Page 1: “It’s not like this is my first Rodeo” is a common phrase that I connect with Fraction. It sort of amused me to use it here, as Tony is someone I attach to Matt for fairly obvious reasons.
In the long term, I suspect that the first five issues will be viewed as prologues – a sort of tasting menu of themes I’m interested in exploring further. In which case, this is the opening of the main movement. And it is a big story. When it’s collected, I’m pretty sure GODKILLER will be in the volume called THE ORIGIN OF TONY STARK (Vol 1).
Oh – this monologue may be ringing a few bells.
Page 2: Monologue moves doubly familiar. It’s a riff on the one that opened the first issue.
Big robot drone fleet fun. It’s a little bit of a holiday issue, so here’s the requisite space-battle scale.
Page 3: And we’re with Tony, in a bar, flirting with a beautiful girl. Like the first issue, except she happens to be an alien. Subtext – Tony has gone into space to discover new stuff, but he’s fell into the same pattern. If Tony’s going to change, he hasn’t done it yet.
Special credit must be given to the colours here, which really push it into the alien. It’s an extrapolation on the carnival vibe, all Zero-g, infinite space and force-fields.
I don’t remember what I wrote, but it could be shortened to “Imagine what the people who the Shi’ar are ripping off look like.” Keep an eye open for the Phoenix motif – the crest on their brow is the main element. There’s a nod of it in the shape of THE TEAR itself, which I suspect will be more visible as we progress.
Anyway – alien Princess and Tony talking at cross purposes, based on their limited understanding of each other’s cultures, and warping that through their filters (Tony as pop sci-fi James T Kirk-ism and Veritina with patronising ideas of the noble barbarian cultures). We play it all light in this issue, but that kind of misunderstanding is key. Tony’s been in space, but he hasn’t really lived there.
Page 6: For structure watchers, introduction of Tony’s relationship with his Dad. If we’re heading towards the Origin of Tony Stark, we need to establish this information ahead.
Also… hello floaty drone. We’ve done our Star Trek, and here’s a little bit of Star Wars odd-ball drone R2-D2-isms.
Page 7: Scanning conversation around the issue, one of the themes has been that they enjoyed it, but didn’t really think the plot got moving until later. I suspect in retrospect how much is going on in these light scenes will become obvious, and how every line seems to set things up. Doesn’t change how things feels now. But if people are enjoying it, I can’t worry too much.
That said, it’s also about chilling and having fun. Tony’s been running around without any down time. If this is meant to be a holiday, let’s create a “normal” to destroy with the twist.
Page 8: Death’ Head as our Bobba Fett. A 30ft tall Bobba Fett. That scale is tricky to get across, so we explicitly reference that he’s 30ft bloody tall.
I really like what Greg did with the “I have a Palace” panel.
Page 9: I wish I had this apartment.
Page 10: The last panel here….
Page 11: …and the first panel here could sound the big ALARM BELLS if you’re paying attention. You may see the problem first time, but knowing the end, you may see the other, non-theological reason why the Voldi are pissed off.
The alternative names of cosmic powers were fun to make. Respectively, they’re Galactus, the Celestials, The Stranger, Eternity and The Phoenix.
Panel 3 – Phoenix Hand gesture!
Panel 5 – Greece after its fall from relevance is something that plays on my mind. I suspect it at least partially comes from being British, and similarly living in the shadow of Empire.
Page 12: And Veritina finally learns Tony’s surname. The spaceknight is “Tony Stark”.
Page 13: Playing it coy around the exact age of Tony Stark, and covering it with a joke.
Page 14: You know, for a writer who tends to get filled with the wanky quasi-intellectual side of the pop mainstream, I do like gags based around bodily fluids.
Page 15: Keratin is one of my favourite words.
But yes, cultural differences cut both ways.
Page 16: Like what Greg did with the forefield here. Also nice swirling arcs on the missiles.
And this is probably PEPPER’s highlight in the issue. I suspect I got the inspiration for PEPPER from the biochips in Rogue Trooper – in terms of having a supporting cast on a solo character whose plot requires them to be removed from the context of everyone else they’ve ever known.
Page 17: Greg’s doing a lot with the slanted panels in action sequences, which I’m liking. Here, and in the opening sequence. Compare and contrast with his choices during the slow-burn flirtation.
Page 18: Deicide! I like that word.
Page 19: The Supreme Justicar is our first explicit nod towards the Kree – with the Voldi being an influence on pretty much everyone. Those who read solicits will know, the Voldi were originally called the Shi’ard. We had second thoughts as that was just going to be too confusing.
More explicit Phoenix imagery in her design. I like the sleeves joining to form a larger phoenix design.
Nietzsche plus another facial hair gag. My wife thought no-one would get the Nietzsche gag, but I had faith in you, comic readership. As a craft note? See how I’m playing fluffy with the time to Nietzche’s death to future proof the book a little.
Page 20: Greg turned this into a 3 panel by moving a panel from the previous panel onto this one, which improves the pacing, as well as opening up the Justicar-intro panel image on the previous page. Cheers, Greg!
Gillen, Kieron (19 February 2013).
Iron Man 6 Notes & Stuff.
Kieron Gillen's Workblog. Retrieved on 9 January 2017.
Death's Head 
