What Classic Comic Have You Read Lately? [Archive] - Page 7

quidproquo

08-25-2006, 09:30 AM

Daredevil #163

http://i69.photobucket.com/albums/i64/thewaytheywere/January%201980/dd162.jpg

In just a couple of issues, the quintessential DD run by Frank Miller will begin and I will get to reread what many consider the best Daredevil stories ever. However, this was a fill in issue drawn by legendary silver age artist, Steve Ditko, and scripted by Michael Fleisher. The editors admit on page one that this is a very special issue and that the regular creative team was not able to meet its deadlines! (although that could be marketing talk)

Anyway, one would expect a Marvel comic drawn by Steve Ditko to kick butt, but this does not. It’s full of cliché.

“Requiem for a Pug” starts out with Meson-Reactor at the Enrico Fermi Research Center “putting out six to seven times the radiation” it should normally put out and the deactivator is jammed. There seems to be only two scientists working and – apparently – they have no safety precautions for an emergency like this. Lucky for them, Daredevil is swinging by and can “see” the radiation with his radar sense. He comes to the rescue, but – strangely – the scientists send him into the reactor without any radiation-protective gear. Hmm, DD must be tougher than we though.

But not that tough! DD suffers from amnesia. Too make a long story short, the rest of the story is a rush job (as if the opening scene weren’t bad enough). Rather than trying to find out who he is or why he has super powers, Matt Murdock hooks up with a local boss who makes him a prize fighter. Matt easily defeats all of his opponents and befriends a crusty old trainer nicknamed Pug or Puggy. When DD refuses to throw a fight, the boss attempts to shoot Matt. However, Pug throws himself in front of Matt and takes the bullet for him. This triggers DD’s memory, since this is the exact scenario in which his father, Battlin’ Murdock, died.

The boss lets loose his pet cheetah on DD. A lackluster fight ensues and DD saves the day, realizing that the world needs a Daredevil. *YAWN* Not even Ditko art could save this story.

MichikoS

08-25-2006, 01:08 PM

The boss lets loose his pet cheetah on DD. Anyone ever notice that Ditko, genius that he is, cannot draw a cat to save his life??!

Since I am an ailurophile who greatly admires Mr. Ditko, that has always stuck in my craw. He's obviously NOT a cat person.

Michi

Lone Ranger

08-25-2006, 01:39 PM

I always thought that story seemed so 'old school' that it may have been leftover inventory from the 60s or even early 70s.

I am sure that's not the case - but it just seems more suited to the late 60s than late 70s.

I thought there were some cool Ditko 'surreal' cat covers for Charlton. Not exactly precise anatomy, but cool effect.

quidproquo

08-25-2006, 02:03 PM

Peter Parker, The Spectacular Spider-Man #38

http://i69.photobucket.com/albums/i64/thewaytheywere/January%201980/ppss38.jpg

This is a solid issue of PPSS by Bill Mantlo, Sal Buscema, and Chic Stone. The story starts out with Morbius attacking three teens who are riding their bikes through a suburb of Long Island (of course it’s an attractive teen girl and two teen boys – one jock and one braniac – who both pine over her).

The next morning – which so happens to be Halloween – we see Peter Parker visiting Aunt May in the hospital (God only knows why she’s in this time). Per usual, lifelong friend Anna Watson is by May’s side. While there, Peter runs into Mary Jane and has one of those awkward moments that often arises when you run into an ex.

Next, there’s a cut scene with the Shocker – who’s incognito. It seems he’s on his way into the subway tunnels to meet some future partners in crime.

Interestingly, we see Peter Parker at the Daily Globe in the next scene, which is sort of a bizarre Spider-Man world. The Globe publisher, Barney Bushkin, likes Peter and pays him a bonus for his great Spider-Man pictures. The front desk girl actually has eyes for Peter, who is too dumbfounded by his bonus check to even notice her!

Anyone know how long Peter was freelancing for the Globe? I don't remember the Blobe or these characters at all.

Anyway, Peter then finds himself starting his first day of graduate school (um, do ANY American universities start the fall semester on October 31st?). While facing his usual school challenges (being called a nerd, falling behind, etc.) and just before he has a tiff with Dr. Kurt Conners (that’s the Lizard boys and girls), Peter gets invited to a Halloween party out on long island at Chip Martin’s – one of his rich classmates – house.

Of course Morbius attacks the party and a fight ensues. More sub-plot: while Spidey and Morbius fight, Chip Martin starts flipping out and showing that he has some sort of super power.

The fight ends with Spider-Man and Morbius wrestling each other to the ground, as Morbius is struck by lightening. As soon as Spidey clears his head, he discovers that Morbius as reverted back to his human form! The issue ends on this cliffhanger.

The story is formulaic, but well developed and fun. The art is absolutely dynamite. Sal Buscema is one of my faves.

MichikoS

08-25-2006, 02:46 PM

I thought there were some cool Ditko 'surreal' cat covers for Charlton. Not exactly precise anatomy, but cool effect.I'm not familiar with Ditko's surreal cat covers. My impression is that Ditko avoided drawing cats unless it was unavoidable. I did a quick search and found just three Charlton horror cat covers by Ditko. I'm not sure that these are the ones you are recalling, or if there are others I haven't seen. Ditko seems not to know how cats are put together, especially their front legs, eyes, and mouths. The top example is most egregious, even taking "monsterly" exaggeration into account.

http://i73.photobucket.com/albums/i221/elbert_coalwell/ghotslyhaunts_34.jpg
http://i73.photobucket.com/albums/i221/elbert_coalwell/ghostlytales_97.jpg
http://i73.photobucket.com/albums/i221/elbert_coalwell/ghostmanor_72.jpg
Michi

Cei-U!

08-25-2006, 08:25 PM

Anyone know how long Peter was freelancing for the Globe? I don't remember the Blobe or these characters at all.

Barney Bushkin and the Globe were introduced in The Amazing Spider-Man #27 back in '65. I don't think either was mentioned again until the late '70s but I really can't say for sure.

Cei-U!
I summon the partial answer!

benday-dot

08-25-2006, 08:44 PM

I'm not familiar with Ditko's surreal cat covers. My impression is that Ditko avoided drawing cats unless it was unavoidable. I did a quick search and found just three Charlton horror cat covers by Ditko. I'm not sure that these are the ones you are recalling, or if there are others I haven't seen. Ditko seems not to know how cats are put together, especially their front legs, eyes, and mouths. The top example is most egregious, even taking "monsterly" exaggeration into account. Michi

If that cat in the top example is what LR had in mind in his reference to Ditko's surreal cats then I must say it does rather appeal to me. I couldn't disagree with you about the void of any semblance of naturalism in these examples of feline depiction, however the "monsterly exagerations" and leanings toward the grotesque, does not, as is usual when I confront a Ditko, fail to impress me in a positive way. There really is no accounting for taste I suppose, but I like those examples of Felix Ditkus Domesticus that you posted Michi.

You'd think Sturdy Steve would be rather a cat specialist. I mean his insanely lambent and twisty Spider-Man poses with their strong emphasis on the characters essential comportment would seem to most resemble a cat's maddening aerial leaps and sometimes extreme positioning. BTW, thanks a bunch for posting those Charleton covers.

Sir Tim Drake

08-27-2006, 10:27 PM

Pacific Presents #2: This issue features an incredible Rocketeer story by Dave Stevens, with gorgeous artwork and snappy dialogue. The highlight is a scene in which the Bettie Page character is interrupted during a naked photo shoot... this is interesting not just for obvious reasons, but also because it's a brilliant plot twist. The only downside is that the story is just 13 pages.

(Dave Stevens is one of the least prolific great cartoonists I know of. Does anyone know why he left comics after creating such a small body of work?)

The rest of the issue is taken up by a Ditko story, starring a character called the Missing Man, who seems rather similar to other Ditko protagonists like Static. Thankfully the dialogue is written by Robin Snyder rather than Ditko himself, so it's less painful to read than Static. The story is kind of stupid in a way, but it also has a sort of visceral emotional power that somehow appeals to me. It revolves around a criminal who horribly abuses his wife and two children, and who is contrasted to the Missing Man's mother (or his adoptive mother, I can't tell which), an utterly saintly person. Ditko's stark black-and-white morality is very much in evidence, but it's actually kind of effective.

This story includes a scene in which a cat is cruelly murdered. The cat was only shown in a few panels, and never in very great detail, so it's hard to tell whether it's anatomically correct or not.

Lone Ranger

08-28-2006, 08:22 AM

Slam_Bradley

08-28-2006, 11:13 AM

Essential Tomb of Dracula, Vol. 4.

This was a mixed bag. This one reprints the last couple issues of the Tomb of Dracula magazine plus the Drac stories from Dracula Lives. As such, it's essentially an anthology and suffers from the up and down quality of an anthology. Overall, it's worth reading. And there aren't a lot of out-and-out dogs.

pmpknface

08-28-2006, 11:19 AM

Just read the Marvel Milestone ish that has...

Amazing Adventures #11 - 1st furry (gray) Beast! Kinda cool. He does it to himself though. For a genuis, that's a dumb@$$ move... :D

dan bailey

08-28-2006, 11:21 AM

Slam_Bradley

08-28-2006, 11:24 AM

Amazing Adventures #11 - 1st furry (gray) Beast! Kinda cool. He does it to himself though. For a genuis, that's a dumb@$$ move... :D

My ten-year old loves this comic. He used it to write his own comic law about scientists not using their own secret formulas.

Josh S

08-28-2006, 11:34 AM

All-Star Comics #19 (from All-Star Archives Vol 5)

First one of these I've read, and I have to say I loved it.

Adem

08-29-2006, 02:28 PM

Just read Giant Size X-Men #1,Uncanny X-Men #94 and Uncanny X-Men #95. This is my first time reading the early Claremont issues and I have to say that so far I’m enjoying them. The dialogue is bad sometimes, but I know that’s just because I’m used to reading modern comics. Dave Cockrum’s artwork is ok. So far for me it isn’t really eye catching. I now I’ll like the artwork better when Byrne comes on.

Jake Lockley

08-30-2006, 12:28 AM

http://i100.photobucket.com/albums/m27/lsmo64063/MTU24.jpg

Marvel Team-Up #24
Story: Len Wein
Art: Jim Mooney & Sal Trapani

The story opens with Spidey defacing a billboard picture of J Jonah Jameson. A scream gets his attention, and nearby he finds a young woman being attacked by four guys with daggers wearing a skull-topped cowl/headdress. Spider-Man seems to have things in hand, but is momentarily stunned when the bad guys break free of his webbing, which allows them to deliver a beat down. Before it gets too bad, Brother Voodoo arrives on the scene to lend a hand. During the scuffle, one of the thugs hurls his dagger at Spidey, who instinctively dodges. However, the woman who was being attacked is standing behind him and receives a cut to the shoulder. As Spider-Man and Brother Voodoo attend to her, the bad guys make their getaway.

After taking the woman to a hospital, Brother Voodoo explains to Spidey that he has come to New York on the trail of a man called Moondog, who was the leader of a voodoo cult in New Orleans until Brother Voodoo recently broke it up. However, Moondog managed to escape and has fled to NYC, where, as evidenced by the dress of the men Brother Voodoo and Spider-Man fought, he is rebuilding his cult.

To find out what the cultists wanted with the woman, Spider-Man sneaks into her room at the hospital and questions her. She says she doesn't know why they were after her, and that she is only an aspiring actress. She auditioned for a role in a play about voodoo but didn't get the part, and didn't like the way the director looked at her so she left for home right away. That's when the attack occurred. Based on this info, Spidey and Brother Voodoo head for the theater where the play is being performed. By some means unknown to Spider-Man, Brother Voodoo arrives before him and has already scouted inside and formulated a plan.

Inside, a small audience watches the stage as Moondog stands over a young woman on an altar, about to bring a dagger down into her body. Brother Voodoo interrupts, commanding him to stop, and tells the audience they will have to leave. Too late, he realizes the audience members are also recruits to Moondog's cult, but according to plan Spider-Man arrives to help, although a little later than Brother Voodoo had anticipated. They both decide the battle can be shortened if they take Moondog out, so they leave the cultists and head for the leader. But as they approach, Moondog's laughter has the unexpected result of causing them pain to the point of unconsciousness.

Our heroes awaken to find themselves tied to a pair of posts, held by rope neither of them can break. Moondog tells them that since they interrupted his sacrifice, they will now take the place of the girl. With a torch he lights debris at Spidey and Brother Voodoo's feet (probably oiled rags), and both are quickly enveloped by fire and smoke.

Moondog's celabratory laughter is cut short as Brother Voodoo strides unharmed from the wall of fire and throws a haymaker, scattering cultists. He says that he allowed the fire to burn the ropes from his wrists to gain freedom, and goes back into the flames to save Spidey. Smothering the fire with his cloak, Brother Voodoo discovers a web cocoon, from which emerges an unharmed Spider-Man. The battle resumes, with Spidey handling the thugs while Brother Voodoo goes after Moondog. With the chips down, Moondog begins to flee, vowing in true villainous fashion that they will meet again.

Brother Voodoo uses the spirit of his dead brother to take possession of a cultist and pursues Moondog onto a catwalk, with the possessed cultist blocking any retreat. An enraged Moondog comes at Brother Voodoo, who says he has no choice but to kill him, and hurls Moondog from the catwalk.

A hastily spun web catches Moondog before he hits the floor, and he now says he is an accountant and wonders why he is wearing such strange clothes. Spidey isn't buying an insanity defense, but Brother Voodoo says the man is being truthful, and that he had been possessed by Moondog, who is a loa, or spirit. The belief that he was going to be killed is what drove him from the man's body, and Brother Voodoo doesn't expect to see Moondog resurface any time soon.

Not a bad issue, although there were some cliches and Moondog never really convinced me he was much of a menace to anyone. Also, there was no explanation for why Brother Voodoo was able to summon the spirit of his brother. It seemed to be assumed that anyone reading the story was familiar with Voodoo's origin. Not a major problem, but I can see it being annoying to someone who is new to the character. In Wein's defense, the story probably wasn't written with an eye toward posterity!

Nice artwork too. Mooney was never much of a stylist, but he brought a hint of the golden age to whatever he drew.

quidproquo

09-01-2006, 12:14 PM

Defenders #79

http://i69.photobucket.com/albums/i64/thewaytheywere/January%201980/defenders79.jpg

In this tale by Ed Hannigan, Herb Trimpe, and Mike Esposito, there are two plots: the original Defenders – Dr. Strange, Sub-Mariner, and the Hulk are on a quest in the Tunnelworld to find the Unnameable and the remaining, newer Defenders – with the help of Wasp – are attempting to rescue Yellowjacket from a location near an air base, a base at which he may or may not have been working (I cannot tell from this issue alone).

When you start this issue, you really don’t have a clue as to why the old-timers are after the Unnameable or why Hank Pym has been kidnapped. You’re thrown right into the adventure.

Before I talk about the plot, let me say that – although I have never been a big fan of Herb Trimpe’s art – he is rocking it this issue. This is a fantastic looking comic. Writer Ed Hannigan helps out with the pencils, so maybe this has something to do with it.

The first seven pages of the comic focus on the original Defenders in Tunnelworld, where they are guided by Aeroika, some sort of humanoid creature who has very large wings growing out of his head. Although he has these large wings, he cannot fly. It is the universal torment of his people. He envies Namor for being able to fly with just tiny wings on his ankles.

Anyway, the three Defenders are disguised as a hairy behemoth (Hulk), an Owl (Namor), and a wizard (no surprise that this is Dr. Strange). Aeroika leads them to some sort of clearing in a forest in Tunnelworld that prevents their common enemy from “seeing” them. It also causes them to fall fast asleep (conveniently, there is a small stream so Namor can fall asleep half-in and half-out of the water!). Aeroika’s people are not very good at verbal communication. However, as the Defenders sleep and dream, he communicates quite well with them. We learn a great deal about Tunnelworld and its inhabitants during this dream telepathy. There’s way too much to list here, but it is very interesting. Hannigan does a great job creating a rich fantasy world.

However, the scene ends abruptly as we see Hellcat, Wasp, and the Valkyrie taking on some former Magneto henchman – the Mutant Force. Let’s just say that there is a good reason Magneto dropped these turkeys! These fellows have great names like: Shocker, Lifter, and Peeper. I bet you can guess what each of their powers are!

Ultimately, the lady Defenders are captured by Mutant Force (Valkyrie was no help, as she was confronted by all of the female henchman - she has the inability to fight women effectively – anyone remember this weakness during the early years of this character?). While captured, they discover that the leader of these misfits is none other than… the Mandrill. Yep, he’s the half-man, half-orangutan villain whose power is to produce a pheromone that causes women to obey his every command.

Fortunately for the Wasp, she is trapped in a jar that does not allow enough air in for her to be affected. She escapes with the help of a girl who – because she has not yet gone through puberty – is also not affected. They flee to the air base to get help from the Avengers or Fantastic Four, but neither are responing.

As they flee, they are spotted by the Mutant Force. Can you guess who spots them? Yep, it’s the Peeper!

Anyway, the Wasp contacts Knighthawk who decides to help, although he may be admonished by the government for suiting up as a hero again. The last page of the comic shows the Mutant Force – along with the pheromone-controlled Valkyrie and Hellcat – rushing toward the air base, ready to pillage and take control of the facility. Damn that Mandrill!

This is a solid, enjoyable comic. It’s how Marvel comics ought to be: fun and accessible by everyone.

swinebread

09-03-2006, 11:15 PM

Well part of it, as it was in the paper
http://www.dustcatchers.com/gacomics/spiderman1hires.jpg

pmpknface

09-05-2006, 06:53 AM

Don't know if you'd call it "classic" but in the past week I read the complete runof ROM SPACEKNIGHT 1-74 + all 4 Annuals! :D

quidproquo

09-05-2006, 10:17 AM

Don't know if you'd call it "classic" but in the past week I read the complete runof ROM SPACEKNIGHT 1-74 + all 4 Annuals! :D

What did you think?

pmpknface

09-05-2006, 10:42 AM

What did you think?
It was great! I would have preferred that Sal Bucema did ALL the art, but 1-55 and 57 ain't a bad run! Steve Ditko and PC Russell had some moments, but Sal was the man. Bill Mantilo wrote almost every word (all but a few backups) too!

I really liked the story and how Rom was always torn with his own humanity. And what Brandy Clark goes through is great too. The coloring on issues 64-65 are some of the worst I have seen in any comic ever though. Sad, because those issues were a climax that the series had been building to since issue #1.

After #66 I wasn't sure where Bill would take the direction. But we get and Ego story and a Shi'ar story which were both ok. It's sad that Rom's planet is pretty much devistated while he's gone, but in the end he gets what he was longing for from over 200 years.

Oh - I totally loved Hybrid! Great character! The X-men issues with him were awesome! And Frank Miller covers on them too! WOOHOO! Other characters that showed up: Galactus, Gladiator (of the Shi'ar), Nova, Brotherhood of Evil Mutants (with Rogue!), Power Man & Iron Fist (#73 had Rom in it and x-d over w/ Rom #23, so I read that too!), and others.

This run cost me $60 and was worth every penny! Now, I think I'm on to Alpha Flight, which I picked up (yes, all 1-130 + special 1 and annuals) for like $55 this weekend! And maybe I'll squeeze in Devil Dinosaur too, as I got that run too! :D

Slam_Bradley

09-05-2006, 01:37 PM

I've been working my way through Showcase Presents: Green Arrow. I've found the book is better read in short stretches, three or four stories every few days. At six pages a story, these things are all plot and no characterization. And you have to suspend a lot of disbelief. Not bad occasionally, but sustained exposure can be difficult.

The real star of the book is the artwork, especially that of Lee Elias. While I'm a Kirby fan, I really think that Elias' work was perfect for these stories, moreso than Kirby. Elias' art is so bright and cheery that it fits the tone of the stories perfectly.

Sir Tim Drake

09-05-2006, 11:47 PM

Adventure Comics #479 featuring Dial H for Hero: This story was written by Marv Wolfman at the same time that he was writing the early issues of New Teen Titans. Probably most of Marv's creative energy was going toward NTT, because Adventure #479 reads like it was phoned in-- the jokes are stale and the stories are full of cliches. Carmine Infantino's artwork is very bland.

Perhaps the most interesting thing about this issue is the notes as to who created the various heroes and villains. The fans who submitted characters for this issue included the late Rich Morrissey, Delmo Walters Jr., Stephen DeStefano, and... Harlan Ellison.

pmpknface

09-07-2006, 10:47 AM

Last night I read the new She-Hulk w/ the Man-Wolf, so I also read:

ASM 124, 125
Giant Sized Superheroes 1
and Creatures on the Loose 32 (just got on Sat)

Awesome stuff! Peter's a mess still after Gwen dies, and is angry at the world, mostly MJ and JJJ. 125 has a letters page w/ reactions from 121 as well, so that's quite interesting.

John Jameson had a fiancee at the time, this hot Gwen-like blonde, who is on the cover of 125. Great moment in that ish where Spidey RIPS the moonstone off of Man-Wolf's neck in front of his finacee, who FORGETS THE WHOLE THING later because of stress.

I'm gonna try and get to Man-Wolf's appearrances in Marvel Premiere (45-46) tonight since I don't have the other Creatures apps.

In my opinion, the books above + the Creatures run + the 2 MP books would make a killer trade. Or at least 1/2 of an Essental.

kenjeffrey

09-09-2006, 04:48 PM

I just read Ghost Rider Vol. 1 #1. That was pretty cool.

It's a better read than the Batman #1 that I read last week, not as valuble but I enjoyed it more.

Cei-U!

09-09-2006, 09:39 PM

I just read Ghost Rider Vol. 1 #1. That was pretty cool.

When you say "Vol. 1, #1," are you talking about the 1950s Magazine Enterprises character (see attachment), the '60s Marvel version of that character or the flaming skull biker of the '70s?

Cei-U!
I summon the confusion!

berk

09-09-2006, 11:23 PM

When you say "Vol. 1, #1," are you talking about the 1950s Magazine Enterprises character (see attachment), the '60s Marvel version of that character or the flaming skull biker of the '70s?

Cei-U!
I summon the confusion!I'm not generally much of a fan of westerns, whether it be comics, movies, or whatever, but I like the old western Ghost Rider much more than the biker with the flaming skull. Didn't Marvel attempt a revival of this character in the 70s, the western one, I mean? Or did I just happen to read a reprint back then?

kenjeffrey

09-09-2006, 11:33 PM

I meant the biker with the burning head.

Allan Harvey

09-10-2006, 04:46 AM

Just read Jimmy Olsen #44, which features some of Jimmy's famous cross-dressing antics. Crime bosses, jewel heists, jealous lovers, punishment killings, Jimmy's lipstick and a chimpanzee called Dora -- they sure used to pack a lot of plot into those 9-page stories!

How could you not love a tale that features a stockings-clad Jimmy ironing his dress??

http://www.thefifthbranch.com/images/oldies/jimmyolsen/jimmyirons.jpg

There's a full review of the story on my blog, Gorilla Daze (http://www.thefifthbranch.com/gorilladaze).

Mike Kuypers

09-10-2006, 07:23 AM

I'm not generally much of a fan of westerns, whether it be comics, movies, or whatever, but I like the old western Ghost Rider much more than the biker with the flaming skull. Didn't Marvel attempt a revival of this character in the 70s, the western one, I mean? Or did I just happen to read a reprint back then?

I'm not a western fan either, but I believe the revived version was called Night Rider.

MichikoS

09-10-2006, 10:04 PM

http://i73.photobucket.com/albums/i221/elbert_coalwell/strangeannual1.jpg
I found a FN copy of the Dr. Strange Annual #1 from 1976 in the dollar bins of a local dealer. Although I already have a copy in my collection, I bought it for the beautiful Craig Russell art. I hadn't read it in 20 years. It's scripted by Marv Wolfman, but it's Russell's show all the way. It takes place, in '70s continuity, at a point in Stephen Strange's life were there is great change and uncertainty. His relationship with his disciple/lover Clea is on the rocks, and he has declined godhood, choosing not to join his master The Ancient One on a higher plane, and has abdicated his position as Sorcerer Supreme. He's just plain old Master of the Mystic Arts, and feeling a bit lost and empty on the inside.

Now, it appears someone has kidnapped Clea, and his search for her is spurred on by a vision of The Ancient One, who urges him to action. He visits the Temple of Man, only to find all the priests slain, except for a humble acolyte and the keeper of the sacred scrolls. The scrolls mystically record all events as they transpire. The scroll keeper attacks him as Strange attempts to read what has recently occurred. He looks into the possessed scroll keeper's mind to find the source of the evil directed against him, and sees that he must journey to a mystical realm called Phaseworld.

Once there, Strange is confronted by a beautiful, mad empress, named Lectra, who seeks to demonstrate her power over him. He is able to hold her off, barely, and learns more of her story. Power in her realm, Allandra, has been divided between her and her sister, Phydra, a sad, mute figure wandering the palace where Strange has been taken. Phydra's attentions seem to be centered upon the stone statue of a swan. Strange is able to determine that the swan imprisons the spirit of Tempus, a beautiful winged man whose attention Lectra craves, but who is devoted in his love to Phydra.

Lectra is tormenting the two lovers out of spite and jealousy. She has manipulated Strange from the beginning. She does not have Clea, and she has duped Strange through false visions of The Ancient One and of slain monks in the Temple of Man. Things come to a mystical head, as it were, and Strange watches in horror as Lectra, in her madness, strikes out at the lovers, her evils magicks tragically deflected to pierce the heart of the realm itself. The beautiful Phaseworld Allandra is destroyed, along with Lectra and the two lovers.

Strange is barely able to escape the mystical cataclysm, and the last panel leaves him adrift in the black void, his thoughts turning to Clea, his own lost love.

Quite a nice story, and beautifully drawn in Russell's most ornate style.

But this comic book tale has a fascinating coda. Russell returned to this story twenty years later, and reworked it as a prestige-format graphic novel, which was published in 1997 as WHAT IS IT THAT DISTURBS YOU, STEPHEN?

I'll continue this story in the next post.

Michi

MichikoS

09-10-2006, 10:22 PM

http://i73.photobucket.com/albums/i221/elbert_coalwell/strangewhatisit_rev.jpg

Here's what Russell writes in his brief afterword to the 1997 graphic novel, WHAT IS IT THAT DISTURBS YOU, STEPHEN?

Twenty-four years ago, in the spring of '73, purely for my own enjoyment, I began work on a Dr. Strange story. In a few months I had twenty-some pages of a projected sixty page story with three mystic sisters, a 'mad' wedding, and a final mad scene as a mystic city collapsed around a deranged sorceress.

I took this first part to Marvel's offices during the Fourth of July New York City Comic Convention. Then editor Roy Thomas accepted it on the spot (didn't I think I was the center of the universe) and it then sat in a drawer for three years until it was chosen by then editor Marv Wolfman for use as a 35-page 'annual.' marv assisted in replotting the story to fit the shortened format and scripted it (no wedding, no 'mad' scene) and that was the form in which it was published.

Over the years I tried to interest various editors in reprinting the book, and then in the spring of '96 found myself with an unexpected gap in my schedule. Marc Andreyko (who was scripting Caliber's 'The Lost') suggested resubmitting the book, with added pages to present to editor Bob Harras. Bob gave an immediate go-ahead. After 20 years it seemed suddenly so very easy.

Then I pulled my original 'stats' and looked at the old artwork...and realized everything needed to be redrawn...and rescripted...and re-conceptualized.

And that's what we did. I finally got my 'mad' scene with a picture I've been carrying around in my head since 1973 (glad to get that out of there). We even left one panel from the original story for you obsessive types to find (are they still awarding 'no-prizes'?)

Alas, no mad wedding.

Maybe in the 2016 version.

P. Craig Russell 3-97

The revised story is quite a bit better than the Annual. In WHAT IS IT...? it is Wong that is kidnapped, not Clea, and the basic metaphysical doubt that characterizes Strange's inner journey is crystallized in the haunting phrase "What is is that troubles you, Stephen?"

Electra is given her full, proper Greek-tragedy-inspired name, and Phaseword, Allandra, is renamed...Ditkopolis. There are few artists that can truly capture Steve Ditko's highly stylized depiction of mystical realms, but Rusell is one of them. "Ditkopolis" is a nice tip of the hat.

The story is fleshed out some, with added dialogue and pictures, but often there is a panel-to-panel comparison possible. Russell's style has matured in the 20+ years between versions, but his essential vision is unchanged. The 2-page "mad scene" featuring the destruction of Ditkopolis is a very nice addition to the visuals.

Reading the two version of this story back-to-back has helped me appreciate Russell's initial inspiration, and the thought that went into more than two decades of reflection on his original work. It's nice to have these two stories to compare.

http://i73.photobucket.com/albums/i221/elbert_coalwell/strangewhatisit_obv.jpg

Michi

benday-dot

09-11-2006, 09:25 PM

The revised story is quite a bit better than the Annual. In WHAT IS IT...? it is Wong that is kidnapped, not Clea, and the basic metaphysical doubt that characterizes Strange's inner journey is crystallized in the haunting phrase "What is is that troubles you, Stephen?"

Electra is given her full, proper Greek-tragedy-inspired name, and Phaseword, Allandra, is renamed...Ditkopolis. There are few artists that can truly capture Steve Ditko's highly stylized depiction of mystical realms, but Rusell is one of them. "Ditkopolis" is a nice tip of the hat.

The story is fleshed out some, with added dialogue and pictures, but often there is a panel-to-panel comparison possible. Russell's style has matured in the 20+ years between versions, but his essential vision is unchanged. The 2-page "mad scene" featuring the destruction of Ditkopolis is a very nice addition to the visuals.

Reading the two version of this story back-to-back has helped me appreciate Russell's initial inspiration, and the thought that went into more than two decades of reflection on his original work. It's nice to have these two stories to compare.
Michi

Your posts struck a chord with me Michi. I thank you for your review of the annual, which I have read, and of the revival tpb, which I have not. I have had my eye on the latter for awhile now, and I suspect it is possible I will soon be moved to pick it up. Thanks indeed.

Might I repay the favour by adding to your thread this image of the splash page from Marvel Premier # 7 of March 1973. Note the speech bubble coming from the mouth of Clea... "haunting phrase" indeed. It seems that the genesis to Russell's story goes back a ways, at least with this lovely lyric of a question that seems to have captivated me as it to has you. Yes, Russell's style certainly hadn't yet gained its characteristic decorative fluidity. I imagine though this also has much to do with the inking of Frank Giacoia, whose work is perhaps eminently unsuited to Russell's still nascent fine lines.

Back to that singular phrase though... It intrigues me thaat it appears to have been scripted by the surprising Gardner Fox, a writer whose work goes as far back as the dawn of the Golden Age. Fox I think, despite any experience he might have had with that other mystical doc, Fate, was doomed on the Dr. Strange of the 70's who was heading as never before into the metaphysical, trippy direction that came to be the signature of Steve Englehart. At least it seems we have him to thank for this haunting phrase of great longevity.

BTW... I've been away for awhile and it truly is nice to be back again among the virtual company of such fine folks as yourself and all the other regulars on CBR Classics. Take care.

http://image.milehighcomics.com/istore/images/fullsize/pages/51845482862.7.P1.GIF[[/IMG]

MichikoS

09-11-2006, 10:23 PM

Ah, benday, thank you for providing the last (first?) crucial link in this fascinating tale. I was not aware of the original source of Russell's inspiration! How very cool. Thanks for posting this.

Michi

T GUy

09-12-2006, 06:06 AM

pmpknface

09-12-2006, 07:21 AM

Totally loved those Strange books.

Yesterday I read:
- Alpha Flight 3-6
- Marvel Premiere 45-46 (Man Wolf as Stargod)

Graham Vingoe

09-12-2006, 07:44 AM

The Devon County Council library service is beginning to impress me more and more by buying an increasing number of graphic novels and collections. This has led me to experiment occasionally in an effort to find decent stuff to read. the other week I came across this entry on the catalogue

"Essential the Amazing spiderman" by Gerry Conway

I risked ordering this not being sure which olume it was , and it turns out to be Essential Spiderman volume 7 covering issues Amazing Spider-Man #138-160, Annual #10 and Giant-Size Spider-Man #3-5.

Ah, the memories - mid 70's Spidey at his best- Most of these stories I've read before but its cool to be able to read them again. Only minor comment to gripe about - Ross Andru's art is hampered slightly by Giacoia and Hunt as inkers. Much prefer Esposito as an inker for Ross Andru. but this is a minor gripe.
Good fun stuff 8/10

Hombre

09-12-2006, 08:26 AM

Essential Spiderman volume 7 covering issues Amazing Spider-Man #138-160, Annual #10 and Giant-Size Spider-Man #3-5.

Ah, the memories - mid 70's Spidey at his best-
Good fun stuff 8/10

I agree that it was.

Right at the beginning you can see how continuity in the Marvel manner pays off... the characters having grown over time, Flash is back from the War, no longer a pest and a good buddy to Peter. Then we get into the climax of the clone saga, with the reappearance of Gwen. The story continues to build up, and in the issues right after the ones that close off this volume takes on a very dark and moody tone as Peter has to deal with some of the fallout of the Jackal affair.

The standout on this marvelous volume, for me, was probably Amazing #153 The longest hundred yards! by the team of Wein/Andru/Esposito.

One of the best things about the Essentials, is that they reprint a title comprehensively and in chronological order, irrespective of current critical assessments by those who would leave out this or that... they are an historical artifact.

benday-dot

09-12-2006, 07:42 PM

Ben'n'Michi -

Cough! Splutter! I never knew ol' P. Craig was working as early as that (with Gardner Fox on Dr. Strange)... I thought he came in after Gene Colan's superb issue of Amazing Adventures.

Hmmm... I don't recall ever seeing his name between starting to read Marvel Comics in, say, August, 1973, until the said Amazing Adventures 27, dated November, 1974, IIRR (yes, the GCD is down at the moment). Anyone any idea of what he was up to then?

Ah coincidences T. Guy... First, I was in a local bookstore last weekend and happened upon a spare, but rather lovely, P. Craig Russell art retrospective. Next time I visit I will pay close attention to the outline of P. Craig's pre-Marvel years and get back to you. I recall from my own collection his work on Conan 21, helping out Barry Smith back in 1972. GCD tells of his first work on the Marvel Feature title in 1971.

But the greater coincidence was that I was about to post in this very thread how I had just read Amazing Adventures 26... the very Colan (not yet Russell) issue which you justly laud. It is nice work by Gene Colan, though destined to be overshadowed by Russell's just around-the-corner art nouveau masterpieces. A fine issue indeed... thanks for the unintentional segue.

But a question to the many American posters on CBR classics, and particular to those hailing from Michigan. Don McGregor waxes at some length on what seems to me to be a coined trope of his concerning Battle Creek, Michigan. He turns this city into a peculiar metaphor for the commodification of everything from art to social mores. "Battle Creek", he writes, "named as if the heirarchy of the 20th century advertising world had christened it." I know the city is famous for some cereal makers, but I find it intresting that McGregor would choose this smaller rather unlikely American city, over say L.A. or Manhattan, as his cypher of choice for 20th century commercialization and societal decay. To you residents of Michigan and Battle Creek am I missing anything here? Thanks!

Sir Tim Drake

09-12-2006, 08:06 PM

But a question to the many American posters on CBR classics, and particular to those hailing from Michigan. Don McGregor waxes at some length on what seems to me to be a coined trope of his concerning Battle Creek, Michigan. He turns this city into a peculiar metaphor for the commodification of everything from art to social mores. "Battle Creek", he writes, "named as if the heirarchy of the 20th century advertising world had christened it." I know the city is famous for some cereal makers, but I find it intresting that McGregor would choose this smaller rather unlikely American city, over say L.A. or Manhattan, as his cypher of choice for 20th century commercialization and societal decay. To you residents of Michigan and Battle Creek am I missing anything here? Thanks!

He's probably harping on the contradictory nature of the name: battle versus creek, warfare versus unspoiled natural beauty.

Which is silly, in my opinion. It seems like a perfectly reasonable name to me-- obviously the town was named after a creek where a battle took place. (A quick Wikipedia search confirms this. The town is on the Battle Creek River, which got its name after some white surveyors came to blows with local Indians.) So if the name has some banally poetic resonance, it's only by accident.

Incidentally, there is also a town in England called Battle, because it was the site of the Battle of Hastings. In the town there is an abbey which is called Battle Abbey, for the same reason.

Graham Vingoe

09-13-2006, 01:42 AM

The standout on this marvelous volume, for me, was probably Amazing #153 The longest hundred yards! by the team of Wein/Andru/Esposito

I meant to single this story out. I had completely forgotten this story by Len Wein until I reread it. It is a superb single issue story, much better than the oft-praised Kid who collected Spiderman story by Roger Stern which it reminded me of in some ways

Agentum

09-13-2006, 02:20 AM

I'm reading All star Squadron (DC 1981), all 67 issues will be read.

I have read some of it before but not every issue.

I'm up to #22 now and i like it, i miss this type of comics today.

Jolly Mon

09-13-2006, 07:49 AM

He's probably harping on the contradictory nature of the name: battle versus creek, warfare versus unspoiled natural beauty.

Which is silly, in my opinion. It seems like a perfectly reasonable name to me-- obviously the town was named after a creek where a battle took place. (A quick Wikipedia search confirms this. The town is on the Battle Creek River, which got its name after some white surveyors came to blows with local Indians.) So if the name has some banally poetic resonance, it's only by accident.

Incidentally, there is also a town in England called Battle, because it was the site of the Battle of Hastings. In the town there is an abbey which is called Battle Abbey, for the same reason.
I'm originally from a small town about 30 miles from Battle Creek (named Hastings, ironically enough), and though I haven't been there for about 20 years, there was nothing remarkable enough about the city to justify it being singled out for "societal decay". Unless it has changed radically lately, the only thing of any real note was the Kellogg's cerial plant. Good cerial, though.:D

T GUy

09-13-2006, 03:17 PM

Sir Tim, there is also a town in England called Battle, because it was the site of the Battle of Hastings. An urban (or other) myth. The Battle of Hastings took place at Hastings, which is still there to this day. The town called Battle is a separate entity.

T GUy

09-13-2006, 03:27 PM

Benday-dot, Ah coincidences T. Guy... First, I was in a local bookstore last weekend and happened upon a spare, but rather lovely, P. Craig Russell art retrospective. Next time I visit I will pay close attention to the outline of P. Craig's pre-Marvel years and get back to you. I recall from my own collection his work on Conan 21, helping out Barry Smith back in 1972. GCD tells of his first work on the Marvel Feature title in 1971.
Thanks for the info.' I remember that Marvel Feature work now.
But the greater coincidence was that I was about to post in this very thread how I had just read Amazing Adventures 26... the very Colan (not yet Russell) issue which you justly laud. It is nice work by Gene Colan, though destined to be overshadowed by Russell's just around-the-corner art nouveau masterpieces.
Not in my mind (and, yes, I dare say more people will disagree wuith me than agree on that one...).

A fine issue indeed... thanks for the unintentional segue.
Yes, my favourite of the McGregor 'War of the Worlds' run.

...Don McGregor waxes at some length on what seems to me to be a coined trope of his concerning Battle Creek, Michigan. He turns this city into a peculiar metaphor for the commodification of everything from art to social mores. "Battle Creek", he writes, "named as if the heirarchy of the 20th century advertising world had christened it." I know the city is famous for some cereal makers, but I find it intresting that McGregor would choose this smaller rather unlikely American city, over say L.A. or Manhattan, as his cypher of choice for 20th century commercialization and societal decay. To you residents of Michigan and Battle Creek am I missing anything here? Thanks!You - and subsequent replies - may be missing that Killraven and his Freemen are on a quest (to find K.R.'s brother?), and therefore have a direction in which they're travelling - note that every McGregor WotW episode begins with a caption saying something like 'Tolleshunt Knights, September, 2006.' He may have also specifically wanted to use breakfast cereal and the free gifts in their boxes in this story for some reason.

Anyway, I may - if I can find it in the depths or bowels of my computer - post my review of this issue, which, IIRC, reflects my ambivalent attitude towards this most loquacious of Scots.

T GUy

09-13-2006, 03:46 PM

I dedicate the below reprint from The Old Comics Club Vol. 2, No. 7, July, 2002, to Benday-dot:

Amazing Adventures # 26, September, 1974
‘Something Worth Dying For!’ McGregor/Colan/Adkins (15pp.)
‘The World of Flame!’ Art: C. F. Miller reprinted from Astonishing Tales (sic) # 52 (3pp.)

Over half a year after the January issue of Amazing Adventures, #22, a starving Britain again received distribution of the title with # 26, the September issue, following the famous four month black gap in the early summer of 1974 when Marvel, World Distributors and, if I recall correctly, Messrs. Thorpe and Porter negotiated contracts. I found my copy of this issue beckoning me on a rack in a newsagents in Blackpool during a visit to my great aunt Queenie, and was quick to act like unto a thing of a bee who has not seen a honeypot for eight months. I was not disappointed. The John Romita cover was an excellent start and the Gene Colan splash page with the cerise serpent stallion was even better.
‘Irving Park, Battle Creek, Michigan--2019!’ says the first caption, as Killraven leaps from a miniature flying saucer onto the back of a cerise creature described in the splash’s fourth caption as being ‘serpent and stallion in one hellish form!’ a useful source for reviewers to quote but a completely redundant piece of information because Gene Colan has drawn a whacking great picture of a creature which is basically a horse but with some spiky bits on it and a snake-style tongue. The other forty-seven words of caption at the bottom of the page that poor old Annette Kawecki has drawn the short straw for this month contain the useful information that the serpent stallion is a ‘mutated creature’ and a lot of ‘poetical’ ‘writing’ about advertising. Nope, I’m not joking. They do not contain one word about who Killraven and M’Shulla are, or that the Martians re-invaded Earth, mostly successfully, about a hundred years after the initial attempt depicted in H. G. Wells’ novel. So, unless, like myself, you have picked up this information from prior issues, you’re left in the dark as to what is going on until you finally learn at the bottom of page 3 that ‘Martian invaders… have seized Terra.’ That is, if you’ve survived the essay about cereal marketing in the late twentieth century which Don has serialised over the previous four panels.
For, yes, this is the famous issue with Pstun-Rage in - or, as the cover blurb puts it ‘Blood-Bath at Battle Creek’ As a piece of social satire and a story it is basically a good idea, except for two things. The first is Don McGregor’s over-writing; he relentlessly explains what is happening in the drawings by Colan and equally relentlessly continues serialising his essay on the theme of the story. In between, he relaxes by cramming dialogue into any space his captions have mercifully left in the panels. The second flaw is Colan’s pacing. Now, I am behind very few people in the queue to praise Colan, one of the most shamefully neglected - yes, not even under-rated, simply neglected - talents in American mainstream comics. However, many of his books for Marvel, because of the Marvel method of creation, feature beautiful extended sequences in the first half of the book, such as the four-page capture of the serpent stallion herein, then three-quarters of the plot depicted in the second half. The archetypical example of this is Captain America # 116, where allegedly he sent or took in the art to Stan Lee, who then discovered that Colan had covered only the first half of the issue’s plot in the 20 pages.
Anyway, after the business with the serpent stallion on pages 1 - 4, the Freemen make camp for the night on page 5, pages 6 - 10 have them attacked by some chaps whom K. R. an d co. defeat and discover from their prisoner, Forupulist, that said chaps are guarding a treasure of some type. On page 11 K. R. decides to investigate the treasure, which leads to his being ambushed on page 12 and the confrontation with Pstun-Rage the Vigilant, the chief guardian of the treasure, on page 13, from when to page 15 the big climactic battle and end occur.
During the run-up to this final sequence, McGregor gives us a short essay on the relationship between art and commerce on page 12 (or page 22, if your name’s Stan Lee). Writing this review before, during and after the television programme How to Have a Number One with its Spice Girls, Robson and Jerome, Pop Idol and Levi’s ads, one wonders if some people read this in 1974 and took it the wrong way… as a blueprint rather than an ironic commentary on the devaluing of art.
The other question is whether McGregor consciously wrote the final caption on that page - ‘Of course, there are many artforms, yet few have accused the trinkets accrued by sending in cereal box-tops of being art’ - with the following in mind: in 1974, few had accused comics of being art.
So, as an ironic social commentator, McGregor’s pretty close to a ten out of ten. As a comics writer? He needs to read a few more Kanigher short stories and take notes.
The remaining three pages of this issue’s story content, for the record, are ‘The World of Flame!’ a three-page reprint drawn by one C. F. Miller. 23rd March, 2002

benday-dot

09-13-2006, 08:00 PM

Thoth Amon

09-13-2006, 09:16 PM

I picked up some good older comics at Wizard con in Philly last year and just got around to reading them

Amazing spiderman annual #1…first sinister six picked it up for $70 it has some great splash pages in it

Amazing spiderman #101…first Morbius (great copy) I love vampires…bought it for $110

Invincible Iron man #2…Demolisher…this book would be a high 9 but has a off set cover paid $100

Fantastic four #48…first Galactus & surfer…paid $50 for it but its missing a corner of the back cover

Silver Surfer #3…first Mephisto ( I collect any book with him in it) great read…picked up for $70

MDG

09-14-2006, 06:03 AM

Not comic books, but a friend just gave me a disk he burned of the 60s Fantastic Four cartoons (transferred from VHS, transferred from Beta, taped off the air from a UHF station around 1980. So it's not the best quality)

When they originally aired, these were my first exposure to Marvel. In fact, I bought my first Marvel (an issue of Collector's Item Classics) because I recognized the tag line "It Started on Yancy Street" from the cartoons.

Although the execution isn't stellar, I love how these cartoons adapt the comics pretty faithfully, without any dumbing down for an audience that might be unfamiliar with the characters. And it means that the stories and characters are a little more complex than the bland DC cartoons from the 60s and 70s.

Great stuff.
MDG

pmpknface

09-14-2006, 06:24 AM

I picked up some good older comics at Wizard con in Philly last year and just got around to reading them

Silver Surfer #3…first Mephisto ( I collect any book with him in it) great read…picked up for $70

"The Power and the Prize!" One of the best Marvel stories ever. Nice haul ya got there!

MDG - I love those old cartoons. The theme songs just crack me up. I have nice VHS versions of most of them. There were: Iron Man, Spidey, Namor, Cap, and Thor ones too.

T GUy

09-14-2006, 06:44 AM

Benday-dot: Grateful here for the review T Guy, and top drawer assessment. Thank you, ben.
My take on McGregor is similar. I hesitate to come down too critically on the writer, because I do admire his efforts to inject something of a lyric approach to the at times staid world of mid-70's mainstream comics.
Yes, I was somewhat reluctant to criticise Dauntless Don, on the grounds that he was at least trying. Unfortunately, he is often trying in the other sense.
His poetical aesthetic is, I think, on the whole commendable, and serves to, at the least, differentiate himself stylistically from his peers at the time.
Yes, I am in favour of writers having their own voice rather than being 'school of lee' (or whoever).
Reading today the letters pages of those old Amazing Adventures I can appreciate some of the gushes of praise for McGregors thoughtful flourishes.
Yes, I might dig out a few examples of that (i. e. the ones mentioned in my series of reviews back in the old days) (i. e. when there were still APAs about rather than the Interweb).
...There are times when I think he turns a brilliant phrase, pens the most succint spot on lapidarian gem of a line (oops now who needs to control himself!?), but there are other moments when I wish he would let the pictures do more of the talking. These flaws become especially evident when placed over some of Russell's more cinematic panel work (of which there are many fine instances in Amazing Adventures), in which words only serve to detract from the visuals.

PS... I suspect his choice of Battle Creek as metaphor for commodifiaction of culture really is inseparable, as you point out, to the cereal producing aspect of the city. The trinkets hawked by the cereal companies every Saturday morning on kids tv is, I suppose, an apt example of the essential hollowness and needlessness of much of mass commercialism. It is evident that McGregor was an early environmentalist and the devotion of the world's resources to such "treasure", as it is ironically termed in the comic, must have affronted him.
Yes, I hadn't thought of the environmental aspect of this story. It does make sense - McGregor mentions the depletion of the ozone layer in anotherissue of the series, at about the time Steve Gerber was mentioning it in The Defenders.

Agentum

09-14-2006, 08:27 AM

Although the execution isn't stellar, I love how these cartoons adapt the comics pretty faithfully, without any dumbing down for an audience that might be unfamiliar with the characters. And it means that the stories and characters are a little more complex than the bland DC cartoons from the 60s and 70s.

Great stuff.
MDG
This is not like the other wery cheap Thor and Captain America etc. animated episodes from the 60s?

Those i have was probably bad in the 60s as they at least could do animations then, almost immobile characters and really stupid voice actors :D
The worst i have ever seen in this type of shows i must say.
Not that the 60s DC shows is much better.

I guess you need some nostalgic feelings for them to like them.
They was of course made for kids but why did they put so little work into them?

MDG

09-14-2006, 09:02 AM

This is not like the other wery cheap Thor and Captain America etc. animated episodes from the 60s?

No, these were by Hanna Barbera and had real animation (such as it is). Paul Frees is The Thing, and it's got other familiar voices.

MDG

Agentum

09-14-2006, 12:09 PM

No, these were by Hanna Barbera and had real animation (such as it is). Paul Frees is The Thing, and it's got other familiar voices.

MDG
ah, ok i got to find that one.

Fantastic Four from the 60s then?

I found some from the 70s too New Fantastic Four.

Thoth Amon

09-15-2006, 09:51 PM

The last few nights I got to read three more comics…
Marvel team-up #37…spiderman, frankenstein, and man-wolf very fun read with a neat shot of
Spidey and Frankenstein straped to a table with a lazer about to cut them in half.

Swamp thing #52…great Alan moore & Alfredo Alcala book. Alan is a great writer. Even though the cover has Arkham Asylum on it very little of the story has to do with it. There is a page with
Lex Luther near the end.

Thor #205…This one is John Buscema at some of his best (other than Conan IMO ). Keep in mind Buscema was the first one to draw Mephisto. In this comic Mephisto learns if you have the chance to
beat Thor you better do it…because your not going to “corrupt” him.

curefreak

09-16-2006, 03:19 AM

im reading all of john busemas stuff on avengers right now im thinking i should check out his work on other stuff too.

quidproquo

09-16-2006, 12:47 PM

I read Nova issues 1 and 2 last night. I thought they were mediocre. I have a full run of the series, but have not read any of the issues, except the two mentioned. Does it get better?

shaxper

09-17-2006, 07:37 PM

All Star Comics #58-59

The begining of the All Star Super Squad, as well as the first appearance of Power Girl. I found this issue to be an immense disappointment, honestly. The plot was ridiculous, depending way too much on coincidance and convenience, characterization was flat, and the JSA's spontaneous decision to take on three new members (two of which were complete strangers) and also rename the entire team for them seemed ludicrous.

Incidentally, nine years earlier in Justice League #55, Robin of Earth 2 was leading the JSA and wearing a different costume. Yet, in this issue, he joins for the first time and the team changes its name to the Super Squad. What's the deal? Were we glimpsing into Earth 2's future back in Justice League #55? Will Robin lead the team in the future?

All Star Comics #60

I almost didn't come back for another issue after the first two, but I'm glad I did. This issue was much better. Power Girl begins to manifest a very unique personality far more clearly. She's a feminist, but she's not just a bunch of ideological jargain spilling out of a two dimensional character's mouth. She's a genuine multi-dimensional character that wants to fit in and be accepted as an equal. Wildcat also begins to manifest his personality more loudly and clearly, almost borrowing directly from Marvel's Wolverine (who, at this point, had been appearing in the pages of the All-New, All-Different X-Men for nearly a year). The Star Spangled Kid's concern that Wildcat was literally crazy amused me tremendously, yet also felt quite familiar to this bronze age X-Men fan.

The plot of this issue was also quite compelling. I enjoyed how the characters frequently reflected on the formulaic predictability of the plot and dialogue, though I can imagine that this will get tiring after a few more issues. Still, the villain, though quite generic, got a very exciting origin story. And did anyone else catch his name: astronaut Christopher Pike. This was also the name of the first Captain of the starship Enterprise, and wasn't Trek at its height of popularity around this time? Willing to bet this wasn't a coincidence.

I am a bit disturbed that Robin's already sitting out only three issues into this newly revived title. They don't even mention him in this issue. Of the three new characters introduced two issues ago, only Power Girl seems to be holding her own. The Star Spangled Kid isn't getting much attention and Robin is nowhere to be found. It's easy to see how, thirty years and two company-wide continuity revisions later, Power Girl is the only one of the three still involved with the JSA.

Good issue. Looking forward to the conclusion of this arc!

MichikoS

09-17-2006, 10:00 PM

Yesterday I sat down to read Batman vs. Hulk Treasury, technically titled DC SPECIAL SERIES #27, from 1981.

http://i73.photobucket.com/albums/i221/elbert_coalwell/dcspecser_27.jpg
Batman vs. The Hulk was a tabloid-sized crossover between DC's and Marvel's #2 characters (Superman and Spider-Man already having had a couple of shots at it). It's written by Len Wein and drawn by Jose Luis Garcia-Lopez and inked by Dick Giordano.

The fact that the two leads inhabit different universes is entirely glossed over, with Robert Bruce Banner working as a temp in a Gotham City Wayne research facility where a specialized gamma gun is being built, hoping to learn if this device can cure him of his curse.

The Joker is the villain, but we find out that he's actually doing the bidding of a more shadowy personage, who we discover is The Shaper of Worlds, a Marvel Comics villain who is a reality manipulator. He is also the strangest beastie, with a gigantic, bleached-out Skrull-looking top half (pointy ears and all) and a tractor-tread lower half. Really weird.

Anyway, The Shaper has promised The Joker unlimited powers to alter reality if he will steal the gamma gun and use it on him. It seems he is going mad, and apparently it hurts a lot to go mad. He's looking for some relief from his pain, but the gamma gun doesn't cut it. It turns out that the only thing that can help The Shaper find some surcease is proximity to The Hulk, who apparently emits some sort of soothing gamma karma that The Shaper likes.

Batman interrupts the theft of the gamma gun from the Wayne research facility, but Banner has alread turned into the Hulk and is knocking everyone around. Batman defeats him with sleep gas. Bruce Wayne returns to see the Hulk transform into Banner, and offers him a job heading up the gamma gun project. Wouldn't you? Batman is tracking down the bad guys while Banner is working in the Wayne labs, under Alfred's supervision. The Joker breaks in, attempts to kidnap Banner, who of course turns into the Hulk and is carried back to The Shaper in the belly of a "wish-fulfillment" monster who has been created through the Shaper's reality-altering powers. Don't ask.

There are a few more obligatory fight scenes between Bats and Hulk and a cameo by Gordon. Ultimately, The Shaper is cured, and then grants The Joker his reality-altering power, which The Joker uses to turn Bats and the Hulk into clowns for a few pages. This is what you or I would do with ultimate power over reality, no? But it's all too much for the Joker's fragile psyche. Batman goads the Joker into frying his brain and it's game over. The Shaper blows town, Banner blows town, and it's pretty much status quo again. The End.

This is a wretched piece of writing. It's stupid formulaic junk that insults the intelligence of the reader. Utterly without merit.

The art is breathtaking. Garcia-Lopez does a smashing job of illustrating an atrocious story. Giordano embellishes beautifully. The art couldn't be better. The inside back cover shows various rejected cover sketches, along with the editorial commentary, all astute. Too bad the editorial oversight couldn't extend to the script.

If ever you run across a copy of this book, take a moment to appreciate the pretty, pretty pictures. Garcia-Lopez is endlessly imaginative in his storytelling, with stunning layouts and inventive (but very clear) panel variation. What a great artist.

But please. Don't bother reading it.

Michi

Mr. Palmer

09-18-2006, 05:50 AM

The inside back cover shows various rejected cover sketches, along with the editorial commentary, all astute.

Definitely the best part of the book.

Lone Ranger

09-19-2006, 09:49 AM

I am currently making my way through the first volume of DC Showcase Presents: Superman. I think that I'm about one-third of the way through it.

Superman has never been my favourite character, but I actually think that the writers from this era did a fine job in presenting him with different challenges. Sure, many of these stories are cheesy and they get a bit repetitive when read back to back, but there is a lot of creativity here.

For me, highlights so far include:

Introduction of bottled city of Kandor
Superman as a Lion (wonderful art by Boring)
Various visits to the Fortress of Solitude

In reading these stories, I realized one thing that is missing from modern comic books: Secret Identities. I know that characters still have them, but I am talking about fun stories (i.e. not Indentity Crisis) about covering up when a secret identity was discovered. This was the centre of the Clarl/Lois relationship and it has disappeared.

I guess it was time for comics to grow up, but I still like looking back at the family photo albums when comics were young and sweet.

Slam_Bradley

09-19-2006, 10:54 AM

I've read the first nine issues of Hero For Hire from Essential Luke Cage, Vol. 1. Overall I've been pretty impressed. Writing-wise, the first four issues were very solid, but what can you expect from Archie Goodwin. Steve Englehart's issues have been a little more hit and miss. His first issue had the horrible "Black Mariah." (if I had to do it over again, I'd probably use this in the bad villain cover contest). Issue six was better with a bit of a mystery for Cage. Seven was down again, but eight and nine had the Dr. Doom appearances, which were incredibly fun.

Art-wise, I'll start off by saying I'm not a huge fan of George Tuska. I think he's a pretty good storyteller. And I don't hate his work, but it doesn't really light my fire. On the other hand, I really like Billy Graham's work. If Graham had been pencilling the book I'd be a lot happier.

Overall, pretty high quality 70s Marvel work. Not on par with the best of the period, but well ahead of the herd thus far.

pmpknface

09-19-2006, 11:26 AM

Cage had some great villians too. Ok... maybe not great but certainly classic in their own right. ;)

The Shadow

09-19-2006, 02:31 PM

I've been trying slowly to complete my original Warlord run.

I just bought #'s 72,73,77 and 79 in mint condition for $1.00 each.
73 is a duplicate but in MUCH better condition than the old one I have.

I really like the old series... but couldn't get into the new one.

Slam_Bradley

09-19-2006, 02:51 PM

The Shadow

09-19-2006, 03:08 PM

There's no real reason to complete it. After Grell left it was only marginally useful as bird cage liner.
LOL

Tell me how you REALLY feel.

I love the Grell stuff... but the completeist in me (especially for a buck an issue or less) says to finish it.

benday-dot

09-19-2006, 08:15 PM

Steve Englehart's issues have been a little more hit and miss. His first issue had the horrible "Black Mariah." (if I had to do it over again, I'd probably use this in the bad villain cover contest).

The only issue of Hero for Hire I own is the notorious #5... introuducing the warm and lovely Black Mariah. I sought this number out a while back because I couldn't resist the, to use your apt word, "horrible" premise. I admit to a weakness for Marvel's 70's exploitation mags, replete with all the fuming fromage. Relevance cheese at its cheesiest. Unless of course one finds this sort of thing offensive, which would of course be something to be excused of all blame. I simply find it guiltily entertaining, and a slice of lost 70's comicbook time. Thanks for the ripe memories Slam...

Roquefort Raider

09-20-2006, 04:44 AM

I just re-read Marvel's miniseries starring that immortal Hal Foster creation, Prince Valiant.

The story is a bit bleak, as it features the follow-up to the fall of Camelot and the death of most of the cast. But instead of simply indulging in the deconstruction of classic characters that was all the rage in the late 80s and early 90s, this actually tells a good tale.

The story by fantasy master Charles Vess is in Foster's vein, and the all-caption approach is most welcome. The art by John Ridgway is also a treat.

Lone Ranger

09-20-2006, 12:30 PM

Decided to dig into a Golden Age book last night, settling on Sensation Comics #50.

These DC anthologies are pretty hit and miss and I am sorry to report that this one is mostly miss. I'll try to cover it story by story.

Wonder Woman - not a bad little story about an army officer who commits suicide after leaking sensitive information. A femme fatale marries Steve Trevor and WW has to solve the crime and get her man back. HG Peter's art is a weird as ever, but it's pretty effective.
Little Boy Blue & the Blue Boys - I don't know much about this strip as I don't think they were reprinted very often. I don't fully get the premise, but the story was pretty good and the art by Frank Harry (according to GCD) has some ok energy to it.
Mr. Terrific - I wanted to like this story, I really did. Ever since I first learned of him as a child (when he was killed in JLA), I have always been intrigued by Mr. Terrific. Unfortunately, this story was for the dogs. Literally. A very lame dognapping tale, but weak art by Stan Aschmeier.
Black Pirate - Oh, boy was this ever terrible. The story had some promise to it, but the artwork by Alphose Greene (who's that?) was worse than the worst fanzine art.
Wildcat - Ok, luckily things picked up a bit at the end. Certainly not a classic story, but an improvement on the previous two stories. The art is still quite stiff - Wildcat stories get much better later in the run as artists like Kubert and Kane work on the strip.

What this book proves is that there was a lot of dreck in the Golden Age, even at DC. Overall Grade: C-

http://img.photobucket.com/albums/v471/scottandkat/CBR/Sensation50.jpg

Josh S

09-27-2006, 04:20 PM

I went back and decided to take a second run at ESSENTIAL IRON FIST Vol 1. I really don't like the book at all until Claremont takes over, but now it's really entertaining.

Slam_Bradley

09-27-2006, 04:58 PM

I finished up Essential Luke Cage, Vol. 1. One of the best of the "second-tier" Marvel books from the 70s. Probably because it doesn't suffer quite as much from creator turnover as many of the books from that time. Certainly not on par with the greats such as ToD or with a number of the better "first-tier" books, but very very readable and often quite good.

InfoBroker

09-28-2006, 12:19 AM

I spent the past few weeks hanging out at Gasoline Alley. This was a re-read of one of the books I received for Christmas last year. Santa always seems to do well when it comes to gifting me with really classic comic material.

This book was a joy to read, and it presents wonderful insignt into mdidle class Americanna. A sweet and nostalgic presentation of middle-class, family centric views of the early years of the 20th century, including the birthing of car ownership, the advent of radio, 1920s fashions and fads, along with the wonderfully sensitive character handling and story continuity of a comics genius, Fred King.

A wonderful bonus was the introduction and background information on Fred King and his family. Included were some splendid photographs of his home in Wisconsin and the link of that neighborhood with the one he developed and immortalized in the panels of his comic strip. A pleasant mix of tinkering, domestication, and love.

Such a delightful, entertaining and insightful reading experience. This books comes with my highest recommendations. A+

-jb the model T ib -

Mr. Palmer

09-28-2006, 08:36 AM

Enemy Ace: War In Heaven

I had high expectations for this story, and it came through with... er... flying colors.

Quite a few good moments sprinkled throughout. One of the best, imho, is when Hammer's plane first crashes. It opened with what I thought was an hilarious scene (pilot jumps from his plane and right into Hammer's propellers) and morphs into a montage of horror which features a child gunned down by a Nazi tank, while another is fed a human hand.

There's another scene where Hammer parachutes into Dachau. No images are shown, here. But as he tells about what he's seen inside the camp... the mental camera conjures some horrifying images. Very effective.

The only thing that slightly took me outta this story was Sgt. Rock. I love the character, but him showing up just "cheapened" it all, somehow. And for Heath to draw the Rock of Easy Co. without his bandoliers? Blasphemy! :D

Overall: Excellent read. But with Garth Ennis on the writing triggers, Russ Heath art, and a character like the Enemy Ace, it's a no-brainer.

MichikoS

09-28-2006, 10:01 AM

My new issue, #5, of the wonderful prozine Charlton Spotlight
http://www.ramonschenk.nl/charltoncomics/charltonspotlight/

came in the mail the other day, and enclosed was a copy of WHAT IS...THE FACE? #1, a black and white comic published by Ace Comics in 1986. The series ran for three issues. It features some good art by Steve Ditko, inked sympathetically by Frank McLaughlin. For a complete rundown of Ace Comics by Ron Frantz, the publisher, go here:

http://members.aol.com/magilla445/magillaindex.html

In addition to the Joe Gill/Steve Ditko/Frank McLaughlin feature story, this issue also features a rather awkward, but faithful, adaptation of Lord Dunsany's famous short story, "Two Bottles of Relish." It's a classic twist-ending story, so I won't spoil the punchline in case you decide to read Dunsany's original. Skip the comics adaptation.

The art is by Mart Bailey, who was the original artist for THE FACE, an early comic book character who wore a scary rubber mask to freak out bad guys. The first appearance of THE FACE, from Big Shot Comics #1, May 1940, is also reprinted here. It has a script by Gardner Fox with art by Bailey.

Bailey's Dunsany adaptation was likely an inventory story drawn in the 1960's but never published (?). There's a discussion of the story's background on the inside back cover, written by Jerry DeFuccio, but I can't recall the particulars.

http://i73.photobucket.com/albums/i221/elbert_coalwell/face_1.jpg

The feature story is very, very similar to Ditko's THE QUESTION, who first appeared as a backup in Charlton's THE BLUE BEETLE. In fact, it's virtually a carbon copy. The plot, such that it is, about exposing a crime boss on television, is far-fetched, but right up Ditko's black and white, morally unambiguous alley. The story is told, the bad guys get their comeuppance, and the mysterious Question...uh, I mean The Face, escapes to fight evil another day. Whatever.

I wish I could find a comprehensive overview of Ditko's activities in the '80s and '90s. He turns up in the oddest damn places. It would be nice to find some rhyme or reason to his job choices (aside from putting some food on the table) during this time. Until his return to Marvel in the 1990's, he worked exclusively for small publishers. What were his page rates during this time? How did he solicit work? I'm intensely curious.

I picked up the entire three-issue run of this series years back, but never read any of them. Now I'm going to go back and look at #2 and #3 in this short-lived series just for old times' sake. Time spent with Ditko is almost never time wasted.

I'm also eager to spend the weekend reading my new Charlton Spotlight. This is one of the most enjoyable prozines ever, in my opinion. It's right up my alley.

Michi

J'onn J'onzz

09-28-2006, 08:24 PM

I read Nova issues 1 and 2 last night. I thought they were mediocre. I have a full run of the series, but have not read any of the issues, except the two mentioned. Does it get better?

No, it doesn't.

Sir Tim Drake

09-30-2006, 12:53 PM

Nestor Burma T.1: Brouillard au pont de Tolbiac, pour Jacques Tardi et Leo Malet

This BD album is Jacques Tardi's adaptation of a hard-boiled detective novel by Leo Malet. I'm not otherwise familiar with Malet or his protagonist Nestor Burma, but this page (http://www.coolfrenchcomics.com/nestorburma.htm) describes Burma as a French version of Sam Spade or Philip Marlowe.

This book is utterly amazing in its atmospheric, moody depiction of '50s Paris. With his strong sense of detail and spotting of blacks, Tardi conveys the look, feel and even smell of a grimy urban wasteland.

In a strange way, the story is both grimly serious, and a little parodistic or cartoony-- it's a bit like Tardi's Adele Blanc-Sec, which is a parody that's presented as if it were a serious story. As befits a detective story, the plot is rather convoluted although it all ultimately makes sense. There is some triteness in Nestor's relationship with a gypsy woman, and in the way the story ends. However, Tardi's artwork is so incredible that one hardly notices this.

This book is worth reading if you understand French. If you don't, another volume of this series was translated by iBooks under the title "The Bloody Streets of Paris," although I haven't read that one.

Budman

10-01-2006, 05:15 PM

The last classic comic I read was Superman #160 from April 1963. It contained two stories. "The Mortal Superman" has Supes losing his powers after being exposed to a strain of Red K. He finds various outlandlish ways to cover this fact up but finally the mob finds out and puts him in a deathtrap. He requests a strange last meal. But it turns out that the acids in the foods are what he needed to restore his powers. "The Super-Cop Of Metropolis" has the police being effected by a strange disease so that they are all incapacitated and Superman must be a one-man police force. In the end, it turms out to have been a ruse to capture a spy ring leader. Perry White even wears a disguise and pretends to attack Superman with Green K. Inside the fake meteorite is a tape recorder to get the spy's confession.

It was typical Silver Age DC Superman silliness. But that's fine with me. I love typical Silver Age DC Superman silliness!!!

Roquefort Raider

10-01-2006, 05:54 PM

This book is utterly amazing in its atmospheric, moody depiction of '50s Paris. With his strong sense of detail and spotting of blacks, Tardi conveys the look, feel and even smell of a grimy urban wasteland.

Sir Tim, if you liked that one I can't recommend the world war I books by Tardi enough. I have no idea if they're available in English, but they're absolutely astounding.

Jacques Tardi (http://lambiek.net/artists/t/tardi.htm) is without a doubt one of the greatest cartoonist of the last 20 years.

pmpknface

10-02-2006, 06:36 AM

Just bought and read Avengers #85 with the Squadron Sinster. I mainly got it because there is an appearrance of Spider-Man, who along with the Avengers is giving away toys for tots. Yes, that's actually IN the comic.

Good story though. In coming back from an alternate world 1/2 of the team gets trapped in a few weird dimensions and they have to save the world from melting. ;)

pmpknface

10-05-2006, 09:12 AM

Read issues 3,4, & 5 of Kirby's ETERNALS last night. Each issue gets better!

DDM

10-05-2006, 01:05 PM

Doctor Strange #169 (volume 1):

http://image.milehighcomics.com/istore/images/fullsize/25912118544.169.GIF

mrc1214

10-05-2006, 01:40 PM

Alpha Flight #33 by: Mantlo
Thor #304 by: Gruenwald- i was suprised how good this was

Kan-Man

10-05-2006, 01:42 PM

You people have inspired me to dip into the vault, so here goes my very first posting to this thread...

Adventure Comics 326

The first story is "The Revolt of the Girl Legionnaires!", a nice hunk of silver age cheese written by Jerry Siegel with art by John Forte. Basically, the female members of the Legion turn against the male members (gasp!). They use their feminine ways to draw the guys in and then... whammo! Turns out they were hypnotized by a planet of Amazons (don't you hate it when that happens?) In the end, the Amazons reverse the curse because some dudes from the Legion helped save them (they had split their own moon in two by firing too many fireworks at it - let that be a lesson to all you kids out there). The story is loaded with sexism and hokey dialogue - perfect for a growing boy.

The second story is "Bad Boy Clark Kent" by Otto Binder and George Papp. Basically, Clark gets himself expelled from school to avoid being vacinnated (which would give away his secret once the needle broke). It's an odd bit of fluff and includes Superboy doubling as a substitute teacher. During one lesson, he melts a glacier to show the students perfectly preserved dinosaurs frozen inside. So take that, Al Gore, the real cause of global warming? Superboy.

I had planned on making my way through more silver age Adventure Comics, but I might have to jump ahead a bit if they're all going to be like this.

More to come...

pmpknface

10-05-2006, 01:48 PM

mmmmmmmm......... Amazons............

And that 2nd story is key! HA! Nice lesson Superboy...

Kan-Man

10-05-2006, 03:58 PM

mmmmmmmm......... Amazons............

And that 2nd story is key! HA! Nice lesson Superboy...

I forgot the part where Clark goes into the school aquarium (whose school didn't have an aquarium, right?) and takes a live octopus and drops it into the swimming pool during gym class. Oh, that Clark!

pmpknface

10-06-2006, 06:12 AM

HAHAHAHAHAHA!!! I'm laughing so hard my co-workers think I'm nuts.

Is this the book?

http://i19.ebayimg.com/01/i/05/94/78/54_1.JPG

Kan-Man

10-06-2006, 09:39 AM

HAHAHAHAHAHA!!! I'm laughing so hard my co-workers think I'm nuts.

Is this the book?

http://i19.ebayimg.com/01/i/05/94/78/54_1.JPG

That's the one. Brilliant... just brilliant.

Simon Garth

10-10-2006, 11:41 AM

This is a huge cheat, as both of these issues are reprinted in the back of Giant Size Wolverine.

X-Men 6 (vol 2? late 80/early 90's vintage). Jim Lee (plot/art), Art Thibert (finisher), Scott Lobdell (writer).

Oh dear, oh dear, oh dear.

Terriblle 80s/90s art (everything looks shiny). Character's faces change from panel to panel, so you're not sure if they're the same (very similar looking) person. Lot's of "moody" colouring that looks like the colouring has run. Fights where characters punch one another, and the recipient of the punch is knocked in the opposite direction of the punch because it looks prettier. Energy bolts where you can't tell who created it and who was on the receiving end. Characters that might be male or female. Women with 11 feet long legs. Characters that run in mid-air. Characters that fight by striking poses and no sense of movement or muscle tension in them. Terrible, terrible dialogue.

Ugh.

X-Men 7. Same people. Same story (part 2). Same faults.

Awful, awful, awful comics. Made the very familiar looking (new) lead story look very, very good in comparison.

pmpknface

10-10-2006, 12:03 PM

That's not cheating anymore than reading an Essential or recent tpb Simon! And I read those yesterday too. ;)

Still reading the Eternals, and I'm up to #11 now.

Oh - (shameless plug) I'm on this week's Pipeline Podcast with resident reviewer Augie De Blieck. If you've got an hour we go over the new Previews and pick out a few things to chat about. :D
http://www.thepipelinepodcast.com/

mrc1214

10-10-2006, 12:08 PM

pmpknface

10-10-2006, 12:13 PM

How is Kirbys Eternals???
I'm really diggin' it! Every issue gets better. The story starts out huge and just keeps getting bigger. It's a little weird because I don't know where it fits into contnuity, but I don't care.

I have the Omnibus HC that is wonderfully remastered and recolored. If you like Kirby then you'll love this, and I think because this is REALLY him firing on all cylindars (pencilling, writing, & inking) if you just go in blind it'll suck you and you'll LOVE IT!

mrc1214

10-10-2006, 12:16 PM

I'm really diggin' it! Every issue gets better. The story starts out huge and just keeps getting bigger. It's a little weird because I don't know where it fits into contnuity, but I don't care.

I have the Omnibus HC that is wonderfully remastered and recolored. If you like Kirby then you'll love this, and I think because this is REALLY him firing on all cylindars (pencilling, writing, & inking) if you just go in blind it'll suck you and you'll LOVE IT!

Ill have to look for the hardcover.

pmpknface

10-10-2006, 12:19 PM

Ill have to look for the hardcover.

Yeah, and X-Mas is coming! :D There are a few on ebay now, and I'm sure Amazon has it too. It retailed for $75, so if you get it for 1/2 off you're doing ok.

Slam_Bradley

10-10-2006, 12:20 PM

I finished up Essential X-Men, Vol. 4. This was mostly made up of the Paul Smith run. Overall, entertaining, but I really don't feel bad that I left X-Men with John Byrne.

Simon Garth

10-10-2006, 12:25 PM

I finished up Essential X-Men, Vol. 4. This was mostly made up of the Paul Smith run. Overall, entertaining, but I really don't feel bad that I left X-Men with John Byrne.

I thought that Claremont had well and truly run out of ideas by that point. Loved Smith's art, and didn't much like whoever followed - Smith leaving was a major trigger for me finally dumping X-men a few issues later, after a sizeable run (#95-201)

rick

10-11-2006, 11:49 PM

I was on one of my rare trips up to Denver today for a conference up in the north end of town. It got over early and since I was up in the neighborhood, I headed down to the huge Mile High Comics megastore up o the north end mostly just to look around since I hadn’t been up there in about 4 years. They were having a 20% off sale on all of their back issues so I went ahead and pucked up a few pieces that I think are pretty cool.

First off I found a good condition copy of The Adventures of Jerry Lewis #97 from 1966.

http://img220.imageshack.us/img220/8378/jerryst6.jpg

This is the classic issue where Jerry teams up with Batman & Robin against the Joker. The highlight being that the dynamic duo spends the entire story complaining how busy they’ve been fighting lame villains ever since the TV show premiered. It’s a great issue with good art and some actual really funny moments.

I also picked up a Big Little Book starring none other then my hero Space Ghost in The Sorceress of Cyba-3.

http://img220.imageshack.us/img220/8681/cybain6.jpg

I love Big Little Books. There is something about the shape and size of them. Plus I alsways liked the one page of text with one page of pictures. When I was first learning to read, these were some of my very favorite books.

I have no idea who drew the interior, although it certainly wasn’t Alex Toth. Still it looks great and I am just over joyed to get it.

Then there is the copy of Fright #1, Starring the Son of Dracula from the short lived Atlas comics group.

http://img182.imageshack.us/img182/8610/frightzy6.jpg

It’s a great little book, with some really nice art by Frank Thorne who also wrote it. Of course it is pretty obvious that Goodman came up with the series by noticeing that Marvel was selling well with both Tomb of Dracula and Son of Satan and decided that the best thing to do was to combine the concept.

It’s cheese, but it’s fine, aged cheese.

I also picked up Charlton Action #11 from 1985 featuring the fine art of Mister Steve Ditko.

http://img183.imageshack.us/img183/7882/ditkopr5.jpg

This is one of the last Charlton comics ever published and it is mostly Ditko reprints, but it is still lovely to look at and Static is one of Ditkos best looking creations. Plus several of the stories feature these great little cartoons on the bottom of the page where Ditko is actually dissecting the ethics of the story and its characters.

All in all a really good, but mostly forgotton classic.

Finally I picked up a copy of Brave & the Bold #120 featuring a team-up between Batman and Kamandi, the Last Boy on Earth.

As always the issue features great art by Jim Aparo, and I love how the story only barely even attempts to come up with a logical reason about how Batman ended up in a post apocalyptic futre with talking animals. Also there is a great reprint of an early Secret Six apperance.

Best part, I got all of these books for only $31.00.

It was a good day to drop by Chucks.

sheets

10-12-2006, 05:57 AM

I thought that Claremont had well and truly run out of ideas by that point. Loved Smith's art, and didn't much like whoever followed

John Romita Jr., I think. I always thought his X-Men run was terribly overrated, and I agree that Smith leaving was pretty much the last gasp of Claremont's X-Men.

I received a couple of DC Archives last night, Enemy Ace vol. 2 and Kamandi vol. 1, so I read Kamandi #1 and had a great time - Kirby taking Planet of the Apes as far as it can go. I loved the map at the end of the issue, showing how the post-apocalyptic North America was divided. Made me eager for the series to go visit those places :)

pmpknface

10-12-2006, 06:20 AM

Just finished ETERNALS, and now I'm on to the Eternals Saga in THOR that was just reprinted in tpb. Just started that last night. I think it kicks off in Thor Ann. #7.

MDG

10-12-2006, 06:47 AM

I thought that Claremont had well and truly run out of ideas by that point.
I'm not a big Marvel, X-Men, or Byrne fan, but I always felt that when Byrne left the book, he took all the good ideas with him.

MDG

Budman

10-12-2006, 07:06 AM

Just finished ETERNALS, and now I'm on to the Eternals Saga in THOR that was just reprinted in tpb. Just started that last night. I think it kicks off in Thor Ann. #7.

I loved the Eternals Saga in THOR when it first came out and I love it today. A true epic which showcases Goldilocks and his guest stars perfectly and lets Roy "The Continuity Kid" Thomas explain things to his heart's content.

I've just finished ESSENTIAL IRON MAN, Volume 1. It's great Silver Age fun, though having Shellhead run out of power every few pages does get a little old. Still, I highly recommend it.

pmpknface

10-12-2006, 07:12 AM

I've just finished ESSENTIAL IRON MAN, Volume 1. It's great Silver Age fun, though having Shellhead run out of power every few pages does get a little old. Still, I highly recommend it.

I love the old outfit and the villians he'd fight. Doesn't he have a different chick in every city too? Oh, that Tony! :p

sheets

10-12-2006, 11:07 AM

I'm in the middle of Essential Classic X-Men vol. 2 and I read the Factor Three trilogy the other day. It was well-intentioned but Roy's plotting just wasn't very sharp and the ending came out of nowhere. I very much like the original X-Men as characters but their Silver Age storylines often feel just a bit "off" in comparison to the other Marvel books of the time, at least until the latter part of the run.

Budman

10-12-2006, 01:01 PM

I just finished the black and white reprints of THE BRAVE AND THE BOLD #54 and #60 in ESSENTIAL TEEN TITANS, Volume 1. Kids and adults learn that they need each other, surfers and bikers help the superheroes, and evreything's groovy. Yeah, Baby, Yeah! In the first story, Robin belives a note left behind by vanished teenagers is false because no teens writing a "hip" note would use the word "music." Instead, they would use "jive" or something like that. This proves that, while the DC creators were giving us the kinds of stories we wanted, they hadn't a clue about how real kids and teens talked.

Budman

10-12-2006, 01:04 PM

I love the old outfit and the villians he'd fight. Doesn't he have a different chick in every city too? Oh, that Tony! :p

Yeah, and aren't we lucky he was always around to save us from the menace of "the Commies," who were seemingly everywhere. :)

dan bailey

10-13-2006, 12:11 PM

I'm about to head off to lunch, which should consist mostly (after a trip to the post office here on base to mail off a record sold on eBay) of my continued reading of V for Vendetta. I read "Book 1," Europe after the Reign, at lunch yesterday & got a few pages into "Book 2," This Vicious Cabaret, this a.m. before leaving for work. So far I'm deeply impressed & am finding it much more immediately engrossing than I did Watchmen ... though of course it's possible I'm being swayed somewhat by my own anarchistic tendencies.

Lone Ranger

10-13-2006, 12:51 PM

Last night I dug into my Golde Age 'to read' pile and dug out:

Wow Comics #54

Fawcett books can be hit and miss, as for every great story there is one that is uninspired with weak art. What I've often found with 'Wow' is that the lead Mary Marvel story can be the weakest.

This one is no exception - it's a strangely humourless Otto Binder (I think) story with very flat art (who was drawing the strip circa 1947?). The Mr. Scarlet & Pinky story was far superior (I can't believe I am 34 and can start a sentence like that). I don't know who provided the art, but it was very dynamic and full of depth. It almost looked liked it came out of the Simon & Kirby studio. The Phantom Eagle story was also quite strong - interesting tale with dashes of humour and violence. I suspect Marc Swayze was the artist on this one. The Commando Yank story brought us back down to mediocrity - nothing interesting here. Of course, there are a few humour strips - but I glossed over those and can't recall a thing.

Overall Grade: B-

Rob Allen

10-13-2006, 05:48 PM

Wow Comics #54

This one is no exception - it's a strangely humourless Otto Binder (I think) story with very flat art (who was drawing the strip circa 1947?). The Mr. Scarlet & Pinky story was far superior (I can't believe I am 34 and can start a sentence like that). I don't know who provided the art, but it was very dynamic and full of depth. It almost looked liked it came out of the Simon & Kirby studio. The Phantom Eagle story was also quite strong - interesting tale with dashes of humour and violence. I suspect Marc Swayze was the artist on this one. The Commando Yank story brought us back down to mediocrity - nothing interesting here.

I gave in to the urge to look these things up...

Well, the GCD thinks Otto Binder wrote the Mary Marvel story, with brother Jack Binder providing the art. The Who's Who has two other artists who were drawing Mary in 1947 - Ray Harford and Charlie Tomsey. They may have been assistants in Jack Binder's studio. To find these names, I used a neat feature of the Who's Who site - I entered 'credit:"Mary Marvel" tenure:47' in the search window.

On Mr. Scarlet, the GCD has Carl Pfeufer with a question mark. Who's Who confirms that Pfeufer drew that series in 1947, but they also list Harry Anderson, Phil Bard, Jack Binder, Karl Sokol and Charlie Tomsey on the feature.

GCD says that Marc Swayze did indeed draw the Phantom Eagle story, and they think he may have written it as well. Who's Who does list him as both writer and artist that year, with Edd Ashe, Al Carreno and Pete Riss also drawing.

On Commando Yank, GCD thinks it may have been Warren Darr. Who's Who doesn't have Darr on this feature; it does have Dan Barry, Harry Fisk, Carl Pfeufer and Charlie Tomsey. In fact, Who's Who doesn't have a "Warren Darr" at all. There's a Walter Darr who worked in the Binder shop in 1942-43, but there are no 1947 credits for him.

Lone Ranger

10-13-2006, 07:52 PM

I gave in to the urge to look these things up...

Rob,

If I haven't said it in a while.

I love you.

Pfeufer, eh? I was really ver nice art - I'll have to keep an eye on his other late 40s art. It was really quite rich.

I was glad I was right about the Swayze art - I've gotten a decent feel for his work due to his contribution nto the FCA portion of Alter Ego.

As for that first stories - if it was a Binder Bros. collaborationt, it was pretty weak. Jack is a pretty 'by the numbers' artist, but Otto usually adds some flair to his stories.

Thanks for the background info. Fawcett is a very tough company to figure out re. credits.

MichikoS

10-14-2006, 10:17 PM

http://i73.photobucket.com/albums/i221/elbert_coalwell/lone_ranger.jpg

This is kind of an oddity. I didn't even know this existed until a year ago. It's not listed in Overstreet, Lone Star doesn't show it at all, and Mile High lists it, but never has it in stock. I finally have a copy, courtesy of a good friend who picked it up at Fallcon in Minneapolis earlier this month.

It's just great. Apparently, Cary Bates and Russ Heath teamed up in 1981 for a LONE RANGER comic strip. I have no idea how long it ran, and whether or not it has ever been collected elsewhere. Scott? Anyone?

Greg Theakston's Pure Imagination published this comic, in black and white with a Theakston/Heath color cover, in 1993. It contains two complete storylines, most likely exactly as originally published, since the script bridges one storyline with the next seamlessly.

The first storyline is about a young man, Darby Matlock, looking for his gunfighter father, whom the Lone Ranger and Tonto helped many years ago, placing him in a kind of witness protection program. They take the young man to see his father, who has never met his child, but Darby is being tracked by a group of men who follow LR, Tonto and Darby to dad's hiding place. We soon discover that a young woman is tracking them, and these plotlines soon converge in a wonderful shoot-em-up climax with a surprise twist that is fun and satisfying.

LR and Tonto take Matlock, Sr. and his kid back to town, along with the trackers, and here we find that a familiar gentleman by the name of Samuel Clemens has been leaving telegram messages for LR. LR and Tonto head east to New Orleans(!), where they meet up with Samuel Clemens, aka Mark Twain, and LR joins Twain on a paddleboat up the Mississippi. He is introduced to the crew and other passengers as "The Masked Marksman," a renowned sharpshooter who is joining up with Buffalo Bill Cody's Wild West show. Tonto is pacing the boat on the riverbank with the horses.

A terrific plot involving Confederate gold, a mid-river hijacking by a Civil War era submarine, a fanatic Confederate general, and Twain's premonition of death, is played out with perfect pacing. Again, a very exciting and satisfying story.

Russ Heath's art is exquisite. The characters are beautifully drawn. Every face is distinctive and different. The storytelling is fluid and natural. Every panel has some special delight for the eye. Breathtaking stuff.

I sincerely hope that the rest of this strip has been collected somewhere, because this is some of the most enjoyable stuff I've laid eyes on in years. If not, it's a cryin' shame.

Michi

dan bailey

10-14-2006, 10:48 PM

This one -- which I'd never heard of, either -- just vaulted to the top of this major Russ Heath fan's want list. Thanks for the review!

Slam_Bradley

10-18-2006, 10:58 AM

The discussion of Eisner on the "CBR Best" thread on the Comm board led me to grab the Alter Ego Eisner tribute issue (which I still hadn't gotten around to reading). So I read the Wonder Man story from Wonder Comics #1 that was reprinted therein.

This story, of course brought about the first copyright infringement case over Superman. This was a lot easier case than Superman v. Captain Marvel. There are a ton of direct swipes in this story. And the storyline itself is very reminiscent of parts of Action #1 & 2. Eisner, even at this early stage was a much better draftsman than Shuster, but still, the swipes are obvious.

Reading that story lead me to pull out Eisner's graphic novel The Dreamer. This is a very thinly veiled look at Eisner's early years in the comics biz. The rise of the Eisner/Iger shop, the National-Fox trial and his eventually leaving Iger for The Spirit. This is one of my favorite of Eisner's works and I just wish it would go on and go in to more depth. Love it.

MDG

10-18-2006, 12:57 PM

Reading that story lead me to pull out Eisner's graphic novel The Dreamer. This is a very thinly veiled look at Eisner's early years in the comics biz. The rise of the Eisner/Iger shop, the National-Fox trial and his eventually leaving Iger for The Spirit. This is one of my favorite of Eisner's works and I just wish it would go on and go in to more depth. Love it.
The one page in the Dreamer with the character based on Jack Kirby is one of my favorite portrayals of the King. Even if it's it totally accurate, it's how I like to picture him.

MDG

MWGallaher

10-18-2006, 04:51 PM

I've just finished rereading DC's Electric Warrior #1-19, by Doug Moench and Jim Baikie. This was the first time I've read the series back-to-back (well, with occasional days between individual issues), and probably the first time I've reread the comics since their original release. I remembered a couple of things about the series before this re-read:
1. I very much liked it.
2. It had some truly remarkable changes of direction that were integral to the tale, rather than attempts to garner interest by shaking up an established direction.
It was that second item that always stuck with me. In my decades of collecting, I've seen lots of comics take radical turns, but they always felt editorially mandated, or were the result of a new creative team making a series "their own". EW was different.
This book never for an instant feels editorially-driven. This is Moench and Baikie's baby, and they're clearly in control as they serve up a genuine SF epic. If I were to list the various elements of the story, they wouldn't seem all that remarkable: robots, cyborgs, mutants, conflict between a technocracy that dwells in the upper levels of a skyscraping city and the crude underclass that dwells on the ground...lots of pieces we've seen before, many we've seen a hundred times since EW's publication, and few if any that we hadn't seen before that.
But it's the whole that matters. Doug's work here is truly literary--this book has grand themes woven consistently and persistently through its fabric. Moench was not imposing a "theme" over an action story; instead, the story exists in strict service to the themes, themes that play out on a large scale from the beginning to the end.
What is love? How does it develop? What is the mandate of one who loves with respect to the greater world? What does it cost, what are its limit