The first two issues of Marvel Double-Shot were diverting, but pretty much inconsequential, so I really wasn't expecting all that much from the penultimate issue of this anthology series. Imagine my surprise to discover two touching stories about parenthood, one reflective and thought-provoking, and the other providing a few good laughs.
Holy Spirit: Franklin Richards sees something on the news that confuses and upsets him, and he asks his dad -- Reed Richards, the super-intelligent science wiz also known as Mr. Fantastic of the Fantastic Four -- about it. The discussion leads Reed to look at the ideas of religion and science, and whether or not the two are mutually exclusive. Fact and belief collide in an important conversation between a father and son.
The cute manga approach to the artwork may seem like an odd choice for a story that explores some pretty lofty philosophical notions, but it reinforces the child-like sense of wonder and curiosity that serves as the story's catalyst. The colors are just as light in tone as well. It brings a soothing tone to what could have been a stilted, serious script.
I love Nitz's script. Not only does he satisfy the continuity buffs by acknowledging the Marvel Universe's physical manifestations of faith and science, but he really drives home the notion that this is about an exceptionally bright adult trying to teach something to a child. Reed's purple prose is maintained, but there's also a simplicity to his explanations. Furthermore, it doesn't seem as if Reed is talking down to Franklin, but trying to keep things on a level that he will appreciate. More importantly, though, there's an emotional undercurrent here, as we watch a father and son bridge an intellectual gap.
Dad Out: Scott Lang, better known to the world as Ant-Man, faces a crisis that promises to eclipses any natural disaster or super-villain that has threatened him before. The time has arrived for his daughter's first date, and he's not dealing with it well.
Darwyn Cooke's art usually takes on a lighter tone when someone else inks his work, and this is no expection. Manley's inks reinforce the fun tone and charming simplicity of Cooke's style. Loughridge's dark, muted colors don't detract from the humorous tone of the story, but just convey the time of day more than anything else.
McKeever's script reminds me of a 1950s sitcom premise in which a parent learns an important lesson rather than the child. But there's more of an edge there as well. The language ventures out of cutesy territory at times and comes off as a surprisingly frank exchange between a father and daughter. I also enjoy the fact that as they part ways, Scott and Cassie actually end up switching roles. Overall, this story offers up some good laughs, and it has a heart as well.
