The following accommodates spoilers for Damage Control #1, on sale now from Marvel Comics.
Following the streaming success of office comedy sequence comparable to The Office and Parks and Recreation, it was solely a matter of time earlier than Marvel introduced the style again to its books. It took just a few years, however with the assistance of tv writers, Marvel revamped Damage Control so as to add a super-powered twist to the office comedy.
In Damage Control #1 (by Adam F. Goldberg, Hans Rodionoff, Will Robson, Ruth Redmond and VC’s Clayton Cowles), newly employed intern Gus learns the ropes of the mail room on the workplaces of Damage Control. In earlier incarnations, the corporate specialised in clean-up and building following battles between superheroes and supervillains. Now, Damage Control handles rebuilding after metahuman fights and storage of vital gadgets recovered from battle websites. This new tackle the guide permits it to tackle an workplace setting like these of in style office tv sequence and create humorous conditions by putting extraordinary characters in mundane conditions.
When Gus enters the Damage Control workplace within the historic Flatiron Building, the size of the guide turns into clear from the variety of heroes strolling round its halls. But as soon as he reaches the mail room, the fact of his job hits him. Many of the unpowered folks working the mail room are cranky, and his new boss Bart reveals little respect to the folks he interacts with there. The mailroom looks like another office, comedic or in any other case, however when Gus begins his deliveries, he learns what occurs when superhuman talents combine with workplace tropes.
First, Gus shares an ungainly elevator experience with Ghost Rider, who affords no welcome to the brand new man. When he reaches the thirteenth ground, the frequent portrayal of a colorless workplace as a seemingly unending wasteland of cubicles turns into literal. A bored coworker (whose look is an homage to workplace employee and cartoon legend Dilbert) explains that the ground exists in a pocket universe, which permits it to carry hundreds of Damage Control workers. Before it even begins, the job appears not possible. Luckily for Gus, his friends work properly outdoors the boundaries of what’s potential in a standard workplace. With the assistance of Nightcrawler’s teleportation, the brand new rent will get a lot of the mail delivered earlier than the ominous floating clock strikes 5 and the employees depart for the day. When Gus makes an error, Quicksilver is there to sift by way of shredded paper at tremendous pace to piece collectively a fragmented memo.
The conditions that come up from including heroes to a boring workplace make each the sequence and the characters extra relatable to readers. Gus is the stand-in for the unpowered viewers, however the superheroes round him exhibit considerably pure conduct. Ghost Rider’s awkwardness round a brand new coworker or Moon Knight’s expertise having his title misspelled at a espresso store floor the characters in ways in which readers don’t see in additional severe books. Damage Control has potential to proceed mixing superheroes and realism in humorous methods. Having Man-Thing use his chlorokinesis so as to add some life to the workplace halls or The Human Torch serving to the kitchen employees flip up the warmth throughout lunch hour would match the sequence’ tone.
After the mishap with the memo, Gus shouldn’t be reduce out for the mailroom. Bart says the self-described “people person” has a place ready for him in one other division. Once Gus begins work within the Consumer Affairs division, he’ll seemingly have extra superhuman encounters. Damage Control could be sensible to stay with somebody identified for his or her persuasion, comparable to Scarlet Witch, however the sequence will in all probability go for a temperamental character to create just a little chaos. For Gus’ sake, Hulk and Wolverine are higher left to subject assignments.