Sgt. Fury and His Howling Commandos #30 (Marvel, May 1966, 12 cents)
"Incident in Italy!" Editing: Stan Lee, Writing: Roy Thomas, Art: Dick Ayers, Delineation: John Tartaglione, Lettering: Sam Rosen.
The character Nick Fury has had a long and prosperous history in the Marvel universe, and this early pre-SHIELD incarnation is a strong bridge between the war comics of the past and the superhero comics—as well as movies and TV—of today. Largely a team book similar to DC's Blackhawk, Fury is accompanied by a group of soldiers as diverse as America itself, including Italian-American Dino Manelli.
This issue finds the Commandos parachuting into Italy to help fight Mussolini and the fascists. They surrender and are taken to a prisoner of war camp, where they meet their contact Major Carlo, a partisan and, as chance would have it, Mussolini's cousin. With the help of the beautiful Sophia, the Commandos plot to appropriate some stolen treasure buried on a farm.
A few Commandos get the spotlight: British Pinkerton gets handy with his umbrella; the southerner Ralston shoots down a dive bomber; and Manelli translates some documents and gets the girl, pledging to cast her in a movie—perhaps Boy on a Dolphin? The issue also features a two-page letter column.
Thursday, November 30, 2017
Wednesday, November 29, 2017
The Greatest Elephant Show Ever
Baby Snoots #1 (Gold Key, August 1970, 15 cents)
This uncredited comic book is one of Gold Key's non-licensed, original titles. It features Baby Snoots, a young elephant in a diaper and bonnet reminiscent of Harvey's Baby Huey and perhaps inspired by Fanny Brice's old-time radio character Baby Snooks.
"The Super Trooper" (five pages) On the eve of their "last act before we retire from the big top," Mama and Papa Dear, Snoots's parents, are dismayed when the little pachyderm takes to the trapeze, putting on "the greatest elephant show ever." After a discordant trumpet performance, the ringmaster fires him. In parallel, Uptite Mouse attempts to frighten Snoots and seemingly attaches himself to the family.
"Lest We Forget" (six pages) Now friends, Snoots and Uptite try to remember the elephant's "very important errand." Inspired by a goat named Butter, Snoots remembers, but the requested dairy product melts on the way home. Their blueberry pancakes now cold, his father sends him out for pizza, which also reaches home unfit for eating. A pie is also ruined.
"Facing the Music" (eight pages) Disappointed in Snoots's trumpet playing, the Professor, Snoots's music teacher, ends his lessons. Snoots is approached by two swarthy, bearded crooks in trench coats who plan to use him to trick the Rajah into opening his safe, revealing the combination. The Rajah gives Snoots a bag "filled with peanuts," and Uptite foils the crooks' plan. Regardless, Snoots takes the stage at Carnegie Hall. His parents are so proud.
"The Rainmakers" (six pages) Papa Dear thinks Snoots has learned all the steps to "an honest Indian rain dance." He is wrong!
Additional editorial material includes Gold Key club news, reader doodles and jokes, career profiles, and a one-page Snoots gag about roller skating.
Availability: Even though the title ran 22 issues, Baby Snoots has not been collected, not even by Gwandanaland Comics. (I traded messages with Lance Jones; the series is not in the public domain.) An almost 500-page collection of Baby Huey material, Harvey Comics Classics Volume 4: Baby Huey, is available.
This uncredited comic book is one of Gold Key's non-licensed, original titles. It features Baby Snoots, a young elephant in a diaper and bonnet reminiscent of Harvey's Baby Huey and perhaps inspired by Fanny Brice's old-time radio character Baby Snooks.
"The Super Trooper" (five pages) On the eve of their "last act before we retire from the big top," Mama and Papa Dear, Snoots's parents, are dismayed when the little pachyderm takes to the trapeze, putting on "the greatest elephant show ever." After a discordant trumpet performance, the ringmaster fires him. In parallel, Uptite Mouse attempts to frighten Snoots and seemingly attaches himself to the family.
"Lest We Forget" (six pages) Now friends, Snoots and Uptite try to remember the elephant's "very important errand." Inspired by a goat named Butter, Snoots remembers, but the requested dairy product melts on the way home. Their blueberry pancakes now cold, his father sends him out for pizza, which also reaches home unfit for eating. A pie is also ruined.
"Facing the Music" (eight pages) Disappointed in Snoots's trumpet playing, the Professor, Snoots's music teacher, ends his lessons. Snoots is approached by two swarthy, bearded crooks in trench coats who plan to use him to trick the Rajah into opening his safe, revealing the combination. The Rajah gives Snoots a bag "filled with peanuts," and Uptite foils the crooks' plan. Regardless, Snoots takes the stage at Carnegie Hall. His parents are so proud.
"The Rainmakers" (six pages) Papa Dear thinks Snoots has learned all the steps to "an honest Indian rain dance." He is wrong!
Additional editorial material includes Gold Key club news, reader doodles and jokes, career profiles, and a one-page Snoots gag about roller skating.
Availability: Even though the title ran 22 issues, Baby Snoots has not been collected, not even by Gwandanaland Comics. (I traded messages with Lance Jones; the series is not in the public domain.) An almost 500-page collection of Baby Huey material, Harvey Comics Classics Volume 4: Baby Huey, is available.
Tuesday, November 28, 2017
The Man Who Rules the Wheel
Secret Empire #0-6, #8-10 (Marvel, June-October 2017, $3.99-$4.99)
I'm not always intrigued or impressed by the big publisher tentpole events (case in point, DC's Convergence), but the very idea behind this miniseries—and resulting tie-ins—written by Nick Spencer is genius. The buildup in the pages of Captain America: Steve Rogers also piqued my interest successfully.
That idea? Kobik, a Cosmic Cube, rewrites reality so Steve Rogers has always been a Hydra sympathizer and, as Captain America, is its supreme leader, "the man who rules the wheel." I've long loved the machinations of Hydra, and the scale and scope of such a betrayal would reverberate widely.
And it does. These 10 issues—I somehow missed #7—range widely and include several wonderful events and ideas. The Chitauri invasion, the emptying of Pleasant Hill into the streets of New York, and the Sokovian coup (it's like a game of Legendary!) conspiring to divide and conquer the heroes open up the opportunity for Cap to be given control of all law enforcement and military forces.
Add to that a planetary defense shield; Blackout (Cloak and Dagger are put to amazing use here); the resulting police state; the Las Vegas underground; Arnim Zola, Doctor Faustus, and Baron Zemo (!!!); Rick Jones; a Tony Stark AI; the Kingpin; seeking help from the Kree and Skrull; a modified Henry Pym; a reborn Bruce Banner; Doctor Strange's real estate negotiations; and a nigh-unbeatable Cap—so much stuff happens over the course of the series. Characters even make Civil War jokes.
On the whole, the story is your standard smash-and-grab collection plot—the heroes and villains race to collect as many pieces of the Cosmic Cube as they can. Each month, the story tied into nine to 15 additional titles, so there was plenty of side story following the main plot, as well as events Beyond the Shield and in Darkforce New York.
In the end, the heroes are re-established as heroes, the villains as villains, and the world returns to more or less the way it was. Skipping #7 left at least one unresolved plot thread—who was the old man rescued in #5, the original Nick Fury again? An illing Bruce Banner? My favorite issues included #3-4's Henry Pym appearance and #2's Darkforce New York and Kingpin focus, both of which resonate well with the most recent Secret Wars, and the latter setting up recent developments in Daredevil quite nicely.
Availability: Secret Empire #0-9 have been collected.
I'm not always intrigued or impressed by the big publisher tentpole events (case in point, DC's Convergence), but the very idea behind this miniseries—and resulting tie-ins—written by Nick Spencer is genius. The buildup in the pages of Captain America: Steve Rogers also piqued my interest successfully.
That idea? Kobik, a Cosmic Cube, rewrites reality so Steve Rogers has always been a Hydra sympathizer and, as Captain America, is its supreme leader, "the man who rules the wheel." I've long loved the machinations of Hydra, and the scale and scope of such a betrayal would reverberate widely.
And it does. These 10 issues—I somehow missed #7—range widely and include several wonderful events and ideas. The Chitauri invasion, the emptying of Pleasant Hill into the streets of New York, and the Sokovian coup (it's like a game of Legendary!) conspiring to divide and conquer the heroes open up the opportunity for Cap to be given control of all law enforcement and military forces.
Add to that a planetary defense shield; Blackout (Cloak and Dagger are put to amazing use here); the resulting police state; the Las Vegas underground; Arnim Zola, Doctor Faustus, and Baron Zemo (!!!); Rick Jones; a Tony Stark AI; the Kingpin; seeking help from the Kree and Skrull; a modified Henry Pym; a reborn Bruce Banner; Doctor Strange's real estate negotiations; and a nigh-unbeatable Cap—so much stuff happens over the course of the series. Characters even make Civil War jokes.
On the whole, the story is your standard smash-and-grab collection plot—the heroes and villains race to collect as many pieces of the Cosmic Cube as they can. Each month, the story tied into nine to 15 additional titles, so there was plenty of side story following the main plot, as well as events Beyond the Shield and in Darkforce New York.
In the end, the heroes are re-established as heroes, the villains as villains, and the world returns to more or less the way it was. Skipping #7 left at least one unresolved plot thread—who was the old man rescued in #5, the original Nick Fury again? An illing Bruce Banner? My favorite issues included #3-4's Henry Pym appearance and #2's Darkforce New York and Kingpin focus, both of which resonate well with the most recent Secret Wars, and the latter setting up recent developments in Daredevil quite nicely.
Availability: Secret Empire #0-9 have been collected.
Monday, November 27, 2017
When the Gods Appear
Hercules Unbound #11 (DC, June-July 1977, 35 cents)
"The Dark Side of the Gods" Words: Cary Bates, Pictures: Walter Simonson, Colors: Jerry Serpe.
Jazzed about the too-soon-ended return of Hercules in the recent run of Wonder Woman, I was hopeful we might be treated to a return of the DC Hercules. I still am, and I turned to Hercules Unbound to satisfy that yen.
Drawn by Walt Simonson—cover and interiors!—before his characteristic style had fully gelled (his dinosaur-shaped signature still graces the cover), the comic is visually intriguing, particularly when the gods appear on p. 10.
Garbed in new armor, Hercules rescues his friends—including the Atomic Knights—from a collapsing foundry in Detroit. Kevin endangers the Knights, as well as their headquarters, before Hercules short-circuits Kevin's power. A fire-breathing dragon appears, and Kevin runs off, revealing his true identity. The action is a bit linear and meaningless, and there's not much to recommend in the issue other than Simonson's art and the late Atomic Knights appearance.
The series itself lasted only 12 issues, five of which featured Simonson. Interestingly, before Simonson took on the art, this series featured late-career work by Wallace Wood.
Read Also: Hercules Unbound #1.
Availability: Hercules Unbound #11-12 were collected in The Art of Walter Simonson.
"The Dark Side of the Gods" Words: Cary Bates, Pictures: Walter Simonson, Colors: Jerry Serpe.
Jazzed about the too-soon-ended return of Hercules in the recent run of Wonder Woman, I was hopeful we might be treated to a return of the DC Hercules. I still am, and I turned to Hercules Unbound to satisfy that yen.
Drawn by Walt Simonson—cover and interiors!—before his characteristic style had fully gelled (his dinosaur-shaped signature still graces the cover), the comic is visually intriguing, particularly when the gods appear on p. 10.
Garbed in new armor, Hercules rescues his friends—including the Atomic Knights—from a collapsing foundry in Detroit. Kevin endangers the Knights, as well as their headquarters, before Hercules short-circuits Kevin's power. A fire-breathing dragon appears, and Kevin runs off, revealing his true identity. The action is a bit linear and meaningless, and there's not much to recommend in the issue other than Simonson's art and the late Atomic Knights appearance.
The series itself lasted only 12 issues, five of which featured Simonson. Interestingly, before Simonson took on the art, this series featured late-career work by Wallace Wood.
Read Also: Hercules Unbound #1.
Availability: Hercules Unbound #11-12 were collected in The Art of Walter Simonson.
Friday, November 24, 2017
The Art of a Master
Deadman #1 (DC, January 2018, $3.99)
After the recent miniseries Deadman: Dark Mansion of Forbidden Love, I was excited to see this new six-issue Deadman series, especially because it was written and drawn (and colored!) by Neal Adams, who drew some of Deadman's earliest stories in Strange Adventures and other titles in the '60s. But be warned: This first issue is messy in several ways.
First of all, the comic isn't much of a reintroduction of Deadman as it is jumping right back into an ongoing Deadman storyline, if there was one. So if you're new to the character, don't let yourself be overly put off. There are a couple of pages of back-story exposition to explain the connection between Deadman and Hook, but other than that, new readers are largely on their own.
Secondly, Adams is inking his own pencils, which means that—while readers get to revel in the art of a master—the resulting art is relatively sketchy and scribbly, rather than featuring a cleaner line had the art been inked by, say, Dick Giordano. That effect is compounded by the full-page nature of the art. There are no outer margin panel borders (i.e. there are full-bleed panels), and many pages are free of in-page gutters, as well. That can make for some awesome panel and page design. It can also make for some confusing visuals. Adams doesn't pull readers through a page like Gene Day might have.
Boston Brand remembers searching for Hook, his killer, while watching Commissioner Gordon on a tour of Japanese nuclear sites. After encountering a mysterious stranger, Gordon faces Hook, who tries to kill him. He and Brand team up to fight Hook. Brand then turns his search to the Sensei, Hook's employer. Possessing Alfred and Gordon, Deadman learns that Batman didn't kill the Sensei, so his search continues.
The story is a little difficult to follow, as are the visuals, but it's a fun read all the same. Deadman is an underutilized character, and I'm glad that DC continues to showcase him occasionally. Adams's art that makes this comic notable, even if the pencils might benefit from another inker.
Availability: The three issues of Deadman: Dark Mansion of Forbidden Love have been collected. Adams's earlier Deadman work in Strange Adventures, Brave and the Bold, and other series has been collected in two volumes (1, 2).
After the recent miniseries Deadman: Dark Mansion of Forbidden Love, I was excited to see this new six-issue Deadman series, especially because it was written and drawn (and colored!) by Neal Adams, who drew some of Deadman's earliest stories in Strange Adventures and other titles in the '60s. But be warned: This first issue is messy in several ways.
First of all, the comic isn't much of a reintroduction of Deadman as it is jumping right back into an ongoing Deadman storyline, if there was one. So if you're new to the character, don't let yourself be overly put off. There are a couple of pages of back-story exposition to explain the connection between Deadman and Hook, but other than that, new readers are largely on their own.
Secondly, Adams is inking his own pencils, which means that—while readers get to revel in the art of a master—the resulting art is relatively sketchy and scribbly, rather than featuring a cleaner line had the art been inked by, say, Dick Giordano. That effect is compounded by the full-page nature of the art. There are no outer margin panel borders (i.e. there are full-bleed panels), and many pages are free of in-page gutters, as well. That can make for some awesome panel and page design. It can also make for some confusing visuals. Adams doesn't pull readers through a page like Gene Day might have.
Boston Brand remembers searching for Hook, his killer, while watching Commissioner Gordon on a tour of Japanese nuclear sites. After encountering a mysterious stranger, Gordon faces Hook, who tries to kill him. He and Brand team up to fight Hook. Brand then turns his search to the Sensei, Hook's employer. Possessing Alfred and Gordon, Deadman learns that Batman didn't kill the Sensei, so his search continues.
The story is a little difficult to follow, as are the visuals, but it's a fun read all the same. Deadman is an underutilized character, and I'm glad that DC continues to showcase him occasionally. Adams's art that makes this comic notable, even if the pencils might benefit from another inker.
Availability: The three issues of Deadman: Dark Mansion of Forbidden Love have been collected. Adams's earlier Deadman work in Strange Adventures, Brave and the Bold, and other series has been collected in two volumes (1, 2).
Thursday, November 23, 2017
Halloween ComicFest 2017
Casper the Friendly Ghost: Halloween ComicFest #1 (American Mythology, 2017, free)
I bought a package of 25 of these to give out along with fun-size candy bars for Halloween late last month. We don't get many trick or treaters, but they were received well—turned down only by one girl dressed as Sporty Spice. It's a great idea for trick or treating, even better than the Halloween ComicFest generally.
This 16-page digest features two longer stories, as well as two one-page comics. In the five-page "Helpful Uncle Fuzzy," written and drawn by Marty Taras and originally published in the 1973 Casper & Wendy #5, Casper the Friendly Ghost is visited by his Uncle Fuzzy, who is more helpful than harmful despite first appearances. And in "The Scary Night," written and drawn by Howard Post, Spooky humors monsters, goblins, dragons, and witches—even aliens—because it's Halloween, until Pearl reminds him that the holiday hasn't occurred yet. The two one pagers both address how trying to frighten other people can get out of hand.
It's a fun, slender reprint collection, perhaps intended to help promote the new American Mythology Casper series.
I bought a package of 25 of these to give out along with fun-size candy bars for Halloween late last month. We don't get many trick or treaters, but they were received well—turned down only by one girl dressed as Sporty Spice. It's a great idea for trick or treating, even better than the Halloween ComicFest generally.
This 16-page digest features two longer stories, as well as two one-page comics. In the five-page "Helpful Uncle Fuzzy," written and drawn by Marty Taras and originally published in the 1973 Casper & Wendy #5, Casper the Friendly Ghost is visited by his Uncle Fuzzy, who is more helpful than harmful despite first appearances. And in "The Scary Night," written and drawn by Howard Post, Spooky humors monsters, goblins, dragons, and witches—even aliens—because it's Halloween, until Pearl reminds him that the holiday hasn't occurred yet. The two one pagers both address how trying to frighten other people can get out of hand.
It's a fun, slender reprint collection, perhaps intended to help promote the new American Mythology Casper series.
Wednesday, November 22, 2017
A Comic You Can Fall Into
Starstruck: Old Proldiers Never Die #1-6 (IDW, February-July 2017, $4.99)
Written by Elaine Lee and drawn by Michael Kaluta, this is a "new" series of a comic that reaches back more than 30 years. Originally staged as an off-Broadway play, intended as a comic as early as 1980, serialized in Heavy Metal, published by Marvel's Epic line, and later the subject of brief legal action involving Marvel and Disney, this series is "remastered," whatever that means. Reportedly including 50% new artwork, the comic goes beyond the original material. Regardless, is this a new comic, or a reprint?
Given that history, it's no surprise that Lee's world is richly designed and populated—few comic books include an encyclopedic glossary in the back matter. The story and characters are very well developed. This is a fantastic dystopian future—shades of Blade Runner, AI, and Max Headroom. And even though the first page seems to have been drawn in 1984, the comic is fresh and new, occasionally more surprising and groundbreaking than something made of whole cloth today.
Harry Palmer, veteran of the Droid Wars, is looking for Annie, who was left behind by Galatia 9. Several Girl Guides offer to help him, as does an Aquatunisian empath. He encounters cryptic mentions of pleasure-giving androids and "running in place." After a fire in a wax museum, Palmer finally finds an android much like Annie, as well as Mary, before solving the mystery of running in place.
Kaluta's art is mind boggling. Beautifully dense and lush, the pages and panels have so much going on in them. Think Matt Wagner's Grendel as drawn by Geoff Darrow by way of Liberatore and Henry Darger. Cinematic in scope, this comic is one you can fall into. Glorious.
Availability: Starstruck: Old Proldiers Never Die will be available in hard cover in December 2017. IDW's previous 13-issue remastered Starstruck series has also been collected.
Written by Elaine Lee and drawn by Michael Kaluta, this is a "new" series of a comic that reaches back more than 30 years. Originally staged as an off-Broadway play, intended as a comic as early as 1980, serialized in Heavy Metal, published by Marvel's Epic line, and later the subject of brief legal action involving Marvel and Disney, this series is "remastered," whatever that means. Reportedly including 50% new artwork, the comic goes beyond the original material. Regardless, is this a new comic, or a reprint?
Given that history, it's no surprise that Lee's world is richly designed and populated—few comic books include an encyclopedic glossary in the back matter. The story and characters are very well developed. This is a fantastic dystopian future—shades of Blade Runner, AI, and Max Headroom. And even though the first page seems to have been drawn in 1984, the comic is fresh and new, occasionally more surprising and groundbreaking than something made of whole cloth today.
Harry Palmer, veteran of the Droid Wars, is looking for Annie, who was left behind by Galatia 9. Several Girl Guides offer to help him, as does an Aquatunisian empath. He encounters cryptic mentions of pleasure-giving androids and "running in place." After a fire in a wax museum, Palmer finally finds an android much like Annie, as well as Mary, before solving the mystery of running in place.
Kaluta's art is mind boggling. Beautifully dense and lush, the pages and panels have so much going on in them. Think Matt Wagner's Grendel as drawn by Geoff Darrow by way of Liberatore and Henry Darger. Cinematic in scope, this comic is one you can fall into. Glorious.
Availability: Starstruck: Old Proldiers Never Die will be available in hard cover in December 2017. IDW's previous 13-issue remastered Starstruck series has also been collected.
Tuesday, November 21, 2017
Plentiful Insects
The Beautiful Death #2 (Titan, November 2017, $3.99)
Published under Titan Comics's new Statix Press imprint, this is a European comic translated into English. Mathieu Bablet's story was originally published by Ankama in 2011 in French as La Belle Mort. It would find a comfortable home in Heavy Metal, perhaps, or as a bande dessinee—and it also reads well as a comic book.
Not having read #1, I missed the end of the world, but there are a few survivors: three, and then they find a fourth. Food and resources are scarce, but insects—insectoids, to be specific—are plentiful. And they seem to be attracted to strong human emotion. Bablet has an idiosyncratic drawing style that reminded me a little of a more complicated Scott Morse (Ancient Joe or Volcanic Revolver, perhaps): densely detailed without being overly realistic or sketchy-cartoony.
The detailed cityscapes and urban environs (a la Jeff Zenick) resonate, but it is the color palettes that really sing here. There are two muted palettes at play, changing with the changing light in the day—even keeping pace through Wayne's flashback and violence.
I look forward to more insects, such as the giant insectoid on the cover. But for now, they are small, or a just-off-panel threat, as muted as Bablet's coloring.
Watch Also: Quatermass and the Pit (e.g., Five Million Years to Earth)
Availability: The full story is available in French as La Belle Mort. You can order this issue directly from Titan.
Published under Titan Comics's new Statix Press imprint, this is a European comic translated into English. Mathieu Bablet's story was originally published by Ankama in 2011 in French as La Belle Mort. It would find a comfortable home in Heavy Metal, perhaps, or as a bande dessinee—and it also reads well as a comic book.
Not having read #1, I missed the end of the world, but there are a few survivors: three, and then they find a fourth. Food and resources are scarce, but insects—insectoids, to be specific—are plentiful. And they seem to be attracted to strong human emotion. Bablet has an idiosyncratic drawing style that reminded me a little of a more complicated Scott Morse (Ancient Joe or Volcanic Revolver, perhaps): densely detailed without being overly realistic or sketchy-cartoony.
The detailed cityscapes and urban environs (a la Jeff Zenick) resonate, but it is the color palettes that really sing here. There are two muted palettes at play, changing with the changing light in the day—even keeping pace through Wayne's flashback and violence.
I look forward to more insects, such as the giant insectoid on the cover. But for now, they are small, or a just-off-panel threat, as muted as Bablet's coloring.
Watch Also: Quatermass and the Pit (e.g., Five Million Years to Earth)
Availability: The full story is available in French as La Belle Mort. You can order this issue directly from Titan.
Monday, November 20, 2017
Fighting Crime and Washing Away
Bugs Bunny #68 (Dell, August-September 1959, 10 cents)
The main story in this issue is a 15-page Bugs Bunny story entitled "Bamboozling the Bool Bandits." In the uncredited piece, perhaps written by Don R. Christensen and drawn by Fred Abranz, Bugs and Elmer Fudd encounter some giant rabbits while on an expedition. A "stwange little plant" is "full of super vitamins or something" and affects the local fauna. A group of bandits uses the plant to enlarge bulls, which they then let loose in villages such as Rancho Gorez and Chilivania City to provide cover for their thievery. The two friends help put an end to the bandits' crime spree.
There are also two mid-length pieces, a four-page Tweety and Sylvester story titled "The Schemer and the Dreamer," and a 10-page Bugs piece called "The Rockin' Rabbit." In the former, Abranz-drawn piece, Sylvester conspires to spend the night inside the house, only to be spooked by Tweety's ghost. And in the latter, longer story, perhaps drawn by Phil de Lara, Bugs becomes a singing sensation, only to suffer a vocal ailment, which causes him to fall even more quickly than he rose. He then uses his new singing style to fight crime!
In several short one-page pieces (also perhaps drawn by Abranz)—which all seem to be water themed—Bugs uses a saxophone to get revenge on Elmer, improvises some impromptu water skis, and fixes a drip in Elmer's roof. There's also a one-page text piece featuring Foghorn Leghorn, "The Perfect Trap."
Availability: The stories in this issue were later reprinted in various issues of the Western Bug Bunny series (#113, #116, and #242). Several popular stories published in the more recent DC series Looney Tunes were collected in Looney Tunes: Greatest Hits Vol. 1: What's up Doc?.
The main story in this issue is a 15-page Bugs Bunny story entitled "Bamboozling the Bool Bandits." In the uncredited piece, perhaps written by Don R. Christensen and drawn by Fred Abranz, Bugs and Elmer Fudd encounter some giant rabbits while on an expedition. A "stwange little plant" is "full of super vitamins or something" and affects the local fauna. A group of bandits uses the plant to enlarge bulls, which they then let loose in villages such as Rancho Gorez and Chilivania City to provide cover for their thievery. The two friends help put an end to the bandits' crime spree.
There are also two mid-length pieces, a four-page Tweety and Sylvester story titled "The Schemer and the Dreamer," and a 10-page Bugs piece called "The Rockin' Rabbit." In the former, Abranz-drawn piece, Sylvester conspires to spend the night inside the house, only to be spooked by Tweety's ghost. And in the latter, longer story, perhaps drawn by Phil de Lara, Bugs becomes a singing sensation, only to suffer a vocal ailment, which causes him to fall even more quickly than he rose. He then uses his new singing style to fight crime!
In several short one-page pieces (also perhaps drawn by Abranz)—which all seem to be water themed—Bugs uses a saxophone to get revenge on Elmer, improvises some impromptu water skis, and fixes a drip in Elmer's roof. There's also a one-page text piece featuring Foghorn Leghorn, "The Perfect Trap."
Availability: The stories in this issue were later reprinted in various issues of the Western Bug Bunny series (#113, #116, and #242). Several popular stories published in the more recent DC series Looney Tunes were collected in Looney Tunes: Greatest Hits Vol. 1: What's up Doc?.
Friday, November 17, 2017
Where Your Actions Bring You
Daredevil #28 (Marvel, December 2017, $3.99)
Having recently read a batch of older Daredevil back issues, let's see where the current series is—and how it compares to 40-plus years ago. This issue, written by Charles Soule, opens with Daredevil in China, where his soul has just been given to the Beast, which now owns Daredevil and finds him a "great enemy" of the Hand.
Ron Garney's artwork reminds me of John Romita, Jr., and Frank Miller's runs on the titles, and some of the panels and pages—including the borderless p. 4—are quite delightful. Despite his mother's philosophy ("Whatever you do does not matter, because the moment you do it, it is the past. All that matters is where your actions bring you.") the potential traitor Sam Chung—Blindspot—returns to rescue Daredevil, as does his mother Lu Wei. The end scene's commentary on immigration to the United States and political developments in New York City are timely and will lead to some interesting future story arcs.
The comic is worth reading! The Beast and Tongue of the Beast remind me of Daredevil going up against Blackheart and Mephisto, as well as the Dire Wraiths—which, incidentally, inspired the creation of the battle suit worn by the Daredevil villain the Torpedo. The martial arts and philosophizing remind me of Master of Kung Fu—not a bad thing.
Availability: You can buy this issue online. The start of Soule's run on the book is collected in Daredevil: Back in Black Vol. 1: Chinatown.
Having recently read a batch of older Daredevil back issues, let's see where the current series is—and how it compares to 40-plus years ago. This issue, written by Charles Soule, opens with Daredevil in China, where his soul has just been given to the Beast, which now owns Daredevil and finds him a "great enemy" of the Hand.
Ron Garney's artwork reminds me of John Romita, Jr., and Frank Miller's runs on the titles, and some of the panels and pages—including the borderless p. 4—are quite delightful. Despite his mother's philosophy ("Whatever you do does not matter, because the moment you do it, it is the past. All that matters is where your actions bring you.") the potential traitor Sam Chung—Blindspot—returns to rescue Daredevil, as does his mother Lu Wei. The end scene's commentary on immigration to the United States and political developments in New York City are timely and will lead to some interesting future story arcs.
The comic is worth reading! The Beast and Tongue of the Beast remind me of Daredevil going up against Blackheart and Mephisto, as well as the Dire Wraiths—which, incidentally, inspired the creation of the battle suit worn by the Daredevil villain the Torpedo. The martial arts and philosophizing remind me of Master of Kung Fu—not a bad thing.
Availability: You can buy this issue online. The start of Soule's run on the book is collected in Daredevil: Back in Black Vol. 1: Chinatown.
Thursday, November 16, 2017
Where the Gold Came From
Classic Popeye #63 (IDW, October 2017, $4.99)
Published in conjunction with Yoe Books and King Features Syndicate, this issue reprints Popeye #63, originally published in January-February 1962. Written and drawn by Bud Sagendorf, the reprint includes the main, longer story, as well as shorter pieces, including a one-page text piece, "Plowman," but no other editorial or advertising.
Originally published by Dell, Sagendorf's take on Popeye was a wonderful outgrowth of E.C. Segar's original work, and helped cement the character's popularity in the '60s and '70s. In the shorts, Popeye endangers Swee'Pea by moving a mattress, helps Swee'Pea go fishing on a rainy day, goes hitchhiking, and inspects a hole dug by Swee'Pea.
The two longer stories are also fun and enjoyable, though more based on adventure and less on simple gags. In "Haunted Island," Popeye, Olive Oyl, Swee'Pea, and Wimpy wash up on an island, where they encounter a mysterious ghost. They build a multi-level treehouse and receive a rent bill before meeting the island's inhabitant.
In "Yellow Rock!" Popeye helps Swee'Pea find gold in the desert, only to raise his—and Wimpy's—expectations unrealistically. When they realize where the gold came from, they are disappointed.
Even though the Sagendorf Popeye material is a sight for sore eyes, the Professor O.G. Wotasnozzle backup story is priceless. In order to avoid traffic on their way to enjoy a picnic lunch with Sappo, the professor shows off several new inventions—only to end up in a police van. I cannot believe that Wotasnozzle never had his own series!
Availability: You can buy this issue online. Previous issues of this reprint series have been collected in Popeye Classics Volume 1, Popeye Classics: Moon Goon and more!, Popeye Classics: Witch Whistle and more!, and other volumes.
Published in conjunction with Yoe Books and King Features Syndicate, this issue reprints Popeye #63, originally published in January-February 1962. Written and drawn by Bud Sagendorf, the reprint includes the main, longer story, as well as shorter pieces, including a one-page text piece, "Plowman," but no other editorial or advertising.
Originally published by Dell, Sagendorf's take on Popeye was a wonderful outgrowth of E.C. Segar's original work, and helped cement the character's popularity in the '60s and '70s. In the shorts, Popeye endangers Swee'Pea by moving a mattress, helps Swee'Pea go fishing on a rainy day, goes hitchhiking, and inspects a hole dug by Swee'Pea.
The two longer stories are also fun and enjoyable, though more based on adventure and less on simple gags. In "Haunted Island," Popeye, Olive Oyl, Swee'Pea, and Wimpy wash up on an island, where they encounter a mysterious ghost. They build a multi-level treehouse and receive a rent bill before meeting the island's inhabitant.
In "Yellow Rock!" Popeye helps Swee'Pea find gold in the desert, only to raise his—and Wimpy's—expectations unrealistically. When they realize where the gold came from, they are disappointed.
Even though the Sagendorf Popeye material is a sight for sore eyes, the Professor O.G. Wotasnozzle backup story is priceless. In order to avoid traffic on their way to enjoy a picnic lunch with Sappo, the professor shows off several new inventions—only to end up in a police van. I cannot believe that Wotasnozzle never had his own series!
Availability: You can buy this issue online. Previous issues of this reprint series have been collected in Popeye Classics Volume 1, Popeye Classics: Moon Goon and more!, Popeye Classics: Witch Whistle and more!, and other volumes.
Wednesday, November 15, 2017
Dark Streets and Mysterious Science
Daredevil #70 (Marvel, November 1970, 15 cents)
"The Tribune" Presenter: Stan Lee, Story: Gary Friedrich, Illustrators: Gene Colan and Syd Shores, Letterer: Sam Rosen.
On Hollywood Boulevard, movie star Buck Ralston gives a political speech that takes patriotism to an extreme before suggesting that now actress Karen is a communist—and that he and his friends need to "get rid" of "pinko crumbs." Back in New York, Daredevil goes to a protest at the Hilton, where the vice president becomes the target of a bombing.
Ralston reveals himself as the Tribune, a "new kind of judge... to decide who's a good American... and who's a rotten red." He sentences a draft dodger to "the living death" just before Daredevil—back in New York—almost stops another bombing, which leads to a young passerby being falsely accused. The Tribune's comments to his gang suggest that the coast-hopping will end next issue when the two plot lines are expected to intersect.
All in all, a solid issue. In the letter column, Martin Pasko writes in to say that Marvel's dialogue is more natural than DC's, and that he supports multi-issue story arcs. Neat to see his letter of comment!
Daredevil #78 (Marvel, July 1971, 15 cents)
"The Horns of the Bull!" Editor: Stan Lee, Writer: Gerry Conway, Artist: Gene Colan, Inker: Tom Palmer, Letterer: Sam Rosen.
Matt Murdock continues to pine over actress Karen Page, now in her first movie, A Tender Affair. He answers a cry for help and saves a young couple from being abducted for "an experiment of some sort," "for guinea pigs." At least he does the first time!
This is quite an issue. Dark streets, mysterious science, the introduction of a new villain, relationship challenges with Foggy and Karen, and innocents in danger. Where will it go?
"The Tribune" Presenter: Stan Lee, Story: Gary Friedrich, Illustrators: Gene Colan and Syd Shores, Letterer: Sam Rosen.
On Hollywood Boulevard, movie star Buck Ralston gives a political speech that takes patriotism to an extreme before suggesting that now actress Karen is a communist—and that he and his friends need to "get rid" of "pinko crumbs." Back in New York, Daredevil goes to a protest at the Hilton, where the vice president becomes the target of a bombing.
Ralston reveals himself as the Tribune, a "new kind of judge... to decide who's a good American... and who's a rotten red." He sentences a draft dodger to "the living death" just before Daredevil—back in New York—almost stops another bombing, which leads to a young passerby being falsely accused. The Tribune's comments to his gang suggest that the coast-hopping will end next issue when the two plot lines are expected to intersect.
All in all, a solid issue. In the letter column, Martin Pasko writes in to say that Marvel's dialogue is more natural than DC's, and that he supports multi-issue story arcs. Neat to see his letter of comment!
Daredevil #78 (Marvel, July 1971, 15 cents)
"The Horns of the Bull!" Editor: Stan Lee, Writer: Gerry Conway, Artist: Gene Colan, Inker: Tom Palmer, Letterer: Sam Rosen.
Matt Murdock continues to pine over actress Karen Page, now in her first movie, A Tender Affair. He answers a cry for help and saves a young couple from being abducted for "an experiment of some sort," "for guinea pigs." At least he does the first time!
This is quite an issue. Dark streets, mysterious science, the introduction of a new villain, relationship challenges with Foggy and Karen, and innocents in danger. Where will it go?
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