egun in 1986, the shared-world series known as Wild Cards has had a long and illustrious history of contributors and achievements. The scenario that birthed this universe involved a 1946 explosion of a "biological weapon created by an alien race." This spreading virus created and continues to create two classes of metahumans: Aces, whose various powers are beneficial to both the owner and the rest of mankind; and Jokers, mutant monsters who lead segregated lives in various Jokertowns. But now we learn of the Deuces, those victims who fall between the two camps. Deuces have powers that are just a little bit silly or trivial or annoying. They are integrated into normal life, neither mocked nor admired. But oftentimes their odd abilities bring challenges or bizarre adventures.
In Michael Cassutt's "Storming Space," Cash Mitchell is a "lifter," able to lighten the weight of any object. Mostly he employs his talent in the service of a criminal boss, to facilitate the movement of large amounts of stolen goods. But in a moment of idealism, Cash joins a project to launch the first expedition to the moon. But he does not reckon with falling in love with his female coworker Eva-Lynne, or with the objections his crimelord raises. John J. Miller's "Four Days in October" follows the autumn adventures of ninth-grader Tommy Downs. Tommy has the unique ability to literally sniff out Aces, and his attempts to find the hidden superman on the Brooklyn Dodgers team as they embark on a World Series match leads to some tense moments.
Bob runs a comedy club in Greenwich Village called the Village Idiot. His star comedian is a woman named Carlotta DeSoto, who is aided by the ability to psychically generate laughter in her audience. But when Carlotta begins to attract mysterious persecutors, Bob finds himself involved in a deadly game in which his ability to become a living puddle seems useless. But Walter Simons ingeniously reveals in the climax of "Walking the Floor Over You" how Bob utilizes his weird talent to best advantage. Wouldn't Hollywood save a bundle on SFX if they could employ living mythological creatures? That's the opening shot in Melinda Snodgrass' "A Face for the Cutting Room Floor." Following the adventures of Bradley Finn, a centaur, and his cohorts in the Myth Patrol, Snodgrass shows that Hollywood's emphasis on beauty and youth takes strange turns when Wild Card powers are at work.
"Father Henry's Little Miracle" by Daniel Abraham is a crime-filled excursion into the world of Father Henry Obst, a Jokertown pastor who makes a mortal mistake in harboring a woman on the run from deadly gangsters, including the Ace known as Demise, who can kill with a glance. In Ireland, according to Stephen Leigh's "Promises," many Jokers were exiled to the island of Rathlin. When Gary, whose minor skill is creating small fires from his flesh, arrives as an inadvertent refugee on the island, he discovers that it's easier to enter than to leave, especially when promises are made to a dying single mother and her child. Finally, Kevin Andrew Murphy introduces us, in "With a Flourish and a Flair," to Topper, a woman able to pull miracles out of her distinctive hat, and to His Nibs, whose fingers are fleshly pens, complete with varicolored inks.
An anthology that's up, up and away!
This latest volume presupposes no prior knowledge of the extensive Wild Cards continuity, as the brief explanation provided is sufficient to bring the novice reader up to speed. And, in fact, this volume introduces a heretofore unrevealed twist in the continuity, putting old and new readers on an equal footing.
Being an alternate history series as well as a playful examination of superhero tropes, the Wild Cards universe has two edges to its literary sword. Whenever one aspect of the story flags, the other can be invoked. Some of the authors here make more use of one aspect than the other, but the best entries marry both. Cassutt gets a lot of mileage over contrasting his space program with the one we know. Miller has fun with Fidel Castro as a ballplayer, but this particular riff is starting to get a bit old by now. And Snodgrass does fine things with a Grace Kelly who never left the film biz.
As for the dissection of what it means to be a second-rate superhero, all the authors here have valuable insights to contribute. In essence, they are all debating the larger question of what makes the difference between a weed and a flower. It's all in one's perspective, and in the uses to which the blossom is put, or the environment it grows in. Father Henry has to be transplanted to Jokertown before he can find his own heroism. Bob the living puddle doesn't realize what he can accomplish until his life's in danger. And Gary, rebelling against his confinement on Rathlin, never finds peace until his attitude changes.
These lessons and others are embodied in stories that run the gamut from serious and tragic ("Promises" and "Father Henry's Little Miracle") to gonzo and madcap ("Walking the Floor Over You," "A Face for the Cutting Room Floor" and "With a Flourish and a Flair"). But, generally speaking, the zany spirit of Ron Goulart reigns over this project. Additionally, these pieces range in venue from the 1960s to the present day, offering a wider view of the Wild Cards continuum than some of the other volumes.
Readers who enjoyed the film Mystery Men or Alan Moore's Watchmen will find that George Martin's brainchild fits like yellow spandex.
