Monday, August 03, 2020

Daddy Issues and Tampering with Time

Action Comics #962, 984, 989, 991-997 (October 2016 to April 2018)
#962: "Path of Doom: Conclusion" Writer: Dan Jurgens, Penciller: Stephen Segovia, Inker: Art Thibert, Letterer: Rob Leigh, Colorist: Ulises Arreola.
Lois and her son Jon are safely sequestered on the Watchtower with Wonder Woman while Superman struggles to contain Doomsday. During the battle, Superman lures Doomsday to a fortress similar to the Kryptonian one, but is hard pressed to defeat his foe until Wonder Woman intervenes. Together, they succeed in sending Doomsday to the Phantom Zone.

Part of Rebirth, this comic includes multiple supermen: Clark Kent out of costume, the Superman with Lois and their son Jon, and a super Lex Luthor. There's also a cloaked scythe-wielding stranger who somehow "intercepted the projection" and captured Doomsday en route to the Phantom Zone.

The issue includes ads for Snickers (Woman Woman is as cranky as Doomsday when she gets hungry!), Midtown Comics, DCBS, action figures, and NC Comicon. There are also several house ads: Doom Patrol, Shade the Changing Girl, Cave Carson Has a Cybernetic Eye, Mother Panic, Blue Beetle, Teen Titans, and Cyborg, as well as a checklist of comics on sale Sept. 7-28, 2016.

Friday, May 29, 2020

The Comic Reader #92 (December 1972)

I really miss fanzines and newszines like this. The Internet and Web sites just aren't the same, and the kind of research required to compile an issue like this is far beyond what goes into most Web writing. When reading this issue last night, I was struck by two things. At the time of this issue's publication, editor Paul Levitz was 16 years old. And this specific issue was published in the very month in which Levitz got his first freelance work at DC—when Joe Orlando hired him to write text and letter pages. Working on the zine helped him not just become known by the DC staff, but also to develop relationships with them. That in turn led to a career in comics; Levitz eventually became editor, vice president, executive vice president, and president of DC.

This zine is awesome in and of itself, regardless of what kind of career it led to. In a digest with relatively small typesetting, Levitz collects and compiles a snapshot of what was going on in comics in late '72. The news columns include items about new and planned titles, staff assignment changes, creative assignments, lineup changes, promotions, cancellations, and health concerns. "Coming Comics" details—and in some cases speculates on—the contents of upcoming comics, including storylines, writing and art assignments, and cover art reproductions courtesy of the publishers. And "Late News and Corrections" announces Howard Chaykin's nuptials, new books of note, and recent newspaper coverage of comics—with fans offering photocopies at cost.

"Et Al" offers a slighter wider range of fandom-related news and notes, addressing media, fan deaths, zines, conventions, and books. Liam O'Connor reviews relevant fanzines, including Fandom Spectacular 1972, Comic Crusader #13, Funnyworld #14, and The Comic Detective #2, as well as other items. Steve Utley reviews Southwesterncon; Manny Maris reports on National Lampoon, Lancer Books, Swank, Ace, Ballantine, and other related markets and publishers; Tom Greeniones reports on the state of comics in Rumania; and Paul Hugli reports on the first ever Fantasy Film Con—given that that took place in Los Angeles, I might have to recreate its lineup while quarantined!

I cannot think of a single periodical or Web site today that captures the breadth, depth, range, or energy of this 36-page digest. And it wasn't produced by a staff or a company, but by a teenager. Such a good zine, with plenty of rabbit holes to explore.

Thursday, May 28, 2020

The Creeps #24 (June 2020)

Editor: Rich Sala; Associate Editor: Don Glut; Cover: Jeff Easley; Artists: Nik Poliwko, Benito Gallego, Santos Zaballos, Reno Maniquis, Martin Peniche, and Mansyur Daman; Writers: Don Glut, Nicola Cuti, Billy Grim, and Artie Goodwin.

I was relatively late to arrive at the joys and wonders of magazines such as Creepy, Eerie, Vampirella, and even Famous Monsters. When I was younger, I was much more interested in the humor magazines—perhaps edging into the Conan and Marvel magazines—but didn't spend much time on the spooky side of the street. Now that I'm older, I realize what I was missing... though I wouldn't trade my youthful reading for a single minute.

This magazine, published by Yucca Valley-based Warrant Publishing, is a modern-day appreciation of those older horror black and whites... and it's amazing. Drawing on the still vibrant talents of artists and writers who actually worked on the original Warren publications, this is a loving modern take on a very comfortable and creative magazine approach to comics. More than an homage, it's a direct descendent of those magazines—and a lively force of its own. (And, it seems that Warrant plans to launch a Vampi homage of sorts later this year: Vampiress Carmilla.)

Conan Saga #20 (December 1988)

Editor in Chief: Tom DeFalco, Editor: Craig Anderson, Assistant Editor: Sue Flaxman, Traffic/Production Coordinator: Virginia Komita, Technical Advisor: Glenn Lord, Cover: Earl Norem, Frontispiece: Dave Simons, Soul and Inspiration: Robert E. Howard

P. 4: "Jewels of Gwahlur," Script: Roy Thomas, Art: Dick Giordano, Adapted from the story by Robert E. Howard. The original Conan short story "Jewels of Gwahlur" appeared in the March 1935 issue of Weird Tales and was originally titled "The Servants of Bit-Yakin." This comics adaptation first appeared in Savage Sword of Conan #25 in 1977 and is reprinted here.

Cracked #146 (November 1977)

Editor and Publisher: Robert C. Sproul; Associate Editor: Bill Sproul; Writers: Joe Catalano, George Gladir, Eugene Parnell, Elaine Ozimok, and Peter Hansen; Artists: Howard Nostrand, Sururi Gumen, Don Orehek, and Warren Sattler; Preuf Reider: Errin Spelin; Janitor: Sylvester P. Smythe.

P. 4: "Lettuce from Our Readers," 12 letters of comment from readers in California, Colorado, Connecticut, Georgia,  Illinois, Maryland, Michigan, New Jersey, New York, and Virginia; and Manitoba, Canada. The best letter was sent in by Mrs. Elenore Palmer, of Old Lyme, Conn.: "I believe I am your oldest reader. I will be celebrating my 86th birthday in November and have enjoyed your magazine for many years. ... Grey power and my love to you all!"

P. 6: "Star Warz," film parody drawn by John Severin. Highlight includes comic strip- and science fiction-related graffiti throughout: "Sally Forth was here," "Wilma—I miss you! Buck," and "Dale, come home—love, Flash."

Sunday, December 08, 2019

Three Tie-In Titles

Jonny Quest #2 (Comico, July 1986, $1.50)
"Enter Race Bannon" Writer: William F. Messner-Loebs, Penciller: Wendy Pini, Inker: Joe Staton, Letter: Joe Pinana, Colorist: Rick Taylor, Editor: Diana Schutz.

Be sure to take a look at that credit line again. I found the creative team of this issue to be mind-blowingly spectacular, and if that group of three doesn't make up some kind of independent comics power trio, I don't know who would. This Hanna-Barbera cartoon tie-in comic was written and drawn by some of the more impressive independent comics creators of that era. Thank you, Diana Schutz, for bringing those creators together!

In her editorial, Schutz says a little about the intent behind the issue: "In the original run of Jonny Quest, ... we never did learn how Race Bannon came to be a part of the Quest team -- nor was mention ever made of Jonny's mother." Messner-Loebs's stort amends those gaps.

Jonny's mother is introduced as a lively counterbalance to his more sober and studious father. She becomes ill and lapses into a coma, and Bannon is an agent assigned to protect the family from terrorists. There are several extremely touching scenes in the comic focusing on Judith Waterston and her relationship with her husband and son, particularly pages 7, 11, and 17. Bannon's first impression, then, though heroic, is as sympathetic and comical as it is strong or powerful in its intent (p. 19).

For the most part, Pini and Staton's artwork stays true to the cartoon character designs and overall style, but occasional glimpses of their other work pops through here and there. This isn't Elfquest or E-Man, but I love that those two creators had their hands at this series.

The issue also includes a pinup by Adam Kubert and a two-page letter column containing seven letters of comment. One of those letters was penned by T.M. Maple.

Availability: This comic has not been collected. We also recommend the original cartoon.

Sunday, November 17, 2019

The Story Thus Far...

Captain Thunder and Blue Bolt Vol. 2 #2 (Hero Graphics, November 1992, $3.50)
"Hard Targets" Writers/Creators: Roy and Dann Thomas, Artist: E.R. Cruz, Letterer: Jean Simek, and Editor: Dennis Mallonee.

This is an impressive comic book published by a Long Beach, California-based imprint that also published Windraven Adventures, Tigress, Murcielaga She Bat, and Flare. The "Back Issue Department" on the inside back cover suggests that there were 10 issues in the first volume of this series, and the inside front cover is dedicated to a full page of text, "The Story Thus Far..." so a lot has come before this issue.

Story aside -- and I'll return to that below -- this comic book is beautiful. Absolutely beautiful. Cruz's black-and-white artwork is crisp and stunning, a real find in a little-known (to me) comic like this. His extremely finely inked illustrative style would be at home almost anywhere: commercial and book illustration, pulp fiction magazines, sf digests, even the horror magazines of the '70s. What a wonderful surprise. Cruz is a Filipino artist who did a lot of mystery and war comics for DC in the '70s and '80s. Most of his work seems to be centered on G.I. Combat, House of Mystery, and The Unexpected. He is a wonderful artist, and this book is worth checking out just for that -- astonishingly detailed black-and-white comics. Pages 13, 19-20, and 26 are particularly impressive.

The story by Roy and Dann Thomas, a husband and wife team, then, is worthy of Cruz's artwork. Captain Thunder and his son are after the Merchants of Menace, causing the villains' plane to crash and catching its leader as he parachutes to safety. He leads the two heroes to a secret compound, where he bargains away the other Merchants before unleashing some sort of monstrosity, a "living vacuum cleaner," an energy-siphoning Mantis-Tank dubbed the Critical Mass.

Blue Bolt's energy is drained and Captain Thunder trapped in the construct. The issue ends with Blue Bolt revitalized and about to attempt a rescue. Even newcomers to the series and involved plot line will be impressed by Cruz's artwork, the highlight of the issue. Apparently, there was no #3.

Availability: This issue has not been collected. We recommend Alter Ego: The Best Of The Legendary Comics Fanzine and The Best of Alter Ego Vol. 2.

Saturday, November 16, 2019

Science Fiction and the Supernatural

Forbidden Worlds #65 (American Comics Group, April 1958, 10 cents)
"There's a New Moon Tonight" Pencils and inks: Ogden Whitney, and Script: Richard Hughes.

While the main story in this issue is squarely science fiction, the other short pieces are more supernatural in scope. The 15-page lead piece tells the tale of aerospace scientist and MIT alumnus Ben Widdemer, who leaves behind the mechanical toys of Precision Plastics Inc. to respond to the Soviet launch of Sputnik and "reach for the moon." He falls for liaison agent Mary Simmons, in reality a Russian operative named Olga Kurilenko.

Widdemer's satellite New Moon can accommodate him as a passenger, and Simmons declares her love for him while holding a bomb in her hand. The satellite goes out of control and lands on a strange, bleak planet, where Widdemer meets the survivors of an alien race who plan a mass invasion of Earth. Their invasion is not successful.

The one-page "Wartime Episode" (Pencils and inks: John Forte) reunites a 2-year-old boy with his parents many years later. In the uncredited four-page "No Place to Hide," perhaps the best story in the issue, an erstwhile embezzler is kept from committing his crime. The uncredited one-page "What's the Answer?" is a time-traveling tale of ghostly medical attention. And the five-page "Return of a Hero" (Pencils and inks: John Forte) brings a Hungarian hero back from the dead to lend a hand in the rebellion against Communism.

The issue also includes a two-page letter column.

Availability: Dark Horse offers several collections (Forbidden Worlds Archives Vol. 1, Vol. 3), as does PS Publishing (Forbidden Worlds Collected Works Vol. 4Vol. 5, Vol. 6) and Gwandanaland (Forbidden Worlds Readers Giant #2 and Forbidden Worlds Readers Giant #3).

Shaolin, Kung Fu, and Samurai

The Beast Warriors of Shaolin #3 (Pied Piper, September 1987, $1.95)
"Come Lady Death" Scripter/Creator: Peter Quinones, Penciller/Creator: Glen Johnson, Inker: Marty Lasick, Letterer: JoAnn Nielsen, Editor-in-Chief: Roger McKenzie.

Published by Grand Rapids, Michigan-based Pied Piper Comics, this title joined other comics such as Ex-Mutants, Power Factor, and The New Breed. With occasionally manga-inspired artwork, the comic focuses on martial arts Beast Warriors named Phan-Ku, or Dragon; as well as Tiger, Snake, Crane, Bear, and Mongoose.

The issue opens with Dragon engulfed in flame. Crane rescues him. To the south, Bear and Mongoose stop at an inn to quench their thirsts. There, Mongoose is drugged and Bear must face Dim-Mak, "iron palm master of the delayed death touch" alone. He succumbs in combat but regains consciousness with Mongoose.

A dragon comes to Phan-Ku, and Mongoose falls into the clutches of Na-Ling, advisor to Princess Kuan-Yin and employer of Dim-Mak, assigning him to procure the Beast Warriors's bones, which are said to contain magic and be quite valuable.

I was initially confused reading this issue because Princess Kuan-Yin looks a lot like Snake, and it seemed that the friends and enemies in the title are awfully closely aligned already. Regardless, I'm sure the previous issues set up this edition well and that things were much more clear for longer-term readers.

This issue also includes an eight-page preview of the then-forthcoming first issue of The New Breed, the "world's greatest mutant mag." Written by Publisher Mark L. Hamlin and Editor-in-Chief Roger McKenzie, and drawn by Jeremie Johnson, the preview takes place in the year 2990 and establishes the threat of the ratbeasts, which are attacking a wooden fort that protects the holy seed. The New Breed is introduced as characters in five profile pages draw by Johnson and Scott Rosema.

Other than its Midwestern origin and relationship to Ex-Mutants, there's not a lot to keep this reader, with either the Beast Warriors or the New Breed. A fourth issue was never printed, so perhaps The New Breed never hit the stands, either. A one-page directory of authorized direct distributors lists 16 distributors, including Capital City, Heroes' World, Friendly Frank's, and Styx.

Availability: This title has not been collected.

Deathlok and the Cosmic Cube

Captain America #288 (Marvel, December 1983, 60 cents)
"Mazes" Scripter: J.M. DeMatteis, Penciler: Mike Zeck, Inker: John Beatty, Colorist: Bob Sharen, Letterer: Diana Albers, Editor: Mark Gruenwald, and Editor in Chief: Jim Shooter.

Captain America is a decade in the future, following his guide Godwulf with the cyborg Deathlok through the streets of New York City circa 1993. They witness the aftermath of a corporate takeover of the United States by Roxxon Oil and the Brand Corporation, its clandestine group the Nth Command sending the country's superheroes into "hostile realities" to kill them, ridding the world of heroes.

Some pockets of humanity found safety from the warring factions and the madman Hellinger. Godwulf leads the two to a group of his friends, including Sage, Swashbuckler, Gentle Sam, Big Man, and Iron Butterfly, who carries a guitar strapped to her back.

Hellinger is in fact Harlan Ryker, a Brand researcher who focused on bionics and cybernetics, creating Deathlok out of Luther Manning. Godwulf's friends and other survivors rally around Deathlok and Captain America to take the fight to Hellinger, now a cyborg himself.

They arrive at his headquarters in upstate New York and gain entrance to his fortress, where they encounter an automated, ever-changing maze. Only Captain America and Deathlok make it through the labyrinth to face Hellinger.

DeMatteis's script is exposition heavy, which is necessary to situate the issue. While I haven't read the other comics in this storyline, there's a lot of potential here, and the idea reminds me of the "Days of Future Past" storyline in The Uncanny X-Men. Zeck's artwork is strong, and the large panel featuring Hellinger on page 19 is excellent. It'd be worth seeing where this storyline started -- and what repercussions it'll have on life back in 1983, especially given Scarlet's hypnotic kiss with Nomad.

The issue also includes ads for ABC and NBC's Saturday morning cartoon lineups, Victory Games's James Bond role-playing game, TSR's Star Frontiers, and a letter column featuring four letters of comment.

Read Also: Marvel Spotlight #33 and Marvel Two-in-One #27.

Availability: This issue is collected in Marvel Masterworks: Deathlok Vol. 1 and Deathlok the Demolisher: The Complete Collection.

Thursday, November 14, 2019

Mystery Men and Comics History

All-Star Squadron #3 (DC, November 1981, 60 cents)
"The Dooms of Dark December" Writer/Co-Creators/Penciller: Roy Thomas and Rich Buckler, Embellisher: Jerry Ordway, Letterer: John Costanza, Colorist: Carl Gafford, Editor: Len Wein.

The conclusion of the All-Stars's first mission finds the team—comprising Johnny Quick, Robotman, Libery Belle, and others—on the parallel world Earth-Two in late 1941. Per Degaton has traveled back in time with a group of cronies to engineer a pre-emptive Japanese attack on northern and southern California. Safe in his sub-oceanic carrier, he revels in the defeat of the Justice Society of America on an active volcanic island in the Pacific.

The Shining Knight and geologist Danette Reilly have infiltrated Degaton's submarine and face Wotan, Professor Zodiak, and Solomon Grundy. They escape and return with the All-Stars just as hypnotized pilots approach Monterey, California. Hawkman, Robotman, and Johnny Quick fend them off, and the JSA is revived by the Spectre to square off against Grundy and the others, who are soon returned to their own times as Degaton flees.

Even isolated from the first two issues, Thomas's story holds up reasonably well as a standalone, and Buckler and Ordway's artwork is solid, if not surprising. Page layouts often incorporate smaller panels—seven or eight per page—and the image of the Spectre looking above the active volcano on page 21 is wonderful. Thomas's retelling of Degaton's gathering of the other villains from across time—Wotan from the late '40s, Zodiak from 1948, Grundy from 1947, so so on—establishes some sympathy for the lesser criminals, mere pawns out of time, "expendable," even, in Degaton's plans.

The issue also includes a Red Tornado Hostess Cup Cake ad ("My computer brain informs me we must bait the Vacuum Vulture with something dark and delicious.") and a "Super-Villain Fact File" profiling Grundy, Zodiak, Wotan, and Sky Pirate. Page five includes an off-hand mention of King Canute, king of Denmark, England, and Norway, referring to the legend of King Canute and the tide, which in later tellings portrays him as a deluded monarch who believes he has supernatural powers.

Availability: This issue is included in Showcase Presents: All-Star Squadron Vol. 1.

Thursday, January 03, 2019

Resonant of Poe

The House of Secrets #149 (DC, December/January 1977/1978, 35 cents)
"The Rain Dance" Editing/Plot: Paul Levitz, Story: J. Cheever Loophole, Art: Bill Draut, Color: Liz Berube.

This eight-page story, following a one-page bookend drawn by Michael Golden, was written by Michael Uslan using a pseudonym. Racist residents of a small town in the supposed midwest go into the mountains to invade an Indian village and persuade the medicine man to help their struggling crops.

The shaman reluctantly dances, bringing on a rain of blood, as well as a large vampire bat—captured well on the cover by Mike Kaluta. The "blood-sucking spirit of death" targets the old and young, as well, prompting the townies to try to destroy the bat with fire. Instead, they destroy their town.

"The Evil One" Story: Jack Oleck, Art: Ricardo Villamonte, Color: Liz Berube, Editing: Paul Levitz.

Another eight pager, this story tells the tale of Paul Craven. After his uncle kills his father and gets away with the crime, the young man is raised by the "old miser." Seeking the assistance of Old Peg, a local witch, Craven eventually summons Satan and acquires his assistance killing his uncle in such a way that "no one will ever find his corpse."

The ending is a little resonant of Poe. When authorities find a body, Craven thinks it's his uncle and confesses. But, the body isn't his uncle's—it's someone else entirely, and Craven is institutionalized.

Publisher Jenette Kahn's publishorial "It's a Mystery..." discusses the late-'70s resurgence of horror and suspense titles. Bob Layton is featured in a DC Profile. A one-page "The House of Secrets Speaks" lettercol features four letters of comment.

Availability: Chances are good that this issue's material is included in House of Secrets: The Bronze Age Omnibus Vol. 1.