Chi’s rescue mission. So when it's brought to a truly shocking conclusion at the very end of the publication, it’s perfidious revelation is debatably all the more startling; “Agent Black Jack Tarr to MI-6. I have the rings. These bloody things better be worth the trouble.” 

Of course, such successful storytelling would not be possible without the engrossing layouts of Marcus To, whose pencilling of a certain former Freelance Restorations operative against some truly-demonic looking guardian statues is flesh-crawlingly disconcerting to say the least. The Canadian artist also does a first-rate job in portraying the angry anguish felt by “The Chi-Meister” when he realises he’s been played for a total fool by his old friends, and the determined look in the hero’s eyes now he realises they disappointingly regard the new Commander of the Five Weapons Society as an enemy.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #2 by Dike Ruan & Matthew Wilson

Shang-Chi And The Ten Rings #1 - Marvel Comics

SHANG-CHI AND THE TEN RINGS No. 1, September 2022

Proudly proclaimed by “Marvel Worldwide” as the start of “a bold new era” for the Master of Kung Fu, Gene Luen Yang’s script for Issue One of “Shang-Chi And The Ten Rings” arguably doesn’t pull any punches when it comes to involving its titular character in pulse-pounding pugilism and deep-rooted treachery. For whilst this twenty-page periodical’s plot does contain a brief sedentary sojourn to a crazy golf course so as to show the martial artist wooing current girlfriend Delilah Wang, the vast majority of this comic is crammed full of sizzling laser beams, deadly-sharp giant blades and gun-toting Hydra goons.

Indeed, straight from this book’s opening, where a pair of ill-thinking Warriors of the Deadly Hand unwisely attempt to interact with Ta-Lo’s mystical iron weapons, its American author appears determined to ensure that the reader is persistently kept ‘on the edge of their seat’ with a series of well-penned, dramatic occurrences involving some of Brother Hand’s most notorious opponents; “Makes you wonder -- If he’s got these, why isn’t the Five Weapons Society in charge of, well… everything..?! 

Perhaps foremost of these ‘guest appearances’ is that of William Young, who not only makes a surprising, savage attack upon “the Chi-Meister” whilst the Supreme Commander is busy putting. But also ‘enjoys’ a throwback comment to one of his early battles as Razor Fist when Doug Moench’s co-creation got one of his formidably-sized blades stuck in a statue. Sadly, this epic tussle only lasts a dozen or so panels. However, its brevity is actually crucial to Yang’s storyline, as the now heavily-bearded mercenary was supposed to delay Shang-Chi long enough for Lady Iron Fan’s winning bidders to successfully steal the Ten Rings.

Admirably adding some extra “Klunk”, “Hwak” and “Whump” to this publication’s proceedings is Marcus To, who amongst other positives, somehow manages to prodigiously pencil the absolutely lethal Heavenly Weapons with a disconcertingly deadly personality all of their own. In fact, coupled with the sheer amount of colourfully-attired assassins being brutally clobbered, as well as the Red Dot’s gruesome demise, and it’s debatably hard to imagine what else a bibliophile could expect from the Canadian artist inside a Kung Fu comic.

The regular cover art of "SHANG-CHI AND THE TEN RINGS" #1 by Dike Ruan & Matthew Wilson

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.

Shang-Chi [2021] #11 - Marvel Comics

SHANG-CHI No. 11, June 2022

Overflowing with large-scale kung fu fights, an appearance by the mythical Jade Emperor himself, and the return of the titular character’s dead father Zheng Zu, it’s perhaps somewhat surprising that Issue Eleven of “Shang-Chi” only sold 6,920 copies in April 2022 according to “Diamond Comic Distributors”. But whilst this predominantly fast-paced twenty-page periodical’s plot undeniably delivers on its prepublication promise to depict the titular character “on a dangerous mission to rescue his mother from Ta Lo”, Gene Luen Yang’s script does arguably rely upon a few ‘corny’ stunts in order for his storyline to progress.

The first of these has to be the mind-activated energy hammer Zheng Shi-Hua suddenly sports since having her right-hand chopped off by her homicidal grandfather. This goofy-looking ‘glowing weapon’ smacks of being little more than a technologically advanced middle-ground between Razor Fist’s impractical blades and Skull Crusher’s chain-balls, and resultantly seems a little too gimmicky for the rest of the American author’s seriously-toned narrative; “Shang, don’t get me wrong. I am grateful, but… after the way we left things, why would you give me a hammer..?”

Likewise, the dramatic fall of the supposedly all-powerful Yu Huang initially appears to establish Chieftain Xin as the new occupant of the Jade Throne, and seemingly sets up the Master of Kung Fu for the grand battle of his life. However, rather than have Shang-Chi somehow scramble his formidable family together into a last minute defensive force, this third instalment to “Blood And Monsters” instead has the Supreme Commander disconcertingly desert his outclassed siblings so as to follow the ghost of his treacherous parent – who rather conveniently knows all the secret passages and hidden stone levers which lead to “one of the five sets of heavenly weapons.”

Such quibbles as to this book’s penmanship can easily be forgotten though, due to the strength of Marcus To’s illustrations, whose dynamic vigour readily carries the reader from one action-packed set-piece to another. Indeed, Xin’s savage transformation into an aging Kyle Rayner lookalike is one of the publication’s highlights, and definitely helps sell the plausibility of the Qilin Riders’ leader shockingly throttling “the son of the King of the Pure Blissful Kingdom of Lofty Heavenly Lights and Ornaments” in the very heart of the Jade Emperor’s domain.

The regular cover art of "SHANG-CHI" #11 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #10 - Marvel Comics

SHANG-CHI No. 10, May 2022

Ramping up Chieftain Xin’s “personal vendetta… to destroy every person that shares blood with Zheng Zu”, Gene Luen Yang’s script for Issue Ten of “Shang-Chi” certainly seems eager to tie-up a lot of the American cartoonist’s previously-penned plot threads from both this ongoing series’ current run, as well as it opening volume. Indeed, a significant portion of “Blood And Monsters” is dedicated to bringing its audience ‘up to speed’ on both Zheng Shi-Hua’s journey to becoming an unassuming lumberjack on the Mahatta River, in British Columbia, Canada, as well as Takeshi’s mundane incarceration within a maximum-security prisoner for super-villains.

Happily however, such a consolidation is absolutely packed full of pulse-pounding action, courtesy of Qilin Island’s merciless protector all-out attacking everyone on his quite considerably sized ‘hit list’. The utterly homicidal grandfather’s murderous mission to use Sister Hammer’s corpse for some maniacal magic is undoubtedly the highlight of this twenty-page tome. But there is still plenty of sense-shattering shenanigans to be found with the dinosaur-like taotie’s unsuccessful attempt to eat Shang-Chi’s captive half-brother alive; especially once it becomes clear to a well-meaning Supreme Commander Hand that he’ll need to illegally rescue Brother Sabre from his lawful detention to help take the battle to Ta Lo.     

Similarly as engaging as this comic’s flurry of fisticuffs is Yang’s ability to assemble the Master of Kung Fu’s complex extended family into a truly formidable-looking fighting force. All of the experienced combatants have some very recognisably unique personality traits and motivations, which resultantly help to ‘sell’ both the blood bond between them all to achieve a united goal, as well as the intriguing potential for any one of them to also betray the others for some ‘greater good’. This potential duplicity even seemingly includes the leader of the Five Weapons Society himself, who is warned by Master Ling to guard his heart “lest you inadvertently fulfil your father’s ambitions!”

Artist Marcus To should also receive some recognition for his pencilling proficiently facilitating this book’s storytelling. Xin’s attempt to kill his grand-daughter is particularly well-drawn, and doubtless many a bibliophile couldn’t withhold an instinctive wince when the former “Excalibur” illustrator has Shi-Hua's her right hand painfully severed at the wrist by one of the chieftain’s crescent-shaped arrows.

The regular cover art of "SHANG-CHI" #10 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #9 - Marvel Comics

SHANG-CHI No. 9, April 2022

Clearly depicting the titular character’s facially-disfigured grandfather as this series’ central villain, as well as teasing the comic’s audience that a low-level thug residing in Hawaii is actually a prospective heir to Zheng Zu’s villainy, this “next phase of Shang-Chi’s legend” certainly strives to provide its readers with an enthralling mixture of treacherous intrigues and utterly insane action. But whilst Gene Luen Yang’s central plot purely focuses upon Chieftain Xin’s utterly ruthless obsession to destroy everyone in the Master of Kung Fu’s bloodline, the actual logic as to just how his dinosaur-like taotie both scent and then subsequently track their hapless victims is arguably rather contrived.

Indeed, having been summoned out of thin air from the dimension of Ta-Lo, the voracious beasts seem understandably intent of savagely dispatching the owner of the blood from which they materialised – Commander Hand. However, having quickly lost one of their number to the martial arts expert and his two equally as skilled sisters, the surviving two beasts suddenly just slope straight off Mauna Kea Summit so as to attack the utterly dislikeable mugger, Falo, and the Colorado-contained prisoner Deadly Sabre. Just why the “sharp-toothed beasts” depart having failed to successfully gorge themselves upon the flesh of Shang-Chi, Esme and Sister Staff is unexplained, as is how one of the fiends somehow locates Takeshi buried deep inside a maximum security prison for super villains on another land mass..?

Fortunately though, once such quibbles are set aside, this twenty-page periodical contains an incredible amount of sense-shattering shenanigans with which to beguile even the most casual bibliophile. Yang’s portrayal of Xin as an untrustworthy, lying, homicidal maniac is debatably faultless, as the guardian of Qilin Island’s stone gateway readily admits deceiving the “Chi-Meister” with the promise of Jiang Li’s safe return, simply so his fearsome Qilin Riders could ambush Zheng Zu’s son and brutally ride him down with their bestial mounts.

Likewise, there is plenty to admire within the layouts of Marcus To, would was revealed by “Marvel Worldwide” a few months prior to this comic’s release as the title’s “new ongoing artist.” The Canadian illustrator does a first-rate job of pencilling all the anger-fuelled violence of this book’s battles with Xin and the taotie, and it is abundantly clear why he was also chosen in September 2021 to live stream a 'How to Draw Shang-Chi' video for the New York-based publisher’s “YouTube” page.

The regular cover art of "SHANG-CHI" #9 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #8 - Marvel Comics

SHANG-CHI No. 8, April 2022

Rather succinctly concluding both “the story of the true origin of Shang-Chi’s family”, as well as Lady Iron Fan’s ill-planned assault upon the House of the Deadly Hand, Gene Luen Yang’s penmanship for his finale to “Family Of Origin” surely must have pleased the majority of its audience. Indeed, the twenty-page periodical’s plot not only does a good job in rapidly explaining Zheng Zhilan’s shocking betrayal of her brother into the hands of the murderous Iron Eighty Eight. But also spends plenty of time depicting just why Jiang Li ended up in the Negative Zone, and how the Master of Kung Fu’s pitiless grandfather so badly wants revenge upon the Five Weapons Society.

In addition, the Alameda-born author manages to provide each of these scenarios with a shock twist, whether it be Sister Staff ultimately revealing she was working alongside Esme to protect her organisation’s supreme commander, or Zheng Zu’s admission to his wife that he first came to Qilin Island “all those years ago” to steal her technology so as to build his own dimensional gateway to Ta Lo. These revelations are marvellously disclosed and add some extra layers of complexity to all of the characters involved, especially Chieftain Xin – who clearly feels betrayed by his daughter and an infant Shang-Chi; “You’re the very image of your father, boy! The very image of evil!”

Perhaps therefore, this book’s sole disappointment comes with the mystery surrounding just why Hydra attacked “Fu Manchu”. According to Jiang Li this surprise assault by the Neo-Nazis is the single event which caused her husband to become such a truly despicable, deadly overlord and suddenly turn his back upon a family he clearly was taking joy in building. However, the Thule Society’s mysterious motivation for the attack is disappointingly just written off as having been something which occurred “before your father and I met.”

Nit-picking aside, Dike Ruan’s layouts should also be praised as they deliver plenty of punch to all of the blows being thrown. Zheng Zu’s fisticuffs against his aging father-in-law is an excellent example of this top tier pencilling, with magical energies pouring off of the two determined combatants. Plus, Sister Dagger’s fist-bump with her duplicitous older sibling once the pair have delivered the Iron Eighty-Eight into the custody of the Warriors of the Deadly Dagger is superbly sketched.

The regular cover art of "SHANG-CHI" #8 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #7 - Marvel Comics

SHANG-CHI No. 7, March 2022

Whilst Gene Luen Yang’s narrative for this opening chapter to his “Family Of Origin” storyline is arguably something of a sedentary affair, it’s explanation as to just “who was Shang-Chi’s mother” probably still kept the vast majority of its readers thoroughly enthralled. In fact the tale of the woman’s youth within the dimension of Ta Lo and her subsequent meeting with Zheng Zu also provides a disconcertingly grisly backstory to the Master of Kung Fu’s grandfather Chieftain Xin – who seemingly has a penchant for his daughter bringing him the head of any outsiders she happens to harbour.

Of course that isn’t to say that this twenty page periodical doesn’t contain a modicum of pulse-pounding action, as it certainly does once Zheng Zhilan despicably betrays her brother to the likes of Lady Iron Fan, and stealthily grants the criminal access to the ordinarily impregnable headquarters of the Five Weapons Society. However, these fleeting moments of violence are rather crowbarred in amidst this comic’s central narrative, and only really come to the fore at the book’s cliff-hanger of a conclusion, when Shang-Chi spies the villainous Red Dot lurking in his House’s shadows.

Up until this moment, the American cartoonist is apparently much more interested in penning an engaging love story, and one in which the usually murderously maniacal Zheng Zu is surprisingly portrayed as a caring, family man – at least until a massive Hydra invasion force materialises from the fast-darkening skies. In addition, the Harvey Award-winner appears to be keen to ‘paint’ Chieftain Xin as the new ‘big baddie’ of this ongoing series, masterfully manipulating Commander Hand’s sister and emboldening Shang-Chi’s enemies to successful siege the Chi-Meister’s very home; “Son, I told you that my mind is finally clear! Clear enough to defend myself! And clear enough to detect his presence. Observing us from above!”

Nobly supporting Yang in this entertaining endeavour is Dike Ruan, who somehow manages to illustrate the panels depicting Jiang Li’s affair with Zu with a genuine air of romance. The Chinese artist seems particularly good at pencilling a parent’s pride on Zheng’s face, as the crime lord merrily carries his infant daughter on his shoulders, and touchingly smiles at the sight of his son running through some lavish gardens just ahead of them.

The regular cover art of "SHANG-CHI" #7 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #6 - Marvel Comics

SHANG-CHI No. 6, January 2022

As finale’s go, Gene Luen Yang arguably still leaves a lot ‘hanging in the air’ with his final instalment to “Shang-Chi Verses The Marvel Universe”. But whilst a truly despisable Tony Stark and Reed Richards disconcertingly depart the Master of Kung Fu’s partially destroyed headquarters still arrogantly believing that they were right to attack their former friend because of an evidently ill-placed hunch, the California-born writer’s storyline still provides its audience with plenty of high-octane, action-packed entertainment.

Foremost of this twenty-one page periodical’s hooks has to be the titanic tussle between Commander Hand and the mighty Thor, which momentarily threatens to level the entire House of the Deadly Sabre with the truly phenomenal forces on display. Admittedly, it soon becomes apparent that Shang-Chi isn’t actually fighting with “the power of Takemikazuchi, the God of Blades and Thunder”, but rather a disguised Cosmic Cube. However, such a deception at least momentarily manages to wipe the infuriatingly smug smile off of Odinson’s face, when he’s shockingly cut on the cheek by the seemingly rapier-sharp magical sword, and resultantly realises he might not actually be as undefeatable as his overconfident team-mates all believe.

Likewise, the elite martial artist’s ability to persistently hold off the best efforts of Iron Man are incredibly satisfying. The American author really does a first-rate job of penning the Golden Avenger as an incredibly dislikeable bully, whose contemptible self-importance supposedly fully justifies him being able to threaten a group of non-super-powered onlookers with death and destruction. So when the titular character stoically holds his own against Stark’s ‘trump card’, it’s not hard to imagine many within this publication’s audience cheering aloud at the billionaire industrialist's obvious discomfort; “Shang-Chi’s holding his own!”

Injecting this comic with all the sense-shattering sketches needed to make such a frenzied fracas followable is Dike Ruan and colorist Triona Farrell. The Chinese artist does a fantastic job of imbuing the Master of Kung Fu with all the blinding speed a reader might expect from a close combat expert occasionally referred to as “the Chi-Meister”, and later does an equally fine job in depicting all the electrical energy resonating from the mortal being’s intense battle against the living God of Thunder.

The regular cover art of "SHANG-CHI" #6 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #5 - Marvel Comics

SHANG-CHI No. 5, December 2021

Rather intriguingly portraying the “Earth’s Mightiest Heroes” as a cadre of treacherous, holier-than-thou bad-guys, Gene Luen Yang’s script for Issue Five of “Shang-Chi” certainly provides the titular character with an opportunity to show just why he is known as the Master of Kung Fu. Indeed, this somewhat frantically-paced twenty-page periodical’s highlight is probably Brother Hand’s highly successful skirmish against a fully-powered Iron Man, who arrogantly believes his advanced technology makes him impervious to any and all harm; “Cutting-edge armour verses human fists! Face it, Shang! You can’t beat me!”

Enjoyably however, watching a wholly dislikeable Tony Stark get his clock cleaned courtesy of “an adamantium-plated three-section staff” isn’t the only utterly mesmerising moment the American author’s narrative has to offer, with the supreme commander’s skirmish against the cybernetically enhanced Mister Red Dot providing plenty of sense-shattering shenanigans too. This scintillating start to the comic really sets the tone for the rest of the publication, and ultimately shows the loathsome lengths the Avengers will apparently stoop to when it is later revealed the murderous gangster was actually hired by Iron Man to help him infiltrate the Five Weapons Society’s intelligence database.

Such a shoddy deception, which at one point actually sees the crook fire a bullet at an unarmed Shang-Chi’s head, strongly suggests that the supposed super-team have lost any sense of lawfulness in their obsession to obtain “definitive proof” that the former ‘Hero-For-Hire’ has been detrimentally changed by his nefarious father’s criminal organisation. In fact, by this book’s end, it is clear that Stark is completely oblivious that it is actually he who has been despicably deceiving his former friend throughout the adventure, and not the Master of Kung Fu who “lied straight to my face!” 

Equally as effective in making this comic a certifiable winner are Dike Ruan’s layouts, which really help project Shang-Chi’s dazzling dynamism whenever confronted by a physical challenge. The warrior’s aforementioned battle against Iron Man is a great example of this, with the Chinese artist showing just how slow the Golden Avenger is when facing an opponent unfettered by a need to solely rely upon his state-of-the-art weaponry in order to win a fight.

Writer: Gene Luen Yang, Artist: Dike Ruan, and Colorist: Triona Farrell

Shang-Chi [2021] #4 - Marvel Comics

SHANG-CHI No. 4, November 2021

After promising its readers a truly titanic tussle by purportedly pitting the titular character against the New York City-based publisher’s foremost family, Gene Luen Yang’s actual storyline for this fourth instalment to his “Shang-Chi Verses The Marvel Universe” probably came as something of a disappointment considering that the combatants only trade punches for two pages. However, despite this lack of pulse-pounding pugilism, the comic still arguably provides an enthralling hook in the shape of the world’s greatest heroes becoming increasingly concerned that the Master of Kung-Fu is fast-becoming a major criminal threat.

Indeed, Reed Richards’ sudden cold-hearted withdrawal of an offer to help Brother Hand rescue his sister from the Negative Zone because the incredible inventor arrogantly believes his worst fears as to the martial artist’s change of morality are true is wonderfully penned by the American author. The so called scientist simply assumes all the rumours as to Shang-Chi’s association with his dead father’s nefarious organisation are true, and then adopts a holier-than-thou attitude later on when his own pitiless inaction forces his former friend to ‘borrow’ the Baxter Building’s transit vehicle; “You broke into my lab?! Used my equipment without my permission?!”

Equally as intriguing though is Mister Fantastic’s response to directly contact Captain America once the deadly assassin and the Five Weapons Society’s House Champions have peacefully departed. It is clear that the human mutate has quite made up his mind as to the felonious status of “the Chi-Meister”, and seemingly intends to put a stop to whatever machinations he erroneously believes Zheng Zu’s son is plotting with the help of the Avengers. Such a sanctimonious stance debatably typifies the self-righteous Richards’ creed that only he knows best, and, as with this book’s narrative, seems destined to actually ‘push’ Shang-Chi into behaving precisely as the super-team’s leader dreads.

Ably assisting Yang in depicting this ‘long game’ plot point is Dike Ruan, who manages to present a rather impressive visualisation of Jack Kirby’s surreal Antimatter Underverse. The concept artist’s praying mantis-like aliens are suitably disconcerting, as are the illustrator’s prodigiously pencilled panels showing the Master of Kung-Fu besting a cocksure Benjamin Grimm by simply applying two fingers to one of the Thing’s pressure points.

The regular cover art of "SHANG-CHI" #4 by Leinil Frances Yu & Sunny Gho

Master Of Kung-Fu #18 - Marvel Comics

MASTER OF KUNG FU No. 18, June 1974

Brilliantly bookended by two bouts of compelling close combat between the titular character and a highly-skilled Dacoit, Steve Englehart’s narrative for Issue Eighteen of “Master Of Kung Fu” certainly manages to suggest the international scale of Fu Manchu’s criminal organisation. Indeed, whether it simply be the vengeful interest of a former British Police Commissioner for Burma and his prejudicial agent, or the staggering scope of Shang-Chi’s malevolent father to brainwash “all of America” within the space of three months, the Indianapolis-born writer is not shy in showing the sheer scope of this ongoing series’ felonious machinations.

Likewise, the Inkpot Award-winner doesn’t fall into the tempting trap of simply depicting this comic’s lead protagonist as some sort of superhuman fighting machine, who boldly enters his pater’s hidden headquarters in New York, and readily defeats the numerous minions teeming inside. Instead, this book portrays a thoughtful warrior, who realises “the foolishness of [a] frontal assault” against his parent’s “Empire of Evil”, and instead tries to predominantly remain out of sight of his enemies, striking only when he must.

This thoughtful approach to his mission really helps sell Shang-Chi as both a highly-skilled, yet all-too mortal martial artist, who whilst capable of great feats of stealth, such as secreting himself aboard a cargo plane to Florida, is also vulnerable to a well-prepared ambush or fume-filled trap. Such susceptibilities really help sell the sense of suspense needed to make the warrior’s tense investigation into Fu Manchu’s murderous manoeuvrings all the more exciting, and it’s a credit to the America author’s penmanship that the Crime Lord’s latest scheme is actually thwarted by the actions of a disillusioned subordinate, rather than the Master of Kung Fu himself; “The man killed himself, because death was preferable to life for him! And my father made his life so unbearable!”

Just as captivating as this eighteen-page periodical’s plot are the layouts by Paul Gulacy and inker, Al Milgrom. The aforementioned punch-ups between Shang-Chi and the “adherent of Burmese strangler cult” are tremendously well-drawn, especially once Fu Manchu’s cold-blooded assassin has received four drops of a deadly chemical which bestows upon him “super-human speed”. But in addition, the creative collaboration are able to show off their truly imaginative side by creating a sensational splash page showing the hallucinogenic effects of the plant, Mimosa, upon the mind.

Author: Steve Englehart, Artist: Paul Gulacy, and Inking: Al Milgrom

Shang-Chi [2021] #3 - Marvel Comics

SHANG-CHI No. 3, September 2021

Providing an interesting balance between top tier close combat action and the disconcertingly dark evil-doings of some within the Five Weapons Society, this particular twenty-page periodical’s plot probably pleased most within this ongoing series’ fanbase. But whilst Issue Three of “Shang-Chi” most definitely depicts a fascinating fracas between its titular character and the hugely-popular X-Man, Wolverine, it is arguably hard not to shake the impression that James Howlett’s limited involvement in this narrative is something of a wasted opportunity, and should have consisted of something a bit more believable than the mutant suddenly appearing on the shore of Muckross Lake in Ireland simply to thwart the prejudicial protestations of some dim-witted demonstrators; “It’s your birth right to come with me to the island of Krakoa. No one will hunt you there.”

Mercifully though, so off-putting an observation can easily be set aside considering just how intriguing Gene Luen Yang’s storyline involving another half-sibling the titular character “never knew he had” actually is. Indeed, the shadowy background to Zhilan of the House of the Deadly Staff genuinely seems set to shake up the already somewhat precarious status quo of Shang-Chi being the supreme commander of his dead father’s cult-like criminal organisation, with the initial determination of both Brother Sabre and Sister Dagger to kill “the Lake Witch” simply because she’s a mutant far from boding well.

Likewise, the American author’s ability to produce an emotional response from the reader is repeatedly proved with his penmanship during this story. Whether it be the absolute disgust at a truly ungrateful tourist’s reaction to post an encounter with a deep sea monster on social media despite being asked not to by her saviour, or the sheer shock at Esme’s derogatory choice of words to describe Wolverine’s people, there’s plenty of dislikeable behaviour on show within this publication to stir the sensibilities of any perusing bibliophile.

Ultimately however, this book’s success depends upon the inclusion of X-Force’s field leader and once the brown-costumed super-hero shows up, things really start to sizzle. Feisty, angry and unwillingly to listen to reason before rushing in with his deadly claws, Yang’s version of Len Wein’s co-creation simply bristles with his infamous hostility, and resultantly proves irresistible to the eye when he soon engages Shang-Chi in a battle of stomach-wrenching blows.

The regular cover art of "SHANG-CHI" #3 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #2 - Marvel Comics

SHANG-CHI No. 2, August 2021

Offering a thoroughly different perspective on this ongoing series’ titular character as he sets about changing his father’s cult-like organisation’s evil ways, Gene Luen Yang’s narrative for this second instalment to “Shang-Chi Verses The Marvel Universe” surely must have enthralled its audience with a great mixture of tongue-in-cheek humour, some serious super-hero antics and a disconcertingly dangerous sub-plot full of treacherous intrigue. In fact, possibly this twenty-page periodical’s sole disappointment is that Captain America doesn’t make his highly-publicised entrance at the Iron Eighty-Eight’s auction for a Cosmic Cube until the comic is already half-way over; “You called Cap here, didn’t you?! I knew you couldn’t be trusted!”

Minor quibble aside however, this book is debatably packed full of highlights, with the opening uncomfortableness of A.I.M., HYDRA, The Hand, the Inner Demons and The Five Weapons Society trying to be politely civilised with one another at the private sale being just the first. Shang-Chi’s lack of social etiquette whilst in the company of his former foes, such as when he almost drinks the poisoned complimentary champagne being offered, genuinely provides a few chuckles. Albeit not to the extent of M.O.D.O.K.’s major hissy fit with a fellow bidder who tries to high five the “mutagenic medical experimentation” and abruptly has his left arm blasted right off for the implied insult.

Steve Rogers’ aforementioned arrival also certainly produces the goods as he initially appears to be opposing the Supreme Commander’s central aim and momentarily has to take on the entire auction house’s occupants with his famous shield-arm. Perhaps somewhat unsurprisingly, this precarious predicament is actually a ruse, so as to allow the Sentinel of Liberty to supposedly take the Cube into custody “for the sake of the Greater Good!” But that still doesn’t stop artist Dike Rulan from pencilling some pulse-pounding scenes of Lady Iron Fan taking on both the First Avenger and the Master of Kung Fu in a scintillating fight scene.

Lastly, this publication finishes upon a serious note as to the loyalty of Brother Sabre. It is clear straight from this book’s beginning that the bearded Takeshi has some very strong feelings for their shade-wearing female host, especially when it is revealed he has fussing over a necklace she gave him. Yet even so, the highly trained assassin’s decision to use the “wish-granting” power of the Cosmic Cube to fool Captain America into letting his beloved leader of the Iron Eighty-Eights escape is significantly unsettling.

The regular cover art of "SHANG-CHI" #2 by Leinil Frances Yu & Sunny Gho

Shang-Chi [2021] #1 - Marvel Comics

SHANG-CHI No. 1, July 2021

Reading like an instalment from the New York-based publisher’s beloved Seventies series “Marvel Team-Up”, Gene Luen Yang’s script for Issue One of “Shang-Chi Vs. The Marvel Universe” must surely have delighted both fans of the titular character, as well as those of “your friendly neighborhood Spider-Man” with its enthralling mixture of martial arts and web-throwing. Indeed, in many ways it’s a real shame that Peter Parker’s alter-ego is seemingly only destined to make an appearance in this particular publication, as his long-standing friendship with the Supreme Commander of the Five Weapons Society develops some intriguing friction once the wall-crawling super-hero realises his comrade-in-arms’ new allegiance and begins questioning whether “you still one of us?”

Of course, this nagging doubt as to Shang-Chi’s motivation for ‘confiscating’ the entire proceeds of a combined drugs/weapon ring for his own undisclosed ends doesn’t manifest itself until the conclusion of this twenty-page periodical. Before these reservations appear the duo are depicted as being as ‘thick as thieves’, and even briefly remind this comic’s audience, courtesy of some mid-action banter, that the Master of Kung Fu had once devised The Way Of The Spider fighting style for his colourfully-costumed fellow crime-fighter so as to ensure his “spider-sense will grow even stronger.”

Perhaps therefore this book’s only disappointment is the infuriating inclusion of Sister Dagger, who despite creating a few genuine ‘laugh out loud’ moments, increasingly starts to grind upon the senses with her persistent desire to slaughter everyone around her. In fact, in many ways Esme quite infuriatingly appears little more than a second-rate ‘knock-off’ version of “DC Comics” homicidal hero Damian Wayne, especially when she instantly decides to kill Spider-Man after he’s been unknowingly infected by the toxic properties of the Yeren root and has to be stopped from slitting the deformed vigilante’s throat by her older brother; "I've got a better plan! Grab his webbing!"

Happily however, this is only a minor quibble, and easily forgotten if not forgiven once the audience become immersed in Dike Ruan’s sumptuously-pencilled artwork. The Chinese illustrator does a fantastic job of imbuing every action-shot with some breath-taking speed and provides this book’s lead protagonists with all the acrobatic nuances a bibliophile would expect from two such physically dynamic athletes.

The regular cover art of "SHANG-CHI" #1 by Leinil Frances Yu & Sunny Gho