This is a Media Diet Comics Commentary video review of Juggernaut #1-3 (Marvel, November 2020-January 2021). Unscripted, unedited. Just a guy talking about comics.
Transcript below...
Showing posts with label Marvel. Show all posts
Showing posts with label Marvel. Show all posts
Thursday, November 26, 2020
Wednesday, November 25, 2020
Comics Commentary: Conan the Barbarian Comics
This is a Media Diet Comics Commentary video review of Conan the Barbarian #14-15 (Marvel, May and December 2020) and The Cimmerian: People of the Black Circle (Ablaze, 2020). Unscripted, unedited. Just a guy talking about comics.
Transcript below...
Monday, November 23, 2020
Comics Commentary: Vacation Grab Bag
This is a Media Diet Comics Commentary video review of Action Comics #1025 (DC, November 2020), The Amazing Spider-Man #42 (Marvel, May 2020), Avengers #36 (Marvel, November 2020), and Detective Comics #1028 (DC, December 2020). Unscripted, unedited. Just a guy talking about comics.
Transcript below...
Friday, November 20, 2020
Sunday, November 15, 2020
Saturday, November 16, 2019
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.
"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.
"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, May 31, 2018
Fandom at Its Finest
Marvel Tales #146 (Marvel, December 1982, 60 cents)
"The Man Called Electro" Written by: Stan Lee, Illustrated by: Steve Ditko, Lettered by: Art Simek, Colored by: Andy Yanchus.
Yep, this is the same comic as Spider-Man Classics #10, reprinted 12 years prior. I actually prefer the Marvel Tales reprints because of the color and paper combination—the palette is closer to that of the original comics. Also, later reprints are often reprints of earlier reprints—rather than the original comic. (For example, check p. 1 of this issue and of Spider-Man Classics #10, and look for the reprint notice caption box. In the latter comic, they kept the box but nixed the text!)
The letter column is awesome... people commenting on 1960s comics based on the '80s reprints. This is fandom at its finest.
Read Also: Marvel Tales #145.
"The Man Called Electro" Written by: Stan Lee, Illustrated by: Steve Ditko, Lettered by: Art Simek, Colored by: Andy Yanchus.
Yep, this is the same comic as Spider-Man Classics #10, reprinted 12 years prior. I actually prefer the Marvel Tales reprints because of the color and paper combination—the palette is closer to that of the original comics. Also, later reprints are often reprints of earlier reprints—rather than the original comic. (For example, check p. 1 of this issue and of Spider-Man Classics #10, and look for the reprint notice caption box. In the latter comic, they kept the box but nixed the text!)
The letter column is awesome... people commenting on 1960s comics based on the '80s reprints. This is fandom at its finest.
Read Also: Marvel Tales #145.
Wednesday, May 30, 2018
As Perfect as Comics Can Be
Spider-Man Classics #5 (Marvel, August 1993, $1.25)
"Nothing Can Stop the Sandman!" By: Stan Lee and Steve Ditko, Coloring: Andy Yanchus.
This comic reprints Amazing Spider-Man #4, a 29-page story that introduces the Sandman. After being frustrated by a handful of hoodlums who've "got larceny written all over you" but don't actually commit a crime, Spider-Man approaches a man climbing up a fire escape ladder—only to meet the Sandman. His mask torn in the scuffle, Peter Parker has to get away so he isn't recognized.
The Sandman robs a bank, and a news announcer recounts his origin on the TV news. On the run from the police, the villain hides in a nearby high school, where he again meets Spider-Man, who tricks and traps the criminal.
Lee and Ditko's early Spider-Man issues are about as perfect as comics can be. They've been reprinted widely over the years, and this series—while worth reading—is no better than the Marvel Tales reprints. Chris Marrinan contributed a new cover for the newsstand, and the original cover is reproduced after the story. The new cover doesn't make the comic any better, and the color-paper combination is not as strong as Marvel Tales.
Regardless, what a comic!
"Nothing Can Stop the Sandman!" By: Stan Lee and Steve Ditko, Coloring: Andy Yanchus.
This comic reprints Amazing Spider-Man #4, a 29-page story that introduces the Sandman. After being frustrated by a handful of hoodlums who've "got larceny written all over you" but don't actually commit a crime, Spider-Man approaches a man climbing up a fire escape ladder—only to meet the Sandman. His mask torn in the scuffle, Peter Parker has to get away so he isn't recognized.
The Sandman robs a bank, and a news announcer recounts his origin on the TV news. On the run from the police, the villain hides in a nearby high school, where he again meets Spider-Man, who tricks and traps the criminal.
Lee and Ditko's early Spider-Man issues are about as perfect as comics can be. They've been reprinted widely over the years, and this series—while worth reading—is no better than the Marvel Tales reprints. Chris Marrinan contributed a new cover for the newsstand, and the original cover is reproduced after the story. The new cover doesn't make the comic any better, and the color-paper combination is not as strong as Marvel Tales.
Regardless, what a comic!
Tuesday, May 29, 2018
Early Adventures
Spider-Man Saga #1 (Marvel, November 1991, $2.95)
Written: Glenn Herdling, Colored: Renee Witterstaetter, Cover: Steve Lightle.
Herdling's the guy to write this summary comic, for sure. Even though he was more of a Hulk fan than a Spider-Man reader, he first encountered Spidey in Marvel Team-Up #27—and later served as Jim Salicrup's assistant on the Spider-Man books. As such, he researched all of the character's early adventures in Marvel Tales and Marvel Masterworks, as well as via the Official Marvel Index to the Amazing Spider-Man.
This issue, the first of four, covers the history of the comic up to #100. More similar to The Marvel Saga series' design and layout than Secret Invasion Saga, the comic combines summary text and exposition with panel reproductions. The art draws on work done by Steve Ditko, John Romita, John Buscema, Don Heck, Fred Hembeck, and others.
Overall, it's an easy read. While slow and patchy in parts—not all years of a comic's run will be important or interesting years, and not all runs have key issues—the panel reproductions are particularly worthwhile. My one recommendation for future Saga projects is that panel art be credited with issue number references. Comics like this could inspire back issue sales, as well as digital comic sales.
I don't think a comic like this would work today, however; such information is more freely available. But as a way to catch up on a character's history, as a way to dive right in, this is a wonderful resource. Regardless, I'd rather read the actual comics.
Availability: This comic has not been collected. We recommend Amazing Spider-Man: Official Index to the Marvel Universe.
Written: Glenn Herdling, Colored: Renee Witterstaetter, Cover: Steve Lightle.
Herdling's the guy to write this summary comic, for sure. Even though he was more of a Hulk fan than a Spider-Man reader, he first encountered Spidey in Marvel Team-Up #27—and later served as Jim Salicrup's assistant on the Spider-Man books. As such, he researched all of the character's early adventures in Marvel Tales and Marvel Masterworks, as well as via the Official Marvel Index to the Amazing Spider-Man.
This issue, the first of four, covers the history of the comic up to #100. More similar to The Marvel Saga series' design and layout than Secret Invasion Saga, the comic combines summary text and exposition with panel reproductions. The art draws on work done by Steve Ditko, John Romita, John Buscema, Don Heck, Fred Hembeck, and others.
Overall, it's an easy read. While slow and patchy in parts—not all years of a comic's run will be important or interesting years, and not all runs have key issues—the panel reproductions are particularly worthwhile. My one recommendation for future Saga projects is that panel art be credited with issue number references. Comics like this could inspire back issue sales, as well as digital comic sales.
I don't think a comic like this would work today, however; such information is more freely available. But as a way to catch up on a character's history, as a way to dive right in, this is a wonderful resource. Regardless, I'd rather read the actual comics.
Availability: This comic has not been collected. We recommend Amazing Spider-Man: Official Index to the Marvel Universe.
Friday, May 25, 2018
The History of the Skrulls
Secret Invasion Saga (Marvel, April 2008, free)
This freebie context setter would have been useful while reading New Avengers: Illuminati and Incredible Hercules #120—and will be useful to anyone exploring or revisiting the Secret Invasion event from a decade ago. Written by John Rhett Thomas based on research done by Jeph York, the 32-page synopsis incorporates exposition in the form of a briefing compiled by SHIELD's Maria Hill for Iron Man, combined with reproduced art from the original comics.
The text is laid out in pretty horrible computer typography, but it's still interesting reading. The issue covers most of the history of the Skrulls, at least in terms of how it relates to the Secret Invasion storyline. The artwork, a mix of new and old—with some original work for the framing introduction—has been edited and recolored, so it's not entirely true to the original publications. Artists range from John Byrne to Jim Cheung, with plenty of creators in between.
Similar in style to Marvel Saga, this kind of approach to a forthcoming event is an interesting idea, akin to best-of books like Wolverine Vs. the Marvel Universe.
This freebie context setter would have been useful while reading New Avengers: Illuminati and Incredible Hercules #120—and will be useful to anyone exploring or revisiting the Secret Invasion event from a decade ago. Written by John Rhett Thomas based on research done by Jeph York, the 32-page synopsis incorporates exposition in the form of a briefing compiled by SHIELD's Maria Hill for Iron Man, combined with reproduced art from the original comics.
The text is laid out in pretty horrible computer typography, but it's still interesting reading. The issue covers most of the history of the Skrulls, at least in terms of how it relates to the Secret Invasion storyline. The artwork, a mix of new and old—with some original work for the framing introduction—has been edited and recolored, so it's not entirely true to the original publications. Artists range from John Byrne to Jim Cheung, with plenty of creators in between.
Similar in style to Marvel Saga, this kind of approach to a forthcoming event is an interesting idea, akin to best-of books like Wolverine Vs. the Marvel Universe.
Tuesday, May 22, 2018
Hit-Monkey
Deadpool #19-21 (Marvel, April-May 2010, $2.99)
"Whatever a Spider Can" Writer: Daniel Way, Penciler: Carlo Barberi, Inkers: Juan Vlasco and Sandu Florea, Colorist: Marte Gracia, Cover artist: Jason Pearson, Letterer: VC's Joe Sabino.
I'm not the biggest fan of Deadpool. I don't find the idea behind the character compelling, I don't often need Impossible Man or Ambush Bug-like comic book slapstick as a reader (although I like both those characters!), and I've avoided much of the character's publication history. Regardless, I sometimes dip into the comic to reaffirm whether my take remains the same. This three-issue Spider-Man crossover is actually worth reading.
It helps that Spider-Man is in the book. It also helps that... Hit-Monkey is in the book. Yes, Hit-Monkey. First appearing in an online comic that was later published in print—and then appearing in these three issues, as well as three-issue miniseries—Hit-Monkey is a little used character that could have longer legs. I hope we see more of him.
The cover to #20 is particularly fun, as is p. 14, and pp. 19-22 of that issue. In #21, p. 13 is wonderful. Way's writing is fun and light throughout, focusing primarily on gastrointestinal humor. "Why are you so sad?"
Read Also: Amazing Spider-Man #611 and Deadpool #10.
Availability: These issues were collected in Deadpool, Vol. 4: Monkey Business. We also recommend Hit-Monkey.
This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!
"Whatever a Spider Can" Writer: Daniel Way, Penciler: Carlo Barberi, Inkers: Juan Vlasco and Sandu Florea, Colorist: Marte Gracia, Cover artist: Jason Pearson, Letterer: VC's Joe Sabino.
I'm not the biggest fan of Deadpool. I don't find the idea behind the character compelling, I don't often need Impossible Man or Ambush Bug-like comic book slapstick as a reader (although I like both those characters!), and I've avoided much of the character's publication history. Regardless, I sometimes dip into the comic to reaffirm whether my take remains the same. This three-issue Spider-Man crossover is actually worth reading.
It helps that Spider-Man is in the book. It also helps that... Hit-Monkey is in the book. Yes, Hit-Monkey. First appearing in an online comic that was later published in print—and then appearing in these three issues, as well as three-issue miniseries—Hit-Monkey is a little used character that could have longer legs. I hope we see more of him.
The cover to #20 is particularly fun, as is p. 14, and pp. 19-22 of that issue. In #21, p. 13 is wonderful. Way's writing is fun and light throughout, focusing primarily on gastrointestinal humor. "Why are you so sad?"
Read Also: Amazing Spider-Man #611 and Deadpool #10.
Availability: These issues were collected in Deadpool, Vol. 4: Monkey Business. We also recommend Hit-Monkey.
This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!
Wednesday, May 16, 2018
Trial By Fire
Daredevil #511 (Marvel, December 2010, $2.99)
Writer: Andy Diggle, Art: Roberto De La Torre, Colors: Matt Hollingsworth, Letters: VC's Joe Caramagna, Cover Art: John Cassaday and Laura Martin.
Published during the fourth month of the Shadowland storyline, the story arc was already well underway, so this issue is kind of a trial by fire. In Hell's Kitchen, the Hand has withdrawn to their castle, and citizens are rioting. Mayor Jonah Jameson sends in the riot police as Dakota North, private investigator ("One side, jackholes!"), looks for Foggy Nelson in the crowd. She meets up with NYPD Detective Alex Kurtz, and they discuss what's been happening in the city—helpful exposition—before North remembers a friend needing help.
Wheelchair-bound Becky tries to get out of a building filling with gas fumes while Nelson bravely scales the walls and roof of the castle to save his friend Matt Murdock. North rescues Becky, but Nelson encounters the White Tiger (p. 19, last panel, meow!), who takes him before what seems to be a possessed Daredevil.
Despite its island in the stream nature as a standalone read, the issue is a fun read. De La Torre's art is grittily realistic and adequately dark for the subject matter, and the action passable without the longer story arc.
According to a U.S. Postal Service Statement of Ownership, Management, and Circulation in this issue, Marvel printed about 46,000 copies of each monthly issue of Daredevil in the 12 months leading up to Sept. 30, 2010.
Availability: This issue has been collected in Daredevil: Shadowland Omnibus and the trade paperback Daredevil: Shadowland. We also recommend the original Dakota North: Design for Dying miniseries.
This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!
Writer: Andy Diggle, Art: Roberto De La Torre, Colors: Matt Hollingsworth, Letters: VC's Joe Caramagna, Cover Art: John Cassaday and Laura Martin.
Published during the fourth month of the Shadowland storyline, the story arc was already well underway, so this issue is kind of a trial by fire. In Hell's Kitchen, the Hand has withdrawn to their castle, and citizens are rioting. Mayor Jonah Jameson sends in the riot police as Dakota North, private investigator ("One side, jackholes!"), looks for Foggy Nelson in the crowd. She meets up with NYPD Detective Alex Kurtz, and they discuss what's been happening in the city—helpful exposition—before North remembers a friend needing help.
Wheelchair-bound Becky tries to get out of a building filling with gas fumes while Nelson bravely scales the walls and roof of the castle to save his friend Matt Murdock. North rescues Becky, but Nelson encounters the White Tiger (p. 19, last panel, meow!), who takes him before what seems to be a possessed Daredevil.
Despite its island in the stream nature as a standalone read, the issue is a fun read. De La Torre's art is grittily realistic and adequately dark for the subject matter, and the action passable without the longer story arc.
According to a U.S. Postal Service Statement of Ownership, Management, and Circulation in this issue, Marvel printed about 46,000 copies of each monthly issue of Daredevil in the 12 months leading up to Sept. 30, 2010.
Availability: This issue has been collected in Daredevil: Shadowland Omnibus and the trade paperback Daredevil: Shadowland. We also recommend the original Dakota North: Design for Dying miniseries.
This issue comes from the Henry's Green Cape collection of comics. Thank you for your donation!
Wednesday, February 14, 2018
The Thick of the Action
John Carter, Warlord of Mars #1 (Marvel, June 1977, 30 cents)
"The Air-Pirates of Mars Chapter 1" Writer/Editor: Marv Wolfman, Artists: Gil Kane and Dave Cockrum, Letterer: Joe Rosen, Colorist: Glynis Wein.
This is not a mere adaptation of a novel by Edgar Rice Burroughs, also creator of Tarzan. Instead, according to the two-page text piece "Welcome Back, Carter," the creators found an empty spot in the existing narrative—a nine-year gap between paragraphs three and four in chapter 27 of A Princess of Mars (!!!)—and proceeded to fill it with their own stories. That is so very cool. Wolfman also writes about how he first became a fan of the character, how the licensed series came to be, and how he connected with Kane during his "halcyon days as a far-out fanzine editor."
While I haven't read A Princess of Mars, I look forward to seeing how this 28-issue series fits in. This issue, the first, starts in the thick of the action, as Carter hunts for Dejah Thoris, kidnaped from her castle in Helium. While fighting several Warhoon desperately using radium bullets, Carter recalls his origin—and how he came to Barsoom. He also remembers how he first met—and fell in love with Thoris—before defeating the Warhoon and reaching the heart of Zodanga, where she is held prisoner.
John Carter, Warlord of Mars #2 (Marvel, July 1977, 30 cents)
"From the Shadows... Stara-Kan!" Writer/Editor: Marv Wolfman, Pencils: Gil Kane, Inks: Rudy Nebres, Letters: John Costanza, Colors: Janice Cohen.
After rescuing Dejah Thoris and his friend Tars Tarkas, Carter sets out to investigate the city of Zodanga. He soon encounters a red man equipped with an equilibri-motor and brings him to ground, then taking him to Helium. The prisoner remains silent on the Pedestal of Truth in the Temple of Reward and soon handily escapes from his cell. "The replacement of my arm with this mechanical one was well worth it." Carter and Tars Tharkas go in search of the escapee but are accosted by the White Apes, who snag Thoris and down our heroes.
This is an excellent adventure series, well written and drawn, and drawn on some of the best source material possible. Well worth exploring!
Availability: These issues were collected in John Carter, Warlord of Mars Omnibus. We also recommend John Carter: Barsoom Series, which compiles all seven John Carter novels.
"The Air-Pirates of Mars Chapter 1" Writer/Editor: Marv Wolfman, Artists: Gil Kane and Dave Cockrum, Letterer: Joe Rosen, Colorist: Glynis Wein.
This is not a mere adaptation of a novel by Edgar Rice Burroughs, also creator of Tarzan. Instead, according to the two-page text piece "Welcome Back, Carter," the creators found an empty spot in the existing narrative—a nine-year gap between paragraphs three and four in chapter 27 of A Princess of Mars (!!!)—and proceeded to fill it with their own stories. That is so very cool. Wolfman also writes about how he first became a fan of the character, how the licensed series came to be, and how he connected with Kane during his "halcyon days as a far-out fanzine editor."
While I haven't read A Princess of Mars, I look forward to seeing how this 28-issue series fits in. This issue, the first, starts in the thick of the action, as Carter hunts for Dejah Thoris, kidnaped from her castle in Helium. While fighting several Warhoon desperately using radium bullets, Carter recalls his origin—and how he came to Barsoom. He also remembers how he first met—and fell in love with Thoris—before defeating the Warhoon and reaching the heart of Zodanga, where she is held prisoner.
John Carter, Warlord of Mars #2 (Marvel, July 1977, 30 cents)
"From the Shadows... Stara-Kan!" Writer/Editor: Marv Wolfman, Pencils: Gil Kane, Inks: Rudy Nebres, Letters: John Costanza, Colors: Janice Cohen.
After rescuing Dejah Thoris and his friend Tars Tarkas, Carter sets out to investigate the city of Zodanga. He soon encounters a red man equipped with an equilibri-motor and brings him to ground, then taking him to Helium. The prisoner remains silent on the Pedestal of Truth in the Temple of Reward and soon handily escapes from his cell. "The replacement of my arm with this mechanical one was well worth it." Carter and Tars Tharkas go in search of the escapee but are accosted by the White Apes, who snag Thoris and down our heroes.
This is an excellent adventure series, well written and drawn, and drawn on some of the best source material possible. Well worth exploring!
Availability: These issues were collected in John Carter, Warlord of Mars Omnibus. We also recommend John Carter: Barsoom Series, which compiles all seven John Carter novels.
Tuesday, February 13, 2018
A Nostalgic Journey
Fantasy Masterpieces #1 (Marvel, February 1966, 12 cents)
"Beware!! The Ghosts Surround Me!!" Plot: Stan Lee, Script: Larry Lieber, Pencils and inks: Don Heck, Letters: Artie Simek.
Originally published in Strange Tales #76, this six-page story tells the tale of an escaping thief in Transylvania who runs into aliens. They meet "at certain points along the dimensional barrier, [where] our would and yours meet!" The criminal takes cover in an old house and is captured by the police—or is he?
"I Found the Things from Nowhere" Plot: Stan Lee, Script Larry Lieber, Pencils and inks: Jack Kirby, Letters: Artie Simek.
This five-page piece originally appeared in Journey Into Mystery #60. A man watching baseball on TV experiences a technical glitch that accidentally tunes into not a science-fiction program but "something that's really happening!": some kind of alien battle. However, the scene he sees unfolding is not on another planet, but much closer to home than he realizes. Kirby's artwork is excellent, especially the first page and the first panel on p. 4.
"I Became a Human Robot!" Pencils and inks: Joe Sinnott.
A five pager that originally ran in Suspense #5, this story details the risks of implanting your alien brain in a robot's metallic frame. Sure, you'd enjoy the ability to "think and move and use its mechanical abilities" at first. But once you'd avoided "impending disaster," "saved the Earthling," and been deactivated for installation in a museum, what then?
"I Saw the Other World!" Script: Stan Lee, Pencils and inks: Dick Ayers, Letters: Dick Ayers.
Originally from Tales to Astonish #7, this four-page story—the shortest in the issue—focuses on a camera that seems to take pictures of "another dimension that exists side by side with ours!!" The photographer tries to make his case to passersby outside his home, but nobody believes him. Ayers artwork, while not depicting superheroes or action per se is still quite lively and dynamic. P. 3 is particularly strong.
"Those Who Change" Script: Stan Lee, Pencils and inks: Steve Ditko, Letters: Artie Simek.
This five-page story from Amazing Fantasy #10 is a compelling cautionary tale about the danger of time travel. To whit: Don't mess. Ditko's art is stellar, with too many highlights to list, and the punchline at the end is a laugh. A fun piece.
This is a beauty of a reprint book, "taking you on a nostalgic journey to yesterday's fantasy wonderland." The text-heavy introduction featuring Stan Lee on the inside front cover, while "cornball," draws straight lines between the older fantasy stories and then-current Marvel titles such as the Avengers, Fantastic Four, Captain America, Spider-Man, and Dr. Strange.
Availability: "I Found the Things from Nowhere" was reprinted in Monsters Vol. 1: The Marvel Monsterbus. "I Became a Human Robot" appeared in Marvel Masterworks: Atlas Era Tales of Suspense Volume 1. "I Saw the Other World!" was collected in Atlas Era Tales To Astonish Masterworks Vol. 1. "Those Who Change" ended up in Amazing Fantasy Omnibus.
"Beware!! The Ghosts Surround Me!!" Plot: Stan Lee, Script: Larry Lieber, Pencils and inks: Don Heck, Letters: Artie Simek.
Originally published in Strange Tales #76, this six-page story tells the tale of an escaping thief in Transylvania who runs into aliens. They meet "at certain points along the dimensional barrier, [where] our would and yours meet!" The criminal takes cover in an old house and is captured by the police—or is he?
"I Found the Things from Nowhere" Plot: Stan Lee, Script Larry Lieber, Pencils and inks: Jack Kirby, Letters: Artie Simek.
This five-page piece originally appeared in Journey Into Mystery #60. A man watching baseball on TV experiences a technical glitch that accidentally tunes into not a science-fiction program but "something that's really happening!": some kind of alien battle. However, the scene he sees unfolding is not on another planet, but much closer to home than he realizes. Kirby's artwork is excellent, especially the first page and the first panel on p. 4.
"I Became a Human Robot!" Pencils and inks: Joe Sinnott.
A five pager that originally ran in Suspense #5, this story details the risks of implanting your alien brain in a robot's metallic frame. Sure, you'd enjoy the ability to "think and move and use its mechanical abilities" at first. But once you'd avoided "impending disaster," "saved the Earthling," and been deactivated for installation in a museum, what then?
"I Saw the Other World!" Script: Stan Lee, Pencils and inks: Dick Ayers, Letters: Dick Ayers.
Originally from Tales to Astonish #7, this four-page story—the shortest in the issue—focuses on a camera that seems to take pictures of "another dimension that exists side by side with ours!!" The photographer tries to make his case to passersby outside his home, but nobody believes him. Ayers artwork, while not depicting superheroes or action per se is still quite lively and dynamic. P. 3 is particularly strong.
"Those Who Change" Script: Stan Lee, Pencils and inks: Steve Ditko, Letters: Artie Simek.
This five-page story from Amazing Fantasy #10 is a compelling cautionary tale about the danger of time travel. To whit: Don't mess. Ditko's art is stellar, with too many highlights to list, and the punchline at the end is a laugh. A fun piece.
This is a beauty of a reprint book, "taking you on a nostalgic journey to yesterday's fantasy wonderland." The text-heavy introduction featuring Stan Lee on the inside front cover, while "cornball," draws straight lines between the older fantasy stories and then-current Marvel titles such as the Avengers, Fantastic Four, Captain America, Spider-Man, and Dr. Strange.
Availability: "I Found the Things from Nowhere" was reprinted in Monsters Vol. 1: The Marvel Monsterbus. "I Became a Human Robot" appeared in Marvel Masterworks: Atlas Era Tales of Suspense Volume 1. "I Saw the Other World!" was collected in Atlas Era Tales To Astonish Masterworks Vol. 1. "Those Who Change" ended up in Amazing Fantasy Omnibus.
Friday, February 09, 2018
EC-Like Dynamism
Chamber of Darkness #2 (Marvel, December 1969, 15 cents)
"Forewarned Is Four-Armed!" Editor: Stan Lee, Script: Neal Adams and Roy Thomas, Art: Marie Severin, Inks: Herb Trimpe and Tom Sutton.
Hosted by Headstone P. Gravely, this horror anthology comic has never been collected. The opening seven-page story features the classic "insane man tells his story to the authorities" structure, with an expected—though still fun—twist. There are several art highlights, including the second panel on p. 1, the EC-like dynamism of p. 2's final panel, pp. 4-5 in their entirety, and the hands on the last panel of p. 6.
"The Face of Fear" Story by: Stan Lee, Script by: Archie Goodwin, Art by: Syd Shores, and Lettering by: Jean Izzo.
Long-haired Freddy Garricks sees a creepy face in the mirror while shaving and flees his parents' apartment, only to avoid a disastrous elevator mishap. Will he see the face again? Will he ever shave? Did the vision almost cause the accident, or avert it? Who dares speculate?
"The Day of the Red Death" Editor: Stan Lee, Scripter: Roy Thomas, Artist: Don Heck, Lettered by: Sam Rosen.
Hosted by none other than Smilin' Stan, who name drops Saki, Lovecraft, and Ambrose Bierce, this story updates an Edgar Allen Poe classic. Weaponized poison gas has "devastated the globe," and eight wealthy people—including the arms manufacturer responsible—play cards to determine who will be "king of a newborn planet." Six men vie for the affection of two surviving women until one of the men is overcome by guilt. The ending is fine comeuppance.
The stories are decent enough, and the art is fine—but this anthology comic falls a little flat. Regardless, I'm glad it existed. I wish there were more like it today.
Availability: This series has not been collected. Though dealing primarily with pre-Code horror comics, we recommend the books The Horror! The Horror!: Comic Books the Government Didn't Want You to Read! and Four Color Fear: Forgotten Horror Comics of the 1950s.
"Forewarned Is Four-Armed!" Editor: Stan Lee, Script: Neal Adams and Roy Thomas, Art: Marie Severin, Inks: Herb Trimpe and Tom Sutton.
Hosted by Headstone P. Gravely, this horror anthology comic has never been collected. The opening seven-page story features the classic "insane man tells his story to the authorities" structure, with an expected—though still fun—twist. There are several art highlights, including the second panel on p. 1, the EC-like dynamism of p. 2's final panel, pp. 4-5 in their entirety, and the hands on the last panel of p. 6.
"The Face of Fear" Story by: Stan Lee, Script by: Archie Goodwin, Art by: Syd Shores, and Lettering by: Jean Izzo.
Long-haired Freddy Garricks sees a creepy face in the mirror while shaving and flees his parents' apartment, only to avoid a disastrous elevator mishap. Will he see the face again? Will he ever shave? Did the vision almost cause the accident, or avert it? Who dares speculate?
"The Day of the Red Death" Editor: Stan Lee, Scripter: Roy Thomas, Artist: Don Heck, Lettered by: Sam Rosen.
Hosted by none other than Smilin' Stan, who name drops Saki, Lovecraft, and Ambrose Bierce, this story updates an Edgar Allen Poe classic. Weaponized poison gas has "devastated the globe," and eight wealthy people—including the arms manufacturer responsible—play cards to determine who will be "king of a newborn planet." Six men vie for the affection of two surviving women until one of the men is overcome by guilt. The ending is fine comeuppance.
The stories are decent enough, and the art is fine—but this anthology comic falls a little flat. Regardless, I'm glad it existed. I wish there were more like it today.
Availability: This series has not been collected. Though dealing primarily with pre-Code horror comics, we recommend the books The Horror! The Horror!: Comic Books the Government Didn't Want You to Read! and Four Color Fear: Forgotten Horror Comics of the 1950s.
In Search of a Phantom Submarine
Capt. Savage and His Leatherneck Raiders #2 (Marvel, March 1968, 12 cents)
"The Return of Baron Strucker!" Edited by: Stan Lee, Written by: Gary Friedrich, Drawn by: Dick Ayers, Inked by: Syd Shores, Lettered by: L.P. Gregory, Was here: Forbush.
This title, a Sgt. Fury and His Howling Commandos spinoff, lasted 19 issues—and might be one of my favorite comic series discovered in the last year. Friedrich and Ayers also helmed an even-shorter later spinoff, Combat Kelly and the Deadly Dozen, which lasted only nine issues. (I've yet to read that title.)
The issue opens with Capt. Savage watching his fellow marines during a training exercise: grizzled veteran Yaketty Yates, the French-accented and mustachioed Jacques La Rocque, former teacher Lee Baker, Native American wrestler Chief Jay Little Bear, and second in command Blarney Stone. Once done, they go in search of a phantom submarine sinking ships.
A Japanese team of soldiers, the Samurai Squadron, also searches for that mysterious sub, which turns out to be controlled by one Baron Strucker, the Supreme Hydra. As the marines and Japanese encounter a series of traps landing on the beach of a small island—"This place's got more dangers than Dracula's castle!"—Strucker remembers what brought him here. (This issue contains the origin of Hydra.)
Strucker's traps eventually bring the two landing forces face to face, each thinking the other country controls the threatening submarine. They fight for the rest of the issue, punctuated by relatively racist dialogue, before realizing that they share a common enemy in Strucker on the last page of the comic.
Friedrich's writing—though no longer appropriate in terms of racial sensitivity—is natural and smooth. And Ayers art is excellent. He might even be my favorite artist in recent months. I found the pacing and page balance even more impressive, with only two pages featuring more than six panels.
Read Also: Sgt. Fury and His Leatherneck Raiders #29.
Availability: Capt. Savage has not been collected. We recommend Essential Sgt. Fury and His Howling Commandos.
"The Return of Baron Strucker!" Edited by: Stan Lee, Written by: Gary Friedrich, Drawn by: Dick Ayers, Inked by: Syd Shores, Lettered by: L.P. Gregory, Was here: Forbush.
This title, a Sgt. Fury and His Howling Commandos spinoff, lasted 19 issues—and might be one of my favorite comic series discovered in the last year. Friedrich and Ayers also helmed an even-shorter later spinoff, Combat Kelly and the Deadly Dozen, which lasted only nine issues. (I've yet to read that title.)
The issue opens with Capt. Savage watching his fellow marines during a training exercise: grizzled veteran Yaketty Yates, the French-accented and mustachioed Jacques La Rocque, former teacher Lee Baker, Native American wrestler Chief Jay Little Bear, and second in command Blarney Stone. Once done, they go in search of a phantom submarine sinking ships.
A Japanese team of soldiers, the Samurai Squadron, also searches for that mysterious sub, which turns out to be controlled by one Baron Strucker, the Supreme Hydra. As the marines and Japanese encounter a series of traps landing on the beach of a small island—"This place's got more dangers than Dracula's castle!"—Strucker remembers what brought him here. (This issue contains the origin of Hydra.)
Strucker's traps eventually bring the two landing forces face to face, each thinking the other country controls the threatening submarine. They fight for the rest of the issue, punctuated by relatively racist dialogue, before realizing that they share a common enemy in Strucker on the last page of the comic.
Friedrich's writing—though no longer appropriate in terms of racial sensitivity—is natural and smooth. And Ayers art is excellent. He might even be my favorite artist in recent months. I found the pacing and page balance even more impressive, with only two pages featuring more than six panels.
Read Also: Sgt. Fury and His Leatherneck Raiders #29.
Availability: Capt. Savage has not been collected. We recommend Essential Sgt. Fury and His Howling Commandos.
Wednesday, February 07, 2018
Age-Appropriate Adventures
Spidey Super Stories #2 (Marvel, November 1974, 35 cents)
"In the Hands of the Hunter" Writer: Jean Thomas; Artists: Winslow Mortimer, Don Heck, and Mike Esposito; Editor: Roy Thomas; Art Director: John Romita. (13 pages)
Presented by Marvel Comics and The Electric Company, a production of the Children's Television Workshop, this ad-free (!!!) comic book aimed at readers age 6-10 was based on the recurring live-action skit featured on the TV show. It ran 57 issues between 1974 and 1982, living beyond the skit on TV—which ended in 1976-1977.
Written by Jean Thomas, who also wrote Night Nurse, the comic book was thoroughly vetted by the CTW to be sure it was true to the TV show, was age appropriate in terms of content and reading level, and featured female characters. In early issues, a story adapted one of the TV segments, and in many issues, Spider-Man was paired with a well-known Marvel hero or villain to introduce that character to younger readers and viewers. (Similar to the Marvel Heroes and Marvel Ultimate Spider-Man magazines published by Redan today.)
In this issue, Spidey and Jennifer of the Jungle encounter Kraven the Hunter after a film shoot. Kraven takes the web slinger prisoner, and Jennifer—with her friend Paul the Gorilla—go to rescue him. The writing is very simple, and the artwork larger-paneled (most pages with fewer than six panels)—but not quite coloring-book basic.
In the five-page "very short comic book ... as seen on The Electric Company" story "Spidey Vs. Mr. Measles," Spider-Man "meets the meanest menace of all," a man plans to throw spots at people so they get the measles. "Then everybody will have to stay in bed... in the dark, where they can't read!"
"The Long Arms of the Law-Breaker" (12 pages) pits Spidey against Doctor Octopus. The issue also features several one-page items: "The Secrets of Spider-Man's Costume," "Let's Pay a Visit to Peter Parker's Place," "Let's See Some More of Peter Parker's Place," and "Reader Vs. Speeder," which features Electric Company character Easy Reader.
"In the Hands of the Hunter" Writer: Jean Thomas; Artists: Winslow Mortimer, Don Heck, and Mike Esposito; Editor: Roy Thomas; Art Director: John Romita. (13 pages)
Presented by Marvel Comics and The Electric Company, a production of the Children's Television Workshop, this ad-free (!!!) comic book aimed at readers age 6-10 was based on the recurring live-action skit featured on the TV show. It ran 57 issues between 1974 and 1982, living beyond the skit on TV—which ended in 1976-1977.
Written by Jean Thomas, who also wrote Night Nurse, the comic book was thoroughly vetted by the CTW to be sure it was true to the TV show, was age appropriate in terms of content and reading level, and featured female characters. In early issues, a story adapted one of the TV segments, and in many issues, Spider-Man was paired with a well-known Marvel hero or villain to introduce that character to younger readers and viewers. (Similar to the Marvel Heroes and Marvel Ultimate Spider-Man magazines published by Redan today.)
In this issue, Spidey and Jennifer of the Jungle encounter Kraven the Hunter after a film shoot. Kraven takes the web slinger prisoner, and Jennifer—with her friend Paul the Gorilla—go to rescue him. The writing is very simple, and the artwork larger-paneled (most pages with fewer than six panels)—but not quite coloring-book basic.
In the five-page "very short comic book ... as seen on The Electric Company" story "Spidey Vs. Mr. Measles," Spider-Man "meets the meanest menace of all," a man plans to throw spots at people so they get the measles. "Then everybody will have to stay in bed... in the dark, where they can't read!"
"The Long Arms of the Law-Breaker" (12 pages) pits Spidey against Doctor Octopus. The issue also features several one-page items: "The Secrets of Spider-Man's Costume," "Let's Pay a Visit to Peter Parker's Place," "Let's See Some More of Peter Parker's Place," and "Reader Vs. Speeder," which features Electric Company character Easy Reader.
Wednesday, January 24, 2018
Merely Doom's Puppet
Super-Villain Team-Up #3 (Marvel, December 1975, 25 cents)
"If Vengeance Fails!" Writer: Jim Shooter, Artist: George Evans, Inker: Jack Abel, Letterer: Ray Holloway, Colorist: Ellen Vartanoff, Editor: Marv Wolfman.
While I understand that Prince Namor, the Savage Sub-Mariner, is an antihero and occasional foil for other Marvel heroes, I can't quite buy that he is a super-villain, per se. So a book featuring super villains—and starring Namor—seems a bit strange to me. As does a team-up book pairing him with Dr. Doom, who is definitely a super-villain. So I'm curious about the business reasons inspiring this book—because the creative inspiration isn't entirely clear. The series lasted 17 issues.
After killing Billy Dean, Namor's lover, Dr. Dorca becomes the object of the Sub-Mariner's ire. Tiger Shark and Attuma attack Namor in turn before Dr. Doom arrives. Doom downs the trio of foes ("I... had forgotten! You seek to ally yourself to the Prince of Atlantis!") and the two retreat to Doom's amphibious skycraft—and then Castle Latveria—to regroup. Healed and refreshed by a chemical brine-bath, Namor discusses an attack on Hydrobase with Doom.
They attack, and the Sub-Mariner frees the hostage amphibians before tracking down Tamara, who was being questioned. The battle is hard fought, and p. 26 is quite impressive. Evans's artwork is decent enough, but it is Abel's inks that make the issue worthwhile visually. The issue also includes a one-page letter column, "Bad Tidings."
Read Also: Super-Villain Team-Up #2.
"If Vengeance Fails!" Writer: Jim Shooter, Artist: George Evans, Inker: Jack Abel, Letterer: Ray Holloway, Colorist: Ellen Vartanoff, Editor: Marv Wolfman.
While I understand that Prince Namor, the Savage Sub-Mariner, is an antihero and occasional foil for other Marvel heroes, I can't quite buy that he is a super-villain, per se. So a book featuring super villains—and starring Namor—seems a bit strange to me. As does a team-up book pairing him with Dr. Doom, who is definitely a super-villain. So I'm curious about the business reasons inspiring this book—because the creative inspiration isn't entirely clear. The series lasted 17 issues.
After killing Billy Dean, Namor's lover, Dr. Dorca becomes the object of the Sub-Mariner's ire. Tiger Shark and Attuma attack Namor in turn before Dr. Doom arrives. Doom downs the trio of foes ("I... had forgotten! You seek to ally yourself to the Prince of Atlantis!") and the two retreat to Doom's amphibious skycraft—and then Castle Latveria—to regroup. Healed and refreshed by a chemical brine-bath, Namor discusses an attack on Hydrobase with Doom.
They attack, and the Sub-Mariner frees the hostage amphibians before tracking down Tamara, who was being questioned. The battle is hard fought, and p. 26 is quite impressive. Evans's artwork is decent enough, but it is Abel's inks that make the issue worthwhile visually. The issue also includes a one-page letter column, "Bad Tidings."
Read Also: Super-Villain Team-Up #2.
Friday, January 12, 2018
To Topple the Kingpin
The Punisher Magazine #11-12 (Marvel, June-July 1990, $2.25)
I don't understand why they published The Punisher Magazine. I always thought the reason to go magazine format was to bypass restrictions from the Comics Code Authority, to do things you couldn't do in a comic book. You also benefit from a larger page size and the rich moodiness enabled by black and white on newsprint—perfect for horror and adventure.
As Marvel's answer to Mack Bolan, the Punisher seemed ripe for a more mature newsstand magazine, like the mid-'80s Savage Tales. But this wasn't it. Instead, the magazine reprinted issues of the comic book (these two issue reprint #15-18). That's fine—the comic's not bad—but colored artwork isn't always well suited for black-and-white reproduction, and Portacio's art is a little hash-marky for B&W.
#11: "To Topple the Kingpin" Script: Mike Baron, Layout: Whilce Portacio, Finishes: Scott Williams, Letters: Ken Bruzenak, Editor: Carl Potts, Under a Heavy Load: Tom DeFalco.
The Punisher goes after the Kingpin after routing a youth gang in a high school. Building his own Able Team, he enlists the help of Microchip ("Buckminster Fuller's my idol."), a high school student, a chemistry teacher, and too-fleeting love interest Conchita Ortiz. Meanwhile, the Kingpin brings in the specialist Mr. Kliegg.
"Escalation" Script: Mike Baron, Layout: Whilce Portacio, Finished Art: Scott Williams, Letters: Ken Bruzenak, Editor: Carl Potts, Editor with Ammo: Tom DeFalco.
Kliegg is quickly defeated, so the Kingpin turns to a high-school computer hacker, the Board, who discovers the computer bug planted by Microchip. The team takes their fight to the King's Inn, a hotel in which the Kingpin has momentarily moved his operations. "The Kingpin's got some kind of battle bus!"
The issue also includes a one-page pin up by Dan Reed, and a letter column, "Shoot Your Mouth Off!"
Read Also: The Punisher Magazine #6, 9, and 10. (Unless the issue reference captions went un-edited from the original comics, in which case, read also The Punisher #6, 9, and 10.)
I don't understand why they published The Punisher Magazine. I always thought the reason to go magazine format was to bypass restrictions from the Comics Code Authority, to do things you couldn't do in a comic book. You also benefit from a larger page size and the rich moodiness enabled by black and white on newsprint—perfect for horror and adventure.
As Marvel's answer to Mack Bolan, the Punisher seemed ripe for a more mature newsstand magazine, like the mid-'80s Savage Tales. But this wasn't it. Instead, the magazine reprinted issues of the comic book (these two issue reprint #15-18). That's fine—the comic's not bad—but colored artwork isn't always well suited for black-and-white reproduction, and Portacio's art is a little hash-marky for B&W.
#11: "To Topple the Kingpin" Script: Mike Baron, Layout: Whilce Portacio, Finishes: Scott Williams, Letters: Ken Bruzenak, Editor: Carl Potts, Under a Heavy Load: Tom DeFalco.
The Punisher goes after the Kingpin after routing a youth gang in a high school. Building his own Able Team, he enlists the help of Microchip ("Buckminster Fuller's my idol."), a high school student, a chemistry teacher, and too-fleeting love interest Conchita Ortiz. Meanwhile, the Kingpin brings in the specialist Mr. Kliegg.
"Escalation" Script: Mike Baron, Layout: Whilce Portacio, Finished Art: Scott Williams, Letters: Ken Bruzenak, Editor: Carl Potts, Editor with Ammo: Tom DeFalco.
Kliegg is quickly defeated, so the Kingpin turns to a high-school computer hacker, the Board, who discovers the computer bug planted by Microchip. The team takes their fight to the King's Inn, a hotel in which the Kingpin has momentarily moved his operations. "The Kingpin's got some kind of battle bus!"
The issue also includes a one-page pin up by Dan Reed, and a letter column, "Shoot Your Mouth Off!"
Read Also: The Punisher Magazine #6, 9, and 10. (Unless the issue reference captions went un-edited from the original comics, in which case, read also The Punisher #6, 9, and 10.)
Subscribe to:
Posts (Atom)
Posts
