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G.I. Joe vs G.I. Joe.  Which comes out on top?

This week I want to take a look at the newest issue of IDW’s G.I. Joe series, but also compare it to the recently released movie: G.I. Joe: The Rise of Cobra.  I grew up a G.I. Joe fan. Not just the toys and not really the saccharin, watered-down kids cartoon (to be fair, it had its moments, but overall…) but the Marvel comic which really set the bar for licensed properties in the mid 80s.  This comic would eventually move in the ridiculous ’22 page ad’ category of most licensed comics, but the first 50 or so issues hold the basis for most ‘Joe lore to come. 

I will be up front about the fact that I am enjoying the new IDW reboot of G.I. Joe.  Smart and fun and not at all afraid of taking an even, slow pacing, the book proves that outlandish personalities and ideas can hold ground in a believable world and do not need a cape attached to them to make it enjoyable.  On the other hand, I really did want to hate TRC (The Rise of Cobra), but I found myself enjoying the movie for what it set out to be:  a summer movie, filled with explosions and character names you know, if not necessarily how you are used to seeing them.

First up: the story.  G.I. Joe #8 revolves around the main idea that the Joe’s are still fighting blind. COBRA is such a whisper that no one believes they actually exist. Except for Snake-eyes and Scarlet, of course. And apparently Mainframe, booted from the ‘Joes years ago because of his obsession with COBRA, whom Snake-eyes finds and recruits into proving their existence.  Road trip! And old school ‘Joe fans easily recognize their destination: Springfield. 

Meanwhile, the other focus of this issue centers around Castle Destro where the Baroness finally free from capture decides to take everything in Castle Destro for COBRA, including Destro who, testing a new product,  has just unwittingly locked himself in a new armor, complete with silver mask.  Flint watches the evacuation of the castle begin and calls in the ‘Joes.  They arrive in time to find a nice little parting gift from Destro.

The story flows well and Chuck Dixon clearly loves and appreciates the original source material. He manages to modernize things and give it a clean restart, making us feel like this is the first time we meet the character while at the same time get reunited with an old friend. This is definitely your hard-core military based comic, with just a little touch of over the top weaponry and personality thrown in.

Compare that to The Rise of Cobra. The characters actually do not seem too bad, unless you think too hard about the ridiculous Baroness/Duke connection.  Seriously? I cannot believe anyone who took the time to read the comics would put that in a script.  Hollywood please note: People can have motivations besides ‘saving the girl.’  The source material is resplendent with proof of this theory.  I did truly enjoy Destro’s characterization in the movie.  Rebooted modern, why not be a modern arms dealer? At his root, that is Destro.  And the megalomania is hardly uncharacteristic either.  Some rather odd choices for ‘Joes (Ripcord really?  Instead of Stalker?) and a way too convenient link for Cobra Commander up the cheesiness factor a bit in the movie. Brendan Fraiser’s ‘surprise’ cameo as Sgt. Slaughter proved a fun touch though.

Overall the story in TRC moves pretty fast and, not surprisingly, causes little difficulty in following. Some slick action sequences with a couple of interesting stunts and lots of crazy CGI weaponry thrown in make for great eye candy.  The chase scene in Paris stands out for both the pacing involved in the choreography and camerawork and the ridiculousness of the scene.  The most major failing of the movie comes from its unabashed desire for humor.  The constant little one-liners and attempts at humor become a bit droll very quickly.
Now the art style.  S L Gallant draws the G.I. Joe comic. He provides nice clean lines and enough detailing that allows you to easily tell the dozens of characters apart. One of the perils of an ensemble book where most are not that uniquely dressed honestly.  They even found a way to slip some old school Joe vehicles in to a few panels. The only problem I find in the art comes from Andrew Crossley’s colors personally.  The book feels to dark overall.  Perhaps the content of this issue necessitated it for mood and timing of the story, but it feels draped in shadows and low lighting.

TRC, on the other hand, felt ready to pull out the Star Trek lens flare at any moment.  Not enough light to clearly see the mole on someone’s nose? You learn to steel yourself for the incoming explosion pretty quickly. Bright, CGI vehicles with hardly any basis in reality with enough resemblance to their original G.I. Joe namesake to thrill old school fans a bit pop up throughout the movie.  The Nightraven especially wowed me since it looked as though they actually sat the toy in front of them when creating the CGI model.  The costuming kept a Hollywood interpretation of a ‘modern para-military organization’ that you see in movies these days – impossible body armors mixed with camo.  Snake Eyes body suit remains close to the toys, but the rubber mouth piece just ruins it completely.  The only character still in the same outfit as the toys/comics/cartoon?  The Baroness of course.  Cleavage apparently beats all weapons on the battlefield. If we could outfit all of our female soldiers with magical bullet avoiding breast shields, the Middle East conflicts would have ended years ago.

Overall if you are a fan of G.I. Joe still or loved the comics growing up, the comic will most likely entertain you just as much, if not more, as it ever did.  The comic is smart, witty and uses the bursts of action to excite the story, not drown it.  If you were a fan, on the other hand, and are unable to let go of what you know of G.I. Joe, The Rise of Cobra might hurt your brain a bit.  If you can let go, the celerity of the movie and overall fun of watching over the top action is worth seeing on the big screen. 

G.I. Joe #8
Writer: Chuck Dixon
Artist: S L Gallant
Colors: Andrew Crossley
Letters: Robbie Robbins & Chris Mowry

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