Artist(s): Seth Fisher
FANBOYZ from Spider-Man Unlimited #8
Fantastic Four/Iron Man: Big in Japan #1 #2 #3 #4
Collecting Spider-Man Unlimited #8, Fantastic Four/Iron Man: Big in Japan #1-#4
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(I wish I was even remotely decent at writing than I am now, but here goes anyway)
In a sense, I consider Seth Fisher's work on Big in Japan (and Zeb Wells', by extension) partially responsible for why I got back into comics back in 2006-2007. I remember while browsing on gaming website IGN one day and came across the image of what I would later know as the cover to Civil War: Front Line #1.
By that point I had been out of reading comics for quite some time (my last issue of ASM at the time was literally the one before JMS took over the title in 2001). A lot had changed: Big things like Avengers Disassembled and House of M, to smaller things like Mac Gargan becoming Venom and Luke Cage having any kind of prominence (and without his tiara, no less). Other things like the popularity of the Ultimate Universe and Marvel Zombies. And then, of course, the then upcoming Civil War.
You'll notice above there's quite a few things Mark Millar had a hand or two in. Even though I didn't know his name at the time, in hindsight I more or less consider him the other reason why I got back into comics. Mark Millar gave me the comics that I wanted (the kind of big stories that couldn't be as easily replicated in the movies or video games) but Seth Fisher gave me the story that I needed.*
The most I remember from the time is that I nearly became one of those readers. You know, the ones that only care about The. Next. Big Thing. To. Change. EVERYTHING. But then I came across Hilary Goldstein's review for Big in Japan, leaving readers with this near the end:
Those interested only in continuity-affecting, "serious" comic books can turn the other way. But for those who want to be reminded that comic books are supposed to be fun, Big in Japan is perfect reader for a Saturday afternoon.
I'd like to say a statement like this is completely obvious, but at the time when I was so wrapped up in finding the next big thing, I nearly forgot what was most important: really good stories, 'importance' be damned. I remember in the following months I became exposed to the works of Warren Ellis and Fred Van Lente, specifically Nextwave: Agents of H.A.T.E. and M.O.D.O.K.'s 11 (respectively); two series of minimal continuity importance, but incredibly fun and worthy stories to read for sheer entertainment. Sometimes I wonder if I would have missed out on some great stories if it wasn't for Seth's crazy kaiju-infused FF/Iron Man story.
Five years ago today the industry lost a massive talent long before his time. Seth, you are missed.
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*Or simply, Mark Millar is the X, Seth Fisher is the Y.
