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What’s In a Store (Reprise)

12134156875?profile=originalFive years ago, when I was in the midst of a move across the continent, I wrote about my experiences looking for a new comic book store.  I eventually found one that suited my needs.  It happens to be on the other side of town- I live in an eastern suburb and my regular shop is just north of downtown- but it has a good selection of comic books, great customer service and a pull list with a decent discount. 

The other stores that I discovered at the time are still part of my occasional rounds.  I’ll stop by if my regular shop has run out of a hot new issue or if the other store is having a sale.  Sometimes, I’ll simply drop by if I’m in the right neighborhood.  What can I say?  I’m a comic book fan and I like to visit comic book stores. 

Recently, however, somebody at work let me know about a new comic book store that had opened in their suburb, a couple of ‘burbs over from mine.  They thought I would be interested and they were right.  I think I already mentioned I’m a comic book fan and I like to visit comic book stores.  While I was looking up the address online, I noticed that another comic book store had opened in the city in the past two years.  Plus, I found out that there was a third comic book store in another town nearby where I was already planning to vacation that weekend.  So, wish list in hand, I set out an all-new all-different journey of discovery.

12134157078?profile=originalThe first thing that I noticed about the new stores is that they were generally well lit and easy to navigate.  There was plenty of room in the aisles.  An online review summed it up best: “You don’t feel like you’re rummaging through someone’s basement.”  As much as I appreciate the selection at some of the older stores, their inventory can be overwhelming.  The aisles are narrow and crowded.  Comics are piled up in every corner and you have to be careful that you don’t knock them over.  On one of my more recent trips, I even had to step over long-boxes that were laying on the floor in order to reach a shelve of trade paperbacks.  But I didn’t have the same problems at the new stores.  Sure, I had to figure out how the new comics were displayed (one was alphabetical, one was by publisher).  Yet I could find the new comics easily and reach them without obstacles. 

            The second thing I noticed was that the newer stores are child-friendly.  That goes hand in hand with the first item.  One of the new stores had a specific children’s section, complete with child-size chairs and a table of toys so that kids could keep themselves entertained while the parents shopped.  One of the older stores also has a good kids’ section at the front of the store and I’ve brought my daughters there from time to time (my regular store isn’t particularly kid-friendly but they enjoy petting the cat when they come with me).  However, I won’t take my children to a couple of the older ones.  There isn’t much there for them and I’d be too concerned about them bumping over a precarious stack of something or other. 

             I quickly noticed that the new stores were also more customer-friendly.   That stands to reason.  The older stores already have a significant customer base.  They don’t have to work as hard to get new customers.  But those older stores can sometimes be rude and unfriendly.  I haven’t always had bad experiences.  Some clerks are quicker to offer assistance than others and I’ve had some fun conversations at one store about ‘80s cartoons or It’s Always Sunny in Philadelphia.  But I’ve also overheard clerks complain about new customers to each other and had one owner actually gripe when I asked him to come out to the cash register from the backroom so that I could pay. 

12134157858?profile=originalThe new stores, on the other hand, put in a concerted effort to engage me as a potential customer.  They were eager to help me find what I was looking for.  They offered me subscriptions with discounts on new comics.  They talked to me.  In one store, a few customers were hanging around having an informal round table.  The owner invited me to stay and join in the conversation.  He even said to me, “Everyone has an opinion worth sharing.”  Then he invited me back for a special Avengers vs. X-Men opening.  I felt welcomed and appreciated. 

I also noticed something surprising.  Something I didn’t expect.  The new stores had a different composition.  The older stores had been around since the 1990s or earlier.  They viewed comic book fans as collectors and they carried other collectibles such as baseball cards.  That view isn’t unwarranted.  The kids of my generation grew up collecting baseball cards and comic books, foolishly thinking we might make tons of money on our “investments.”  But that collectible market fell apart.  I’m always amused to see unopened boxes of baseball cards still sitting on a shelf two decades later at one of the older stores.  As purveyors of collectibles, those older stores heavily invest in comics with variant covers.  They buy extra issues and mark up variants for two, three, four times the cover price. 

            However, the new stores tend to view comic book fans as members of geek culture.  They have comic books.  But they also carry manga or anime.  They display lots of T-shirts and hats.  One store even carries unusual board games- not the ones that you would find at a Toys R Us store but the ones that you’d discover at a gamers’ convention.  It’s a very different view of the customer.  We’re not collectors.  We’re part of a subculture.  They see the overlap between comic book fans and science fiction fans and they offer Dr. Who sonic screwdrivers accordingly.

            I’m overstating the difference a little bit.  I can find Magic the Gathering tables and Dungeons & Dragons player’s guides at an old store and a new one.  But not by much.  I was frankly astonished at the difference in philosophy between those stores that had been around for 15-20 years and those that had opened in the last year or two.

            The final thing or, more accurately, the real first thing I noticed is that several stores opened in the last couple of years.  As comic book fans, we hear a lot about how the industry is in trouble yet the future might not be as bleak as we make it out to be.  New stores are still opening and finding customers.  I find that encouraging.

            That being said, I probably won’t change my habits that much.  My complaints were mostly about the other older stores, not my regular shop.  I still get great customer service.  He keeps a pull list for me, gives me a solid discount and is good about placing reorders.  And, for all their faults, those older stores have one thing I’m looking for: a deep selection of new comics if something sells out and I don’t want to wait.  The new stores simply don’t have the margin for error to order dozens of copies.  However, I was able to find a few scarce comics on my trek- like Daredevil #4 and 5.  And it’s nice to know there are a few new cool stores in town.  If I’m in the neighborhood, I’m liable to drop by and throw a bit of business their way.         

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12134027688?profile=originalAnyone who, as I did, read a Lois Lane comic back in the Silver Age, or anyone who might browse through one of those vintage mags now, will come away with one impression.

 

What in the name of Rao’s green Krypton did Superman ever see in her?

 

Lois Lane was petty, conniving, jealous, prying, and two-faced.  It doesn’t matter which Silver-Age issue of Lois Lane you read; most, if not all, of those traits would have been on display.

 

She claimed to be in love with Superman.  Yet, she spent much of her time trying to ferret out his most private secret---his other identity.  A secret which, if exposed, would completely upend his life and cause him no end of distress.  And in trying to do this, Lois violated Superman’s trust; she violated common decency; and she violated any number of local criminal statutes regarding breaking-and-entering and burglary.

 

When Lois wasn’t doing that, she was preöccupied with luring Superman to the altar.  There, no scheme was too underhanded.  She deceived him, hoaxed him, manipulated him.  She toyed with other men’s affections simply to make the Man of Steel jealous.  Any cruel trick was fair game, if it resulted in her becoming “Mrs. Superman”.

 

12134130073?profile=originalOh, sure, every now and then there would be a story showing Lois doing something heroic or selfless.  But that was only to keep Superman from looking like a total nimrod for having her as his girl friend.

 

Occasionally, he would get sufficiently peeved with Lois to teach her a well-deserved lesson, but in the end, no matter how unflattering things came out, the nosy newshen could always count on Superman remaining her adoring suitor.

 

She might not have felt so secure, had she known that the Man of Steel was simply going through the motions.  Superman no doubt remembered the women who had so captured his heart that his relationship with the lady reporter back home dissolved into “Lois---who?”  And it was only the intervention of harsh fate that ruined the Caped Kryptonian’s chance for happiness each time . . . .

 

 

 

Lori Lemaris

 

 

Lois never really had a chance, for Superman met the first love of his life back in his college days, as Clark Kent.  We learn about “The Girl in Superman’s Past” in Superman # 129 (May, 1959).  While attending a football game at his alma mater, Metropolis University, Clark’s thoughts drift back to the day during his senior year when he spotted a brunette in a wheelchair pushing herself down a steep path.  When the chair’s brake fails, sending the girl careering madly down the slope, Clark comes to the rescue by secretly using his heat vision to melt the wheels.  The chair lurches to a halt, pitching the young woman airborne.  Clark catches her on the fly and sets her back in the chair gently.

12134131663?profile=original 

Before he can come up with some lame excuse for why the rubber wheels melted, the girl provides an explanation on her own.  Their eyes lock, as if she had read his mind.  Even more intriguing to Clark is her exotic beauty and hint of a foreign accent.  She introduces herself as Lori Lemaris, an exchange student, and she’s equally taken with the reserved, unassuming Clark.

 

It’s a magical semester for Clark.  He and Lori see each other every chance they can, between their studies and Kent’s duties as Superman.  Then, at the end of the term, Lori tells him that she must return to her homeland.  This brings him to a momentous decision.

 

“I love her!  She’s the kind of girl I’ve always dreamed of marrying---a girl of rare beauty and courage!  I’m going to ask her to be my wife!”

 

As if that’s not drastic enough, Clark realises that his career as Superman would endanger the woman he took as his wife, should criminals learn his secret identity.   So there’s only one thing to do---he’ll reveal his true identity to Lori and then abandon his Superman career!

 

12134132866?profile=originalMeeting Lori at an isolated spot along the seashore, Clark proposes to her.  Lori confides that she loves him, as well, and also that she already knows that he is Superman.  His surprise is followed by devastation, when she tells him that she cannot marry him.  Don’t ask why, she entreats him, just accept it.

 

Clark searches for the answers to Lori’s rejection and uncovers the incredible truth---Lori Lemaris is a mermaid!  It’s confirmed when a near-by dam ruptures and Lori joins Superman to aid the stricken victims.  Afterward, she tells him of her home, the underwater civilisation of Atlantis.  She is one of their race, who adapted to the depths by becoming mermen, communicating by telepathy.

 

Once a century, an Atlantean is sent to the surface world to learn of its progress, and on this occasion, Lori was chosen.  She hadn’t expected to fall in love in the bargain.  But she has her duty to return to her people, just as Clark has his duty as Superman.  Reluctantly, the Man of Steel agrees.

 

 

 

But that wasn’t the end of it.  Years after his college days, Superman would encounter his first love again, and old passions would flame anew.

 

In “Superman’s Mermaid Sweetheart”, from Superman # 135 (Feb., 1960), Clark Kent investigates a whaler’s account of a mermaid interfering with his catches.  The sailor’s description of her reminds Kent of Lori, awakening the memories of his first romance.  That night, seized with the desire to see her again, Kent stands on the rocky seacoast and mentally calls to Lori---“eagerly, every fiber of his being atingle with hope . . . .”

 

12134135474?profile=originalTo his amazement, Lori responds, and the two lovers reunite.  After a dazzling night on the town, Clark changes to Superman and returns Lori to the sea.  Marry me, he asks her, and he’ll quit the surface world forever to live with her in Atlantis.  Lori’s heart says yes, but she tells the Man of Steel that she’ll have to get permission from the elders of Atlantis first.  She’ll return in twenty-four hours with their answer.

 

The next night, an ebullient Lori tells Superman the elders’ answer is “yes!”  Atlantis will be proud to have him as a citizen.

 

Joy turns to disaster, however, an instant later.  The whaler, blaming Lori for his lost catches, has tracked her down.  In vengeance, the seaman hurls his harpoon at Lori’s pet dolphin.  In moving to save the animal, Lori breaks her neck on a stony outcropping.  She’s left paralysed and near death.  Only the need to rush her to medical help prevents an enraged Superman from tearing the whaler limb from limb.

 

“If the woman I love dies,” he tells the sailor in cold fury, “there will be no corner in the universe where you can hide!”

 

The Man of Steel super-speeds the stricken mermaid to Atlantis.  Sadly, its physicians report, there’s nothing Atlantean medicine can do for her.  Desperately, Superman scours the galaxy in search of a surgeon who can save his dying love.  After a hundred disappointments, he locates a water-covered world with a race of merman similar to the Atlanteans.  Their greatest surgeon, Ronal, believes he can help.

 

12134135289?profile=originalSuperman brings the merman to Earth and the surgery begins.  The impatient hero waits nearly a week to learn the results.  But it’s worth it.  The operation was a success, and Lori is well and whole, again.  Superman is ecstatic---until he accidentally discovers with his super-senses that Lori has fallen in love with Ronal.

 

For an instant, Superman is blind with jealousy over the injustice of it.  Then, accepting the reality of the situation, he takes the high ground and leaves Lori with his best wishes.

 

 

Lori Lemaris would become a regular character in the Superman family magazines.  The readers weren’t privy to Lori’s feelings on the matter, but their frequent encounters often stirred the Man of Steel’s feelings for her.  Not a good thing, as far as his relationship with Lois went.

 

 

 

Lyla Lerrol

 

 

In the landmark “Superman’s Return to Krypton”, from Superman # 141 (Nov., 1960), Our Hero is accidently thrust back in time, to the world of his birth before its destruction.  He makes the acquaintance of his parents, the newly married Jor-El and Lara, and posing as a science student,  he works feverishly with his father to find a way to save Krypton’s people.

 

To explain his costume, Superman has taken a job as an extra for a science-fiction movie.  He discovers that the leading lady of the film, Lyla Lerrol, is a stunning beauty.  He can’t take his eyes off her.  He’s delighted when, later, Jor-El and Lara throw a dinner party, and Lyla appears as one of the guests.  The Man of Steel is captivated by her gracious, unaffected manner and her sincere interest in him, even though he is a “lowly” bit-player.

 

12134136876?profile=originalSuperman realises that any romance on Krypton is doomed, so he avoids Lyla, which only piques her interest in him.  It’s not the reaction from men that she’s used to getting.

 

As the plans to save Krypton collapse one after the other, Kal-El is even more determined to keep Lyla at arm’s length.  Though, try as he might, he cannot put the lovely actress out of his thoughts.  He can’t keep her out of his life either, for Lyla has grown positively enchanted with him.  She finds more excuses to visit the House of El and the stranger who barely speaks to her.  One afternoon, on a visit to the local zoo, an escaped beast threatens Lyla.  Jor-El and Superman manage to capture the animal, and the Man of Steel rushes to Lyla’s side.  In that moment, their mutual feelings burst free and they embrace in a passionate kiss.

 

In the days that follow, Superman and Lyla take in the sights of their world---the Jewel Mountains, the Rainbow Canyon, the Hall of Worlds---and their romance blooms.  Only Superman’s hidden knowledge of the imminent death of Krypton haunts their budding love.

 

When the last chance for survival---the space-ark, lost when the evil space-pirate Brainiac abducts the city of Kandor---fails, Jor-El tells Lyla of what is to come.  Instead of dismay, she seizes the brooding Man of Steel and encourages him to live whatever time they have left together to the fullest.  Inspired by her courage and love, Superman comes to a realisation.

 

“Lyla’s right!  If I’m to die here on Krypton, I’d be a fool to waste our last days being miserable!  We’ll face the end bravely . . . together!”

 

12134137493?profile=originalSuperman proposes, and Lyla joyously accepts.

 

 

 

But, as with Lori, fate has other plans.

 

Days later, on the set of the science-fiction film, Superman takes his place in the nose of a “space craft”, in preparation for the final blast-off scene.  In a tragic turn of events, a mishap with the firing process turns it into a genuine launch.  Helpless to do anything to halt it, the Man of Steel, inside the prop rocket, is blasted out of Krypton’s atmosphere, into the depths of outer space.

 

Lyla can only watch in horror.

 

Before Superman succumbs to the vacuum of space, the rocket enters a yellow-sun solar system, and his super-powers return.  He cannot return to Krypton---he would die in space the instant its red sun sapped his powers---yet, he thinks of Lyla and, for a moment, considers it.  With no other choice, he speeds through the time-barrier, back to his own time.

 

As he approaches Earth, he fights back tears when he spots a passing swarm of green-kryptonite meteors, reminding him of the death of his home world, and his parents.  And Lyla.

 

 

 

Luma Lynai

 

 

“Superman’s Super-Courtship”, from Action Comics # 289 (Jun., 1962), opens with Linda (Supergirl) Danvers enjoying a quiet evening of television at home with her foster-parents.  The tearjerking ending of a romance picture (undoubtedly, the Danvers women outvoted the man of the house on that one) sets Linda to thinking about her cousin, Superman.  Surely, she concludes, her cousin is miserable in his lonely life as a bachelor.

 

12134138860?profile=originalJust maybe, though, she could play Cupid, and find the right girl for the Man of Steel, so he wouldn’t have to go through life as an unhappy bachelor.  Notably, she immediately discards Lois Lane and Lana Lang as likely prospects.  However, when she confides her idea to her parents, they dash it with the cold water of reason . . . .

 

“Don’t interfere in Superman’s personal life, Linda,” warns Fred Danvers.  “Every man prefers to pick out his own wife!”

 

“Your father’s right,” says Edna.  “Now forget this nonsense!”

 

But, like all teen-agers everywhere, Linda figures her parents don’t know what they’re talking about, and as soon as they’re asleep, she changes to Supergirl and puts her plan into motion.

 

In fact, she’ll succeed beyond all expectations, and in the process, discover that she should have listened to her mom and dad all along.

 

 

 

Keeping her intentions a secret, the Girl of Steel lures Superman into romantic situations with, first, Helen of Troy, and then with Saturn Woman, of the adult Legion of Super-Heroes.  Both attempts bomb big time, resulting in major embarrassments for the Man of Steel.

 

In the Fortress of Solitude, a contrite Supergirl admits her matchmaking subterfuge to her cousin.  Instead of being tremendously peeved at her meddling, as most fellows would be, Superman is touched by her concern and makes a confession of his own.

 

If he ever did marry, says the Man of Steel, it would be to someone like Supergirl herself.  He’s quick to point out that, on Krypton, it was illegal for cousins to marry, but still there’s a creepiness factor going on there.  Nevertheless, Supergirl isn’t put off by it; in fact, it gives her an idea.

 

12134140276?profile=originalShe programs his ultra-sophisticated computer---most likely, the super-ultivac---with all of her own physical and personality traits.  Just to keep things from being too gross, she adds fifteen years or so in age, then sets the device to “Google” the universe for a match.

 

The computer comes up with just one hit---a super-woman named Luma Lynai, on the planet Staryl.

 

Faster than you can say “Kryptonian babooch”, Superman is zipping his way across interstellar space to the orange-sun system of the planet Staryl.  Arriving on the planet, he wastes no time looking up Luma Lynai.  She’s a dead ringer for his cousin Kara, as she’ll be in ten or fifteen years, as Superwoman.

 

It’s a whirlwind romance all right, because only two panels later, when Kara checks up on things with her super-vision, she finds Superman and Luma in a warm embrace.  She’s even more thrilled when her super-hearing overhears that Luma has consented to return to Earth with her cousin and get married.

 

Supergirl is still peeking with her telescopic vision when she sees the happy couple enter our solar system.  Both she and Superman are mystified when Luma suddenly doubles over in agony and her super-powers fade away.

 

The Man of Steel rushes Luma back to Staryl, where she recovers immediately.  She’s puzzled, but Our Hero pieces together the answer.

 

12134141089?profile=originalJust as a yellow sun gives Superman his powers, the orange sun of Staryl makes Luma super.  And where a red sun erases the Action Ace’s mighty abilities, the yellow sun of our world does the same to Luma, only it’s worse.  A lot worse.  A yellow sun is actually deadly to Luna, the same way kryptonite is to Superman. 

 

She can never live on Earth.

 

No matter, says Superman, without reservation.  He loves Luma, and he’ll abandon Earth to live with her on Staryl.  No, insists Luma. 

 

In so short a time, she knows Superman better than he knows himself.  His sense of responsibility is too strong.  Earth needs him, and she won’t force him to make the terrible choice between love and duty.

 

It’s an inconsolable Man of Steel that returns to Earth, and Supergirl realises that her meddling only resulted in her cousin’s heartbreak.  She should have left well enough alone.

 

 

 

Sally Selwyn

 

 

So far, Silver-Age fans had seen an enamoured Superman ready to divulge his secret identity, to give up his career as a super-hero, to abandon Earth completely---drastic choices made unswervingly for the sake of love.

 

12134142486?profile=originalYet, he never considered doing any of these things in his relationship with Lois Lane.

 

It’s difficult to tell just how much Lois did know about his romances with Lori and Lyla and Luma.  According to Lois Lane # 97 (Nov., 1969), she was aware of his three past loves, but probably not how much the Man of Steel had been willing to sacrifice for them.  Even so, she was no doubt gladdened by the fact that all three were denied to Superman’s heart.  Lori was a mermaid and married to Ronal.  Lyla had perished when Krypton exploded some thirty years before.  And Luma Lynai could never come to Earth.

 

Lois did not know about Sally Selwyn.  She never would know about Sally, and the reason behind that, more than anything else, reveals how Superman could never be truly serious about Lois Lane.

 

 

The star-crossed story of Sally Selwyn began in Superman # 165 (Nov., 1963).  “The Sweetheart Superman Forgot” opens on a hot summer day, on a routine mission for the Man of Steel when he is exposed to red kryptonite.  Knowing that he is likely about to undergo some bizarre transformation, Our Hero streaks to a remote part of the countryside to await its developments.

 

The red k takes hold of Superman in stages.  First comes the irresistible impulse to change to his Clark Kent identity.  Then he is compelled to bury his costume, his wallet, and everything else on his person that would identify him as Superman or Clark.

 

Next, as the summer heat beats down on him, making him perspire, Clark realises that the red k has robbed him of his super-powers.  Before he can take the full measure of that, the last effect kicks in---amnesia!

 

12134143876?profile=originalAs dedicated Superman fans knew, the effects of red kryptonite usually lasted no longer than forty-eight hours.  But in this case, an editor’s footnote informs us, Clark was exposed to a freak form of the stuff.  Its effects will last not days, but weeks.

 

For hours, Clark wanders down a lonely country road, under the blazing sun, until he arrives at a farmhouse.  He barely has time to beg for a drink from a blonde girl milking a cow before passing out from heat exhaustion.

 

Clark awakens in bed, at the sumptuous mansion of Digby Selwyn.  The pretty blonde he mistook for a farmhand is Selwyn’s daughter, Sally.  A self-made millionaire, Selwyn is sympathetic towards Clark, whom they believe to be a down-on-his-luck itinerant.  When asked, the amnesiac Clark gives his name as “Jim White”, from subconscious memories of his friends Jimmy Olsen and Perry White.

 

In a couple of days, “Jim” is well enough to get out of bed, and the Selwyns give him a tour of the estate.  When a sudden lightning storm threatens to explode a cache of dynamite set aside for blasting a drainage ditch, Clark heroically risks his life to move the explosives out of harm’s way, saving everyone else.  In gratitude, Mr. Selwyn gives Clark a job with his logging company.

 

This puts Clark under the oversight of Bart Benson, the company’s knuckle-dragging foreman and general all-around bully.  Benson has designs on marrying the boss’s daughter and doesn’t like the way Sally is already making eyes at Kent.  He rides “Jim” mercilessly, in hopes of making him quit, but Clark bears up under the harassment, impressing Sally further.

 

12134144657?profile=originalAs days turn into weeks, the readers see a unique perspective on the Man of Steel.  As ordinary, memoryless Jim White, we see him as the kind of man he would have been had he not grown up with super-powers or the need to pose as a mild-mannered Clark Kent.  He’s manly and brave, yet kind and caring.  He and Sally spend more and more time together---much to Bart Benson’s irritation.

 

“Jim” and Sally begin to talk of a future together, and Sally offers him a place running all of the Selwyn operations after her father retires.  No, Clark insists.  He wants to make his own way in the world.  He loves Sally, but with nothing to his name, not even memories of his past, he hasn’t the right to ask her to marry him.

 

Sally doesn’t care.  She’s in love with Jim, not any wealth or prestige he might gain.  Yes, she’ll marry him!

 

 

 

The next day, Clark enters a rodeo contest, with the hopes of winning the five-thousand-dollar grand prize as a stake for starting his own business.  But a jealous Bart Benson feeds loco weed to the bronco Clark is slated to ride.  During the event, Kent is thrown violently and lands hard, damaging his spine.

 

12134145477?profile=originalThe diagnosis is grim.  “Jim” will probably spend the rest of his life in a wheelchair.  It doesn’t matter, says Sally.  She loves him.  Do you, asks Clark, or is it just pity?

 

Clark wheels himself out to a bluff overlooking a rushing river, to be alone with his thoughts.  From hiding, the malevolent Benson shoves a boulder Clark’s way, to scare him.  Instead, the hurling rock takes a wild bounce and overturns the wheelchair, pitching Kent into the raging waters below.  Unable to swim, water fills Clark’s lungs and he blacks out.

 

When Sally and her father find Clark’s wheelchair lying at the cliff’s edge, they come to the conclusion that Jim threw himself into the water on purpose.  Sally is grief stricken.

 

 

As for Clark, he regains consciousness a week later, in Atlantis.  Lori Lemaris explains to him that Aquaman had discovered him struggling in the water and brought him to her people before he could drown.  Clark has spent the last seven days in an air-filled respiration chamber, seized with delirium.

 

As Clark begins to explain to Lori, the effects of the red kryptonite finally wear off.  His super-powers return, along with his memories.  Except he has no recollexion of what had happened to him over the past several weeks, while he was under the red-k influence. 

 

He doesn’t remember being Jim White.  And he doesn’t remember Sally.

 

Clark returns to his old life.  At work, a chance comment from a journalism student causes him to ponder the fact that, as Superman, he’ll never know if a woman loves him for himself, or for his fame and powers.

 

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Bittersweet as it was, it would have been much kinder to the Man of Steel if the story of Sally Selwyn had ended there.  But that was not to be.

 

The events that led to “The Man Who Stole Superman’s Secret Life”, from Superman # 169 (May, 1964), began years earlier, during Superman’s boyhood.  Smallville teen-ager Ned Barnes nearly died in a house fire before being rescued by Superboy.  Though the boy's face was disfigured by the disaster, plastic surgery could restore his features.  Ned pleaded with the surgeon to alter his face to look like his idol, Superboy.

 

12134147495?profile=originalThe operation succeeded beyond Ned’s wildest dreams.  His face was a perfect match for the Boy of Steel’s.  Inspired, Ned determined to be as much like his hero as possible.  “I’ll be kind and helpful to others . . . unselfish!”

 

It didn’t turn out that way.  Ned may have looked like Superboy, but his best attempts to emulate him resulted in dismal failure.  The other kids taunted him mercilessly and bullies beat him.  Young Ned’s idealism was pounded out of him, to be replaced by an irrational hatred for the hero whose face he wore.  He left Smallville to become a punk thug, and the punk thug grew up to be a hardened criminal.

 

Now an adult, Barnes works for the mob.  Donning a Superman costume, his resemblance to the Man of Steel gets him accepted as the genuine article at a top secret military installation.  With a hidden camera, he photographs the classified plans to a new missile.  However, his impersonation is exposed when he bangs his arm against a metal post and yelps in pain.

 

To get away from the pursuing guards, Barnes waylays a passing motorist and dons the man’s suit and eyeglasses.  Unknowingly, he is now a double for Clark Kent.

 

To elude capture, Barnes takes the country roads, only to have his getaway halted when some wandering cows block the roadway.  Ranchhands arrive to recover the animals, while Ned waits impatiently.  Suddenly, one of the riders calls out excitedly, “Jim!”

 

The cows are Selwyn cattle, and the rider is Sally Selwyn!  She leaps into Ned’s arms and kisses him passionately.  To her, this is the man she knew as Jim White.

 

12134148675?profile=originalBarnes doesn’t have to say a word.  Sally babbles out her own explanation for how “Jim” survived and regained the use of his legs.  It doesn’t make a bit of sense, even by comic-book standards, but she’s so overcome with joy, she doesn’t care.  She takes Ned back home, and the hoodlum plays along, realising that the Selwyn estate makes an excellent hide-out from the law.

 

 

Back at the Daily Planet Building, a teletype newsflash alerts the real Clark Kent to the incident at the top secret lab.  Investigating as Superman, he is troubled by the reports that the spy was his exact double.  As he dogs his impostor’s trail, the Man of Steel decides, though it will be slower going, he will be less conspicuous as Clark Kent.

 

Meanwhile, Ned Barnes is enjoying the fruits of being “Jim White”.  Sally’s love for him, or rather the man she thinks he is, is pure and genuine.  It’s the first real affection Ned has known in his life and he finds himself wanting to be more like the real Jim.  He decides to give up his life of crime.  But first, he must dispose of the evidence of his final criminal act.  He sneaks off into the woods to bury the Superman costume and the camera holding the photographs he took.

 

By chance, Clark Kent has followed Barnes’s trail to the Selwyn ranch, just as Sally arrives to check on the herd.  Clark is taken aback when she greets him with a kiss.  Instinctively, he kisses her back, and as they embrace, suddenly the memories of his previous life as Jim White flood back into his mind.

 

12134150684?profile=originalHe remembers everything, including how much he loves Sally, and how much Sally loves him---for himself!

 

Despite being awestruck at his discovery, Clark keeps his head long enough to realise that someone else had been posing as Jim earlier.  That person could only be the same man who posed as Superman at the lab.  With his super-vision, he locates Ned Barnes, deep in the woods, burying the evidence.

 

Making an excuse to Sally, Clark slips away to think things through.  It doesn’t take long for him to make up his mind.

 

“Now that I’ve found her, I don’t want to lose her again, ever!  I’ll marry her!  Why not?  I love her and she loves me—and I may never again find a girl who truly loves me for myself!”

 

First, though, he’ll deal with that Superman impostor.

 

 

Out in the woods, Ned Barnes has had time to think things out, as well.  His newfound conscience won’t let him go on deceiving Sally.  She deserves the real Jim White and not a phoney like him.  Ned decides to leave before his resolve to do the right thing weakens.

 

12134153075?profile=originalBefore he can do so, he is surprised by two of the mob’s triggermen.  Since Ned failed to show up with the spy photos, his gangland bosses concluded that he double-crossed them.  The two hitmen were sent to kill Ned.  And to drive the lesson home, they’re going to kill Sally first.  One of the assassins raises a rifle and focuses on Sally with its telescopic sight.

 

Desperately, Ned tackles the gunmen.  The struggle takes them to the edge of a rocky precipice.  Loose rock gives way and all three of them plunge into the ravine below.

 

Seconds later, Superman arrives.  A quick check with his x-ray vision tells him the two hitmen are dead and Ned Barnes, nearly so.  With his last breaths, Ned tells Superman the whole story.

 

With genuine regret, the Man of Steel tells the dying man, “I’m sorry that changing your features to look like mine brought such unhappiness to you . . . .”

 

A second later, Ned Barnes is gone.  Superman is free to tell Sally the truth---that he is Jim White, that he loves her with all his heart, and he wants her to be his wife.

 

Instead, he does the most difficult thing he has ever done in his remarkable life.

 

The Man of Steel flies to the Selwyn home and tells Sally, “Jim was killed while saving you from gun-happy prowlers.”

 

 

12134153694?profile=original

With Sally’s anguished cries stabbing like a kryptonite knife into his heart, he streaks off.

 

The mobsters’ attempt to kill Sally drove home the terrible understanding that he has held all of his life---that any girl he married would be a target for his enemies.  The wife of Superman would always be in danger.

 

Yes, it’s the same reason he gives for not marrying Lois Lane, but it’s not the same thing.  Lois Lane is known to be Superman’s girl friend, and Superman’s girl friend is scarcely less of a target for a criminal’s revenge than Superman’s wife.  With Lois, it’s a handy excuse for dodging the altar.

 

But with Sally, the threat is grimly real.  The incident with Ned Barnes and the gunmen was a chilling reminder.

 

With Sally, there could be no games of girl friend-but-not-wife.  With Sally, he could not risk her having any association with Superman.  He couldn’t chance even marrying her as Clark Kent.  Too many of his foes, such as the Phantom Zone villains and the Superman Revenge Squad, knew that Clark Kent was Superman.

 

The only way to ensure the safety of the woman he loved was to keep her completely out of his life.

 

 

 

Of all of Superman’s lost loves, Sally Selwyn had to be the most agonising.  She wasn’t long dead or married to another.  She was within reach. 

 

Maybe that’s why Superman put up with all of Lois Lane’s shenanigans.  It kept his mind off of what was so close, yet so far.

 

12134154495?profile=original

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Comics for 22 February 2012

AFRIKA HC
ALL STAR WESTERN #6
ALTER EGO #107
AMAZING MYSTERIES BILL EVERETT ARCH. HC V1
AMERICAN VAMPIRE #24 (MR)
AQUAMAN #6
ATOMIC ROBO GHOST OF STATION X #5 (OF 5)
AVENGERS ACADEMY #26
AVENGERS SOLO #5 (OF 5)
BART SIMPSON COMICS #68
BATMAN THE DARK KNIGHT #6
BATMAN VS BANE TP
BETWEEN GEARS TP
BLACKHAWKS #6
BROKEN PIECES #2
BULLETPROOF COFFIN DISINTERRED #2 (OF 6)

CAPTAIN AMERICA AND BUCKY #627
CAPTAIN AMERICA PRISONER OF WAR TP
CHEW #24 (MR)
CHRONICLES OF KULL TP V5 DEAD MEN
CLASSIC MARVEL FIG#166 MAGIK
CLASSIC MARVEL FIG #167 BEETLE
CLASSIC MARVEL FIG NORTHSTAR & AURORA
COBRA ONGOING #10
COMPLETE CAPTAIN ACTION TP

DANGER GIRL REVOLVER #2 (OF 4)
DARK HORSE PRESENTS #9
DC SUPERHERO FIG COLL MAG #100 RAVAGER
DC SUPERHERO FIG COLL MAG #101 MON-EL
DC UNIVERSE SECRET ORIGINS HC
DEADPOOL #51
DEADPOOL MAX 2 #5 (MR)
DOROTHY AND WIZARD IN OZ #5 (OF 8)
EXPLORER THE MYSTERY BOXES SC

FANTASTIC FOUR #603
FLASH #6
FRANK FRAZETTA BOOK ONE
FURY OF FIRESTORM THE NUCLEAR MEN #6

GARTH ENNIS JENNIFER BLOOD #9 (MR)
GFT ALICE IN WONDERLAND #2 (MR)
GI JOE DISAVOWED TP VOL 05
GLITZ 2 GO TP (MR)
GODZILLA LEGENDS #4 (OF 5)
GREEN LANTERN NEW GUARDIANS #6

I VAMPIRE #6
INCORRUPTIBLE #27
INFESTATION 2 DUNGEONS & DRAGONS #2 OF 2
INVINCIBLE ULTIMATE COLL HC VOL 07
IS THAT ALL THERE IS HC (MR)

JIM BUTCHER DRESDEN FILES FOOL MOON #5
JUSTICE LEAGUE DARK #6

KID FLASH 52 SYMBOL T/S
KNIGHTS OF THE DINNER TABLE #183
KOLOR KLIMAX NORDIC COMICS NOW GN (MR)

LADY DEATH (ONGOING) TP VOL 01 (MR)
LIL DEPRESSED BOY #9
LOCUS #613

MAGNETO NOT A HERO #4 (OF 4)
MEGAMIND MEGA COLLECTION TP
MIGHTY THOR #11
MMW INCREDIBLE HULK TP VOL 02
MONDO #1 (OF 3) (MR)
MORNING GLORIES #16 (MR)

NEAR DEATH TP VOL 01
NEW MUTANTS #38 XREGB
NIGHT O/T LIVING DEAD TP VOL 03 (MR)
NO PLACE LIKE HOME #1

PATRICIA BRIGGS ALPHA OMEGA CRY WOLFV1#5
PHANTOM COMP SERIES HC CHARLTON YEARS
PHOENIX WITHOUT ASHES TP
PROPHET #22

QUASAR CLASSIC TP VOL 01

RASL #13 (MR)
RAY #3 (OF 4)
RED SONJA #64
RED SONJA WITCHBLADE #1

SAVAGE HAWKMAN #6
SECRET AVENGERS #23
SIXTH GUN #19
SOULFIRE VOL 3 #7
SPIDER-MAN #23
STAR WARS DARK TIMES WILDERNESS #4 (OF 5)
STAR WARS JEDI VOL 01 DARK SIDE TP
SUPERBOY UPC SYMBOL T/S
SUPERIOR PREM HC
SUPERMAN #6

TEEN TITANS #6
TEENAGE MUTANT NINJA TURTLES ONGOING #7

ULTIMATE COMICS SPIDER-MAN #7
UNCANNY X-FORCE #22 XREGG

VENOM #13.3
VICTORIAN SECRET WINTER WARDROBE
VOODOO #6

WALLY WOOD EC STORIES ARTIST ED HC
WAR OF THE INDEPENDENTS #2
WOLVERINE AND CAPTAIN AMERICA TP
WOLVERINE AND X-MEN #6 XREGG
WOLVERINE PUNISHER GHOST RIDER INDEX#7

X-MEN #25 XREGB
X-MEN AGE OF APOCALYPSE OMNIBUS HC
X-MEN LEGACY #262

This list was copied from memphiscomics.com. Arrivals at your LCS may vary.

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A New Look at New X-Men, Part III

12134125092?profile=originalWe’re getting close to the end.  Over the past two weeks, I’ve written about Grant Morrison’s run on New X-Men.  I wrote about some of the problems I had with his tenure.  But I wrote even more about the things he did right.  So here’s the third and final installment, dealing with the last three trades.  And feel free to take a look at Part I and Part II when you're done.

 

Assault on Weapon Plus

(Issues 139-145: Murder at the Mansion, Assault on Weapon Plus)

 

Grant Morrison’s greatest weakness is plotting.  Sorry, Morrison fans- it’s true.  He has a ton of ideas.  He’s good with characters and even dialogue.  But he is not the best at crafting a tight story or keeping track of a big epic.  During his JLA run, he would occasionally lose track of characters during a big story- forgetting that he sent Martian Manhunter off into space, for example.  Morrison managed to keep things together for most of his X-Men run, but his weakness is exposed in Murder at the Mansion.

Morrison tried to write a play-fair murder mystery.  Emma Frost was murdered and there are more suspects than answers.  Morrison even brings in Bishop and Sage from X-Treme X-Men as investigators.  Character-wise, it’s still a good story.  We see grief and frustration on the part of several students.  We get a greater glimpse into the growing rift between Scott and Jean.  Bishop’s interrogations enlighten us about many of the X-Men.  Morrison also rightly shifts suspicion from one character to another, one of the key hooks of any murder mystery.  

12134125474?profile=originalUnfortunately, Morrison never truly resolves the story.  He provides an answer and then undercuts it.  Perhaps, he was trying to create a cliffhanger.  Perhaps, he wanted to upend the reader’s expectations one more time.  But it doesn’t work.  The ambiguity isn’t intriguing; it’s annoying.  Morrison’s plot promised an answer he never delivered. 

I also had a problem with the second story, Assault on Weapon Plus.  However, this time, the problem may be more about me than it is about Grant Morrison.  I previously mentioned that Fantomex was part of an “Everything You Know Is Wrong” story- a comic book trope in which the previous understanding of a character or situation is completely overturned.  This can be done brilliantly and it can be done terribly.  For me, Morrison’s new take on Weapon Plus was unnecessary.  We already knew a lot about the Weapon X program and its ties to government agencies like Department H and K.  We had already met multiple Weapon X agents, like Deadpool and Kane.  I didn’t see what was gained by changing Weapon X to Weapon 10.  Instead, I could only see what was lost.

Looking back, I see more possibilities than I did at the time.  By changing Weapon X to Weapon Plus, Morrison was able to move Wolverine’s history out of the ghetto of Alpha Flight.  As much as I like Alpha Flight (I am a Canadian after all), they aren’t exactly major players in the Marvel Universe anymore.  Instead, Wolverine now has a stronger connection to pivotal figures like Captain America and new ties to villains such as Nuke.  Those old ties haven’t been erased either. 

 

12134126064?profile=originalPlanet X

(Issues 146-150)

 

Back in the first installment, I mentioned a recent debate about Grant Morrison’s X-Men on the website Comic Book Resources.  This is the story that prompted that debate.  In this tale, Magneto reveals that he has been posing as Xorn this whole time.  He has been manipulating events within the mansion, working behind the scenes to turn things against Xavier.  Now, he takes charge of the outsiders- some of whom had previously fought at the side of Quentin Quire- and leads a new revolution.  He conquers New York and dares the X-Men to challenge him.  He also magnifies his magnetic powers with use of the mutant drug, Kick. 

The depiction of Magneto was the heart of that debate.  Magneto has had a lot of incarnations over the years.  He’s been a terrorist and a revolutionary.  He’s been tragic and noble.  He’s been a teacher and a dictator.  But he had never before been a drug-addled old man and apparently, a lot of fans, didn’t like it.  Personally, I found it fascinating.  Magneto has rejected so-called human morality before.  Why wouldn’t he use drugs?  He’s ambitious enough to want any power he can get and conceited enough to think he could master the drug.  Why wouldn’t he take advantage of a young woman?  Like Deathstroke and Terra, the relationship between Magneto and Esme is supposed to be creepy.  He’s a villain after all.  He’s not above manipulating a young girl to his own ends.

12134126669?profile=originalMy objections concern a different character, although I admit they’re based on emotion as much as any objections to the depiction of Magneto.  I think it was a mistake to get rid of Xorn.  I know that there’s a long history of heroes and villains posing as other characters: Martian Manhunter was Bloodwynd; Booster Gold was Supernova; even in the X-Men, Cyclops was Erik the Red.  But Xorn was an awesome new character.  He was the best addition to the X-Men in a decade.  And I miss him.  I loved the idea of a mutant with a brain for a sun.  I loved the wide variety of things he could do, from gravity manipulation to healing.  I loved his calm and curious demeanor.  I think the X-Men are a more interesting team with him in it.  So I was disappointed to find out that it was all a sham.

Morrison knew that a lot of fans would share that reaction.  As a writer, you want people to be invested in your stories and you delight in eliciting an emotional reaction that strong.  He even gave voice to those emotions by having Ernst repeatedly mention that she missed Xorn.  But the clever ploy backfired.  While I can admire the craft of the story, I would have preferred to have a great new character kept in play. 

 

12134127283?profile=originalHere Comes Tomorrow

(Issues 151-154)

 

I honestly don’t have much to say about Here Comes Tomorrow.  It’s an alternate future story and we’ve seen a lot of them.  Some of them have been great, including Morrison’s Rock of Ages story in JLA.  Some of them have been lousy.  This one was somewhere in the middle.  It had a lot of action.  It had some good moments, like the new Phoenix.  But altogether, it was kind of mediocre. 

I think that part of the problem is that we were given an unfamiliar character as a protagonist.  It’s hard to get invested in his story when we don’t know who he is.  Another part of the problem is that the story didn’t have a direct connection to the present.  We didn’t have one of our characters trying to get back from the future, like Rock of Ages.  We didn’t have a future character trying to change things in our own time, like the classic X-Men story, Days of Future Past, which inspired this one.  It didn’t feel as if the outcome of the story mattered either way.  It was an interesting exercise.  And it answered a few questions.  But it wasn’t a compelling story.   

 

And that’s the end. 

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Andrew A. Smith

Scripps Howard News Service

 

We're all Yiddishkeit now

 

Shalom!

 

Ever wonder why you know so many Yiddish words, fellow goyim? I know I have – I’ve used words like putz, schmuck, klutz and schnozz most of my life, without any idea where I picked them up. Was it from MAD magazine? The Marx Brothers? Fiddler on the Roof? Stan Lee (Stanley Lieber) and Jack Kirby (Jacob Kurtzberg) at Marvel Comics? Blazing Saddles and other Mel Brooks movies?

 

12134127857?profile=originalIt could have been any or all, because American entertainment is thoroughly suffused with the sensibilities of Yiddish-speaking Jews, a people who fled pogroms in places like Poland and Russia to the New World. These gentle folk from the rural villages of Eastern Europe had a unique viewpoint and wry sense of humor that was embraced in cultural meccas like Hollywood and New York City. From there, they taught boys from Tacoma to Tampa to want to be a mensch, and girls to want to be zaftig.

 

Which is why I have always wanted a book like Yiddishkeit: Jewish Vernacular & the New Land (Abrams ComicArts, $32.95). Edited by Paul Buhle and the late Harvey Pekar, Yiddishkeit traces the history and influence of Yiddish from medieval Europe to the tenements of New York’s Lower East Side through a collection of comics stories.

 

It’s more than just a history, though, because Yiddishkeit is a sprawling, untranslatable concept that embodies a language, a culture, a set of values, a way of thinking, a sensibility. Sure, we learn a lot of historical facts in Yiddishkeit,but if you don’t feel what the words and pictures are conveying, you’re missing the best part.

 

And there’s probably nobody better for this task than Harvey Pekar, famed for his American Splendor comic books and movie, and the Our Cancer Year graphic novel. Pekar’s relentless perfectionism and irritable kvetching are as much a reflection of Yiddishkeit as the funny stuff, and his stamp is all over the book, especially in the pieces he wrote. Pekar died in 2010, and Yiddishkeit is probably his last sustained professional effort.

 

Comics fans will recognize other names as well, including Danny Fingeroth (a long-time Spider-Man editor), Peter Kuper (The Jungle, among others) and Spain Rodriguez (Trashman, Che: A Graphic Biography). Plus there’s co-editor Buhle, who’s written 42 books, several about the intersection of Jews and comic books.

 

From these diverse – and all-star – hands arises Yiddishkeit, felt more with the heart than understood with the head. Which is itself reflective of the Jewish experience, and its influence on America.

 

So don’t be a schmoe! Get off your tukhus and buy Yiddishkeit already!

 

Elsewhere:

 

12134128065?profile=original"Good girl art” is a comic-book term that really means “good and sexy.” Which gives you an idea what’s in Naughty and Nice: The Good Girl Art of Bruce Timm (Flesk, $50).

 

But there’s a twist: Timm is the animation genius who gave us Batman: The Animated Series, and a veteran of various animation studios, so these sexy girls – most in states of undress – have a definite cartoonish vibe. So, although I wouldn’t show this book to the kiddies, it’s more arty (cartoony?) than dirty. Somehow, despite the nudity, these pin-ups are almost wholesome, more coquettish than slutty.

 

Another delightful aspect of the book is that DC Entertainment has allowed Timm to include a number of (fully dressed) heroines from their comic books, some of which Timm has personally re-invented for the small screen. So you’ll see Batgirl, Poison Ivy, Catwoman and other Bat-characters, plus a great many DC supergirls we’ve never seen him draw before.


A further interesting angle is that Timm is clearly not a fan of the exaggerated busts so typical of comic books. His girls are all petite. Even when dealing with notoriously top-heavy characters like Power Girl and Big Barda, he keeps the hip-waist-bust ratio plausibly proportioned.

 

I confess that after a while a lot of these pin-ups – all of the same body type, all of them sloe-eyed and girlish – tend to blur together. But the book amply demonstrates something I’ve always admired about Timm’s art: His ability to effortlessly render his women with a perfect center of gravity, their weight balanced as easily on the page as it would be in life. When you consider he is doing this with just a few curved strokes – where other artists fail at the same task with labored “photorealism” and heavy textures – it leaves this wannabe artist slack-jawed in amazement.

 

In short, Naughty and Niceis pretty much the only title this book could have.

 

Contact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com.

 

ART

1. Yiddishkeit is an anthology of comics stories illustrating the history and influence of Eastern European Jews on American culture. Courtesy Abrams ComicArts

2. Naughty and Nice is a collection of pin-ups from master animator Bruce Timm. Courtesy Flesk Publications
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Comics for 15 February 2012

ACTIVITY #3
AMAZING SPIDER-MAN #679.1
ANITA BLAKE CIRCUS DAMNED SCOUNDREL #4 (OF 5) (MR)
ANNIHILATORS TP
ARMY OF DARKNESS ONGOING #1
ASTONISHING X-MEN WHEDON CASSADAY ULT COLL TP BOOK
AVENGERS #22
AVENGERS OMNIBUS HC VOL 01
AVENGING SPIDER-MAN #4

BATMAN #6
BIRDS OF PREY #6
BLUE BEETLE #6
BPRD HELL ON EARTH LONG DEATH #1

CAPTAIN ATOM #6
CATWOMAN #6

DAREDEVIL #9
DAREDEVIL REBORN TP
DARK TOWER GUNSLINGER WAY STATION #3 (OF 5)
DARKNESS #99
DC UNIVERSE ONLINE LEGENDS #23
DC UNIVERSE PRESENTS #6
DEADMAN TP VOL 02
DOMINO LADYS THREESOME #1
DUNGEONS & DRAGONS DRIZZT #5 (OF 5)

END OF NATIONS #4 (OF 4)

FABLES #114 (MR)
FEAR ITSELF FEARLESS #9 (OF 12)
FLASH GORDON ZEITGEIST #3
FORMIC WARS SILENT STRIKE #3 (OF 5)

GENERATION HOPE #16 XREGB
GHOSTBUSTERS ONGOING #6
GI JOE 2 RETALIATION MOVIE PREQUEL #1
GLAMOURPUSS #23
GLORY #23
GOBS #4 (OF 4)
GODZILLA KINGDOM OF MONSTERS #12
GOLD DIGGER #135
GREEN LANTERN CORPS #6
GRIMM FAIRY TALES THE LIBRARY #4

HALO FALL OF REACH INVASION #2 (OF 4)
HELLBLAZER #288 (MR)
HELLBLAZER PHANTOM PAINS TP (MR)
HELLRAISER MASTERPIECES #8 (MR)
HOW TO DRAW & DESIGN STEAMPUNK SUPERSIZE TP

INFESTATION 2 DUNGEONS & DRAGONS #1 (OF 2)
INFESTATION 2 TRANSFORMERS #2 (OF 2)
INVINCIBLE IRON MAN #513

JUSTICE SOCIETY OF AMERICA MONUMENT POINT TP

LEGION OF SUPER HEROES #6

MADWOMAN O/T SACRED HEART GN (MR)
MARVEL ZOMBIES SUPREME TP
MOONIE VS. PHOBIA SPIDER QUEEN TP (MR)
MORIARTY #9
MY GREATEST ADVENTURE #5 (OF 6)

NEW AVENGERS #21
NIGHTWING #6

PETER PANZERFAUST #1 (MR)
PIGS TP VOL 01 HELLO CRUEL WORLD (MR)
PLANET OF THE APES #11
POWER GIRL OLD FRIENDS TP
PRINCELESS #4

QUATERMAIN #1
QUEEN SONJA #27

RED HOOD AND THE OUTLAWS #6
RETURN O/T MONSTERS PHANTOM DETECTIVE VS FRANKENST
ROBERT JORDAN WHEEL OF TIME EYE O/T WORLD #21
ROGER LANGRIDGES SNARKED #5
ROY G KRENKEL SAVAGE WORLDS SC

SHERLOCK HOLMES VICTORIAN KNIGHTS #1
SIMPSONS COMICS #187
SONIC UNIVERSE #37
SONIC UNIVERSE TP VOL 02 30 YEARS LATER
STAR TREK CLASSICS TP VOL 2 ENEMY UNSEEN
STAR TREK LEGION OF SUPERHEROES #5 (OF 6)
STAR WARS DAWN O/T JEDI FORCE STORM #1
SUPER DINOSAUR #8
SUPERGIRL #6

THUNDERBOLTS #170
TRANSFORMERS TP VOL 06 CHAOS POLICE ACTION

ULT COMICS SPIDER-MAN BY BENDIS PREM HC VOL 01
ULTIMATE COMICS X-MEN #7
UNCANNY X-FORCE TP VOL 02 DEATHLOK NATION
UNCANNY X-MEN #7
UNDER THE MOONS OF MARS NEW ADV ON BARSOOM HC

VAMPIRELLA #14
VENGEANCE HC
VENOM #13.2

WAREHOUSE 13 #4
WARLORD OF MARS DEJAH THORIS #10 (MR)
WHISPERS IN THE WALLS GN (MR)
WINTER SOLDIER #2
WITCHBLADE #153
WOLVERINE #301
WONDER WOMAN #6

X-FACTOR #232 XREGG
YOUNG JUSTICE #13
X-FORCE NECROSHA TP

ZOMBIE RECOGNITION GUIDE GN

This list has been copied from memphiscomics.com. Arrivals at your LCS may vary.

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Reflections #2--Why Norman Osborn?

What is Marvel's fascination with Norman Osborn, formerly the Green Goblin and the Iron Patriot? This resurrected villain has become the face of evil in the Marvel Universe some forty years after dying!12134123875?profile=original From his first appearance, his identity revealed which led to Steve Ditko leaving the book, the drug issues that plagued his son Harry to finally his murder of Gwen Stacy and his own death, Norman has been Spider-Man's most relentless foe and his most tragic during the Silver Age because he had this split personality where Norman forgot that he was the Goblin. But in times of stress, the evil that dwelt within would emerge and his hatred for the Wall-Crawler took over.

Amazing Spider-Man #121-122 should have been the crescendo to Norman's career. He murdered Gwen Stacy only to accidently spear himself with his own glider. Kirk G writes about that here and I added this about his legacy. Mortality had taken Spider-Man's mortal foe and that should have been the end of him. But in the 90s, Marvel brought back the Green Goblin, citing unknown healing powers. No one except the writers was happy about this. Then they had to have Gwen Stacy have an affair with Norman in the past! This was done to justify another Gwen-look-alike in the MU and bolster Mary Jane as Peter's true love. It is beyond the scope of this article to fully explain how wrong that was! And it was never mentioned again!

But Norman was on the brink of madness when he made his big mistake and foolishly revealed himself to be the Green Goblin. This got him arrested for the first time and placed him in Tony Stark's custody who put him in charge of the Thunderbolts, an easily controllable man doing the dirty work.

As an aside, I would rather believe that this Norman was some alternate reality version trapped in the 616 MU and that the true Norman indeed died. It makes me feel better.

After the events ofCivil War, World War HulkandSecret Invasion!, Norman becomes a national hero, put in charge of HAMMER, creates his own Dark Avengers and pushes through his own agenda. He re-christians himself the Iron Patriot and hunts down the real heroes, now outlaws. But he goes too far (naturally) and it all falls apart during theSiegewhere he is captured and discredited. He should have been locked away and forgotten. But he was not!

There was theOsbornmini-series that shows us how Norman escaped the custody of the US government and why he surrendered. That he learned about a cult that sees him as a messiah. That introduced both Ai Apaec, the South American spider-god and June Covington, the Toxic Doxie who are part of his new Dark Avengers. He now commands HYDRA and AIM and truly believes himself to be the destined leader of the country, if not the world.

No longer costumed, Norman is a charismatic evil. People simply believe that he will win. He has no shame and feels he has been wrong and that history will champion him.

I feel that the current Avengers creators have morphed Osborn into a nightmare version of George W. Bush. A totally corrupt version preying on the liberal fears that such a man may return to power, completely disregarding the will of the populus and ran rampant over the world. Certainly in this year of election, the term "Republican Conservative" brings up bad memories and worse possibilities. Again I stress this is an amped up take on Bush, not a commentary of the actual man. But the boldness of Osborn is frightening. He is not hiding. He is demanding that he be restored to power. Was there not a movement to legally allow Bush to run for a third term? The criminals serving Norman gained authority, much like those in the Bush admonistration quoting over and over again: "I serve at the pleasure of the President." They are not responsible and the President is beyond accountability. This is Norman Osborn's dream and an American nightmare!

What do you think?

 

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Comics for 8 February 2012

ADVENTURE TIME #1
ALL NEW BATMAN THE BRAVE AND THE BOLD #16
ANITA BLAKE VH LAUGHING CORPSE ULT COLL TP
ARCHIE BEST OF DAN DECARLO TREASURY ED
ART OF THE MASS EFFECT UNIVERSE HC
ARTIFACTS #14
ARTIFACTS TP VOL 03
AVENGERS ORIGIN TP

BATGIRL #6
BATMAN AND ROBIN #6
BATMAN TIME AND THE BATMAN TP
BATTLE SCARS #4 (OF 6)
BATWOMAN #6
BERLIN #18 (MR)
BLACK PANTHER MOST DANGEROUS MAN ALIVE #529
BLUE ESTATE #9 (MR)
BTVS SEASON 9 FREEFALL #6

CAPTAIN AMERICA #8
CAPTAIN AMERICA PATRIOTIC SOLDIER SHAMROCK T/S
CARNAGE USA #3 (OF 5)
CAVEWOMAN FEEDING GROUNDS #1 (MR)
CONAN THE BARBARIAN #1

DAKEN DARK WOLVERINE #21
DARK MATTER #2 (OF 4)
DEADPOOL #50
DEAN KOONTZ NEVERMORE #6 (OF 6)
DEATHSTROKE #6
DEMON KNIGHTS #6
DICKS COLOR ED #1 (MR)
DOCTOR WHO CLASSICS SERIES IV #1 (OF 6)
DOTTER OF HER FATHERS EYES HC
DUNGEONS AND DRAGONS #15

ELRIC THE BALANCE LOST #8
ENDERS SHADOW ULTIMATE COLLECTION TP

FAMOUS MONSTERS OF FILMLAND #260
FANTASTIC FOUR SEASON ONE PREM HC
FEARLESS DAWN SECRET O/T SWAMP ONE SHOT
FERALS #2 (MR)
FRANKENSTEIN AGENT OF SHADE #6

GARTH ENNIS NINJETTES #1 (MR)
GFT MYTHS & LEGENDS #12
GFT PRESENTS NEVERLAND HOOK #3
GI JOE MOVIE PREQUEL TP
GREEN LANTERN #6
GRIFTER #6
GRIMM FAIRY TALES #67

HACK SLASH TP VOL 10 DEAD CELEBRITIES
HAUNT #21
HUNTRESS #5 (OF 6)

ILLUSTRATION MAGAZINE #36
INCREDIBLE HULK #5
IZOMBIE TP VOL 03 SIX FEET UNDER AND RISING (MR)

JOURNEY INTO MYSTERY #634

KEVIN KELLER #1
KEVIN SMITH BIONIC MAN #6
KING CONAN THE SCARLET CITADEL TP
KIRBY GENESIS SILVER STAR #3

LADY DEATH (ONGOING) #14 (MR)
LAST OF THE GREATS #5
LOBSTER JOHNSON THE BURNING HAND #2 (OF 5)
LONE RANGER ZORRO TP VOL 01 DEATH OF ZORRO

MARVEL UNIVERSE BY NICK BRADSHAW POSTER
MEGA MAN #10
MEMORIAL #3 (OF 6)
MISTER TERRIFIC #6
MMW UNCANNY X-MEN HC VOL 08
MURKY WORLD ONE SHOT

NEW AVENGERS BY BRIAN MICHAEL BENDIS TP VOL 02
NEW MUTANTS #37 XREGB
NEXT MEN AFTERMATH #40
NORTHLANDERS #48 (MR)

PC CAST HOUSE OF NIGHT #4 (OF 5)
PEANUTS #2 (OF 4)
PENGUIN PAIN AND PREJUDICE #5 (OF 5)
POWERS #8 (MR)
PUNISHERMAX #22 (MR)

RED SONJA #63
RESURRECTION MAN #6

SCARLET SPIDER #2
SECRET AVENGERS #22
SECRET AVENGERS BY ARTHUR ADAMS POSTER
SEVERED #7 (OF 7) (MR)
SHERLOCK HOLMES ON SCREEN SC UPDATED ED
SHOWCASE PRESENTS GHOSTS TP VOL 01
SNAKE EYES ONGOING (IDW) #10
SPAWN #216
SPONGEBOB COMICS #7
STAR WARS AGENT O/T EMPIRE IRON ECLIPSE #3 (OF 5)
STAR WARS CRIMSON EMPIRE III EMPIRE LOST #4 (OF 6)
STAR WARS KNIGHTS OF THE OLD REPUBLIC WAR #2 (OF 5
STAR WARS LONG TIME AGO OMNIBUS TP VOL 05
STRANGE CASE OF MR HYDE TP
SUICIDE SQUAD #6
SUPERBOY #6
SUPERMAN THE BLACK RING TP VOL 01

TEENAGE MUTANT NINJA TURTLES ONGOING TP VOL 01
THE STRAIN #3 (OF 12)
THIEF OF THIEVES #1
TORPEDO HC VOL 04

UNWRITTEN #34 (MR)

VENOM #13.1

WARLORD OF MARS #15
WOLVERINE AND X-MEN #5 XREGG
WOLVERINE AND X-MEN ALPHA AND OMEGA #2 (OF 5)

X-MEN #24 XREGB

YOUNG ROMANCE BEST SIMON & KIRBY COMICS HC

ZORRO RIDES AGAIN #8 (OF 12)

This is a copy of the list posted at memphiscomics.com. Arrivals at your LCS may vary.

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A New Look at New X-Men, Part II

12134172682?profile=originalWelcome back.  Last week, I began an overview of Grant Morrison’s New X-Men.  I tried to bridge the debate divide by discussing the series’ strengths and weaknesses.  And now I’m back for more, looking at the third and fourth collections, New Worlds and Riot at Xavier’s. 

 

New Worlds

(Issues 127-133: Of Living and Dying, New Worlds, Fantomex, Weapon Twelve, Some Angels Falling, Ambient Magnetic Fields, Dust)

 

New Worlds is very much a continuation of the ideas that we saw in the first year of Grant Morrison’s run.  The X-Men continue to grow as international public figures and Morrison continues to introduce new characters.  However, there are some changes and developments. 

First, as evidenced by the number of names listed above, Morrison shifts his story-telling focus to shorter features.  Instead of one long arc, Morrison writes several shorter stories, including multiple one-shots.  They still work together as part of the larger tapestry, yet the change in focus is appreciated.  It’s an opportunity to simultaneously retrench and expand on the ideas already introduced.  It allows Morrison to shine the spotlight on individual characters, such as Xorn, Phoenix, Emma Frost or Dust.  It gives characters the opportunity to react to earlier events, such as the issue in which the survivors of Genosha erect a statue to Magneto.  It’s a refreshing change of pace for the reader, as well.   

Second, in the middle of this stretch, Grant Morrison alters a major relationship.  He already established that Scott and Jean’s marriage had grown distant and stale, especially since Scott had spent time as the host of Apocalypse.  Now, Scott begins to turn to Emma Frost for relationship advice and a little bit of telepathic counseling.  It’s obvious that this is a bad idea.  Yet something that is a bad idea for a character can be a very interesting idea for the readers.  Scott, Jean and Emma make for an intriguing love triangle and a compelling change from the previous perfect couple posture.  It’s notable that this is one of the Morrison changes that stuck when so many others have been reversed.  While many fans reacted the way they would if one of their real-life friends had an affair, writers saw the potential in this relationship for the kinds of conflict that are the lifeblood of any story.  12134173286?profile=original

Finally, Morrison introduced a significant new character- Fantomex.  Although I’ve praised Morrison for the ingenuity he displayed in creating new characters (a mutant with a sun for a brain- that’s brilliant!), I think he mishandled the introduction of Fantomex.  Part of the problem is that Morrison approached Fantomex as a fan.  Fantomex was based on earlier incarnations from France (Fantomas) and Italy (Diabolik) but Morrison forgot to give new readers a reason to like him.  We were told he was cool before we had the chance to decide for ourselves.  He was arrogant and acted superior to the X-Men, and it’s not a good idea to upstage the heroes in their own book.  Plus, Fantomex was introduced as part of an EYKIW (“Everything You Know Is Wrong”) that upended much of the established history of the Weapon X program.  Then again, I could be wrong.  Fantomex is another addition that has lasted.  A lot of fans love him.  He’s currently appearing in Uncanny X-Force and I admit that I’ve grown to like him in spite of myself. 

These last two changes reveal one of the contradictions of Grant Morrison.  Although he’s known as an idea man, he’s also a great borrower.  That trait has become more evident in recent work, like Batman, but it was already present during New X-Men.  However, the fans weren’t yet as aware of that trait and so Morrison was erroneously given credit for ideas introduced by others.  Scott Lobdell had previously suggested a love triangle for Scott and another shameless telepath, Psylocke.  Scott Lobdell was also the writer who added Emma Frost to the X-Men, first as an uncomfortable ally and then as the teacher of Generation X.  Plus, as noted, Fantomex had existed in several previous incarnations.  Morrison saw the potential in these ideas and took them further.  He definitely deserves credit for delving those ideas with greater depth but he didn't originate them. 

 

12134173683?profile=originalRiot at Xavier’s

(Issues 134-138)

 

Riot at Xavier’s is the mid-point of Morrison’s tenure on New X-Men, and arguably the high point as well.  It is simply a great story about generational struggle.  Quentin Quire rejects the competing dreams of Professor Xavier- peaceful coexistence- and Magneto- mutant superiority.  He’s like the Black Panthers, throwing off the leadership of both Martin Luther King Jr. and Malcolm X.  He’s like the Sex Pistols, kicking over the influence of The Beatles and The Rolling Stones.  However, while Quire knows that he doesn’t want a part in other people’s plans, he doesn’t actually have a plan of his own to put into place and his revolution quickly devolves into anarchy.    

I like the way in which Quire and his compatriots co-opt negative stereotypes for their image.  It’s very consistent with the ways in which some minorities have taken the signs of oppression and turned them inside out.  It’s like Native Americans wearing Washington Redskins jackets, black rappers using the n-word or homosexuals adopting the pink triangle as a symbol of pride after it was used as a mark of identification in concentration camps. 

I like the way in which Quire manipulates his classmates.  He takes their unfocused anger, which is common in a lot of youth, and gives them a target for their rage.  Quire and his crew don’t need a philosophy beyond “we’re angry at the world and we’re going to lash out.” 

I also appreciate the way in which Morrison shows the downside of the riot.  Quire may see himself as a hero, but he isn’t.   He’s selfish and cruel to the people who are supposed to be his friends.  Furthermore, the crew may think that they’re in control of their drug use, but they’re not.  It unleashes their potential but it also impairs their judgment.  It’s a major part of their downfall. 

Riot at Xavier’s is a nuanced morality play, depicting both the allure of anarchy and the awful consequences. 

 

That’s the end of Part II.  Don't forget to check out Part I for the start of this discussion.  Then, stop in again for Part III and the final three trades in Grant Morrison’s seminal stint on New X-Men. 

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By Andrew A. Smith

Scripps Howard News Service

 

While comic-book industry news is usually all about characters, creators and circulation, sometimes the real world intrudes – for good or ill. This week we have an example of each.

 

Heroes Against Hunger

 

On Jan. 23, DC Entertainment unleashed its superheroes on a real-world crisis: hunger in the Horn of Africa.

 

At a press conference, bigwigs at Warner Bros. (which owns DC Entertainment) announced the “We Can Be Heroes” campaign, which will support three aid groups working in Africa. Batman, Superman, Wonder Woman and the rest of the Justice League will be used to raise awareness, not to mention millions of dollars.

 

12134174489?profile=originalBoth of which are needful. According to DC, the Horn countries are suffering their worst drought in more than 60 years. Some 13 million Africans are in need of critical assistance and 250,000 are facing starvation in Somalia alone. 

 

DC’s effort will extend across all of Time Warner’s properties, including the use of the Justice League members as spokespeople, and exposure through Warner Bros., Turner Broadcasting, Time Inc. and HBO. If I’m understanding how this works properly, DC’s goal is to raise a minimum of $2 million during the next two years through cash donations, employee matching funds and consumer matching funds, which will be split among Save the Children, International Rescue Committee and Mercy Corps.

 

I’m assuming the way this will work will be advertising on all the Warner Bros. platforms that will direct people to the campaign’s website, www.WeCanBeHeroes.org. When you arrive, there’s a professional video that begins with the seven founding Justice Leaguers in silhouette that segues into quick interviews with ordinary people who have contributed. The point seems to be that they have become an unstoppable force for good by banding together, like the Justice League. How’s that for a snappy metaphor?

 

At the website you can contribute directly to the We Can Be Heroes fund, which DC Entertainment will match 100 percent, up to $1 million in total donations (which accounts for the $2 million goal). But you can also buy specially branded merchandise – We Can Be Heroes T-shirts, coffee mugs, that sort of thing – which will be matched at 50 percent. You can also join an online community and sign up for updates and information on the situation in the Horn and steps the campaign is taking.

 

I should note that comics have been involved in public service plenty of times before. The number of giveaway comic books featuring superheroes fighting ills like tooth decay or littering are legion. In the 1970s, Stan Lee famously ignored the draconian Comics Code to publish three anti-drug issues of “Amazing Spider-Man” in answer to a request from the then federal Department of Health, Education and Welfare. During World War II, you’d be hard pressed to find a comic book that didn’t urge kids to recycle metal and paper, grow a victory garden or “Keep ‘Em Flying!”
But there’s never been anything on this scale, and we should all salute DC Entertainment for their compassion and commitment. Oh, and throw a few bucks at ‘em for a coffee mug, will ya? Tell ‘em Captain Comics sent you.

 

They’re Ba-ack!

 

12134174100?profile=originalA shudder ran through the comics industry and fandom Jan. 18 when reporter Sherri Ly of “Fox 5” in Washington D.C. (WTTG-TV Channel 5) raised the alarm over “plenty of blood, sex and violence” in DC’s superhero comics. The report begins with “most people think comics are for kids” and then concludes breathlessly that “psychologists point out the overexposure to sex and violence for young children can encourage aggression.” Then it quotes various people as saying the books are “scary” or “fictionalized Playboy for kids.”

 

This is all hooey, of course. Because most comics – like most movies, novels, magazines, videogames and TV shows – are manifestly not for kids, and haven’t been for decades. The comics the article denounces are quite clearly marked for age 16 and above, so virtually all of Ly’s overheated rhetoric is simply irrelevant. There arecomics for kids, which are also quite clearly marked, and those don’t contain a lick of what Ly finds so dangerous.

 

But comics people find this hard to laugh off, because we’ve been here before – specifically in 1954, when comic books were used as a scapegoat for every social ill in America. The resultant hysteria nearly destroyed the industry, a body blow from which comics are still recovering. We can only hope that this time around Ly’s trumped-up smear job finds fewer takers.

 

PHOTOS IN THIS ARTICLE

1. The "We Can Be Heroes" print ad shows the seven founding Justice League members in silhouette. Courtesy DC Entertainment

2. "Catwoman" is one of the comics a Washington D.C. TV station found objectionable. Courtesy DC Entertainment

Contact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com.

 

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By Andrew A. Smith

Scripps Howard News Service

 

If you thought Hollywood strip-mined comic books for movie ideas in 2011, you ain’t seen nuttin’ yet.

 

Which is not to say that all you’re going to see is superhero movies. Actually, so many genres, media and themes repeat this year that it makes me wonder if Hollywood screenwriters all get drunk in the same bar. I mean, do we really need two movies about riots on an orbiting space prison? Two movies based on board games? Three movies about Navy SEALs? Six sports movies? At least nine ghost/haunting stories? Don’t get me started on con men-who-learn-a-lesson tales, coming-of-age stories and quirky rom-coms.

 

But if you’re a comics fan, there’s a lot to love in 2012. Here’s a quick overview of the genre films – comics-based and otherwise – that are prominently marked on the calendar in the Comics Cave:

 

12134171095?profile=original* Abraham Lincoln: Vampire Hunter: Why not? (It’s based on the genre mashup novel by Seth Grahame-Smith, and not to be confused with Lincoln, a movie based on Doris Kearns Goodwin’s Team of Rivals,coming in December.)

 

* Amazing Spider-Man:Yes, Sony is rebooting this franchise because it’s greedy. But also because the rights will revert to Marvel if they don’t. Regardless of the reason, this looks way awesome, not just with a high school Peter Parker, but finally giving us a major Gwen Stacy turn.

 

* The Avengers: Black Widow! Captain America! Nick Fury! Hawkeye! Hulk! Iron Man! Thor! ‘Nuff said!

 

* Bullet to the Head: This is based on Alexis Nolent’s graphic novels, which bodes well; it stars Sylvester Stallone, which bodes the opposite.

 

* Chronicle: Three high school students get super-powers, and it goes real, real bad. How long before this is adapted to comics, you think?

 

* The Dark Knight Rises: I don’t have to describe this one, do I? The trailer alone set a download record in December.

 

12134171694?profile=original

* Dark Shadows: I was never a big fan of the 1960s soap opera, but how can you go wrong with Johnny Depp as reluctant vampire Barnabus Collins?

 

* Dredd: Based on the UK comics, and produced by a UK company, who are likely to do it better than 1995’s alarmingly awful Judge Dredd.

 

* Ghost Rider: Spirit of Vengeance: Yeah, Nic Cage is getting a little long in the tooth, and the first Ghost Ridermovie was kinda by-the-numbers. But it looks like they’re going for dark humor and spectacle this time, and a flaming biker skeleton gives you a lot to work with!

 

* G.I. Joe: Retaliation: No surprise, as G.I. Joe: The Rise of Cobramade $300 million worldwide.

 

* The Hobbit: An Unexpected Journey: You know you’re going.

 

12134172474?profile=original

* The Hunger Games: This story of teenagers forced to fight to the death in a dystopic future is adapted from the young adult novel by Suzanne Collins, and has “franchise” written all over it.

 

* Iron Sky: You can’t go wrong with space Nazis on the moon.

 

* John Carter: Someone’s finally adapting the Edgar Rice Burroughs series that began with A Princess of Mars,and it’s about time!

 

* The Lorax: The words “animated Dr. Seuss tale” are enough for me.

 

* Men in Black III:  Do Will Smith and Tommy Lee Jones just need the money?

 

* Parker: Based on the 1960s gangster books by Donald Westlake (a.k.a. Richard Stark), which are being adapted into top-flight graphic novels by Darwyn Cooke.

 

* Prometheus: It looks like a prequel to “Alien,” although everyone involved vehemently denies it.

 

* Raven: Edgar Allen Poe investigates a serial killer in the final days of his life. To quote the great philosopher Butt-head: “Uh, what?” Too weird to pass up.

 

* Red Tails: George Lucas reportedly had trouble getting this movie made because it didn’t have a white guy in the lead. What th-? It’s World War II and genuine American heroes, so I’m there, dude.

 

* Skyfall: Daniel Craig returns for his third James Bond outing.

 

* The Three Stooges: Probably the worst idea for a movie I’ve ever heard … but the trailer looks hilarious.

 

* World War Z: This movie is adapted from the Max Brooks novel, which shows real-world consequences of a zombie apocalypse, like The Walking Dead.That puts me in a seat!

 

* Wrath of the Titans: As you might guess, it’s a sequel to Clash.


Photos:

1. CHRISTIAN BALE as Batman in Warner Bros. Pictures' and Legendary Pictures' action thriller "THE DARK KNIGHT RISES," a Warner Bros. Pictures release. TM and © DC Comics. Photo by Ron Phillips.

2. Andrew Garfield stars as Spider-Man in Columbia Pictures' "The Amazing Spider-Man." Photo by Peter Tangen. Copyright Columbia TriStar Marketing Group Inc. All rights reserved.

3. (L-r) JAMES NESBITT as Bofur, MARTIN FREEMAN (front) as Bilbo Baggins, STEPHEN HUNTER as Bombur, GRAHAM McTAVISH as Dwalin, WILLIAM KIRCHER as Bifur, and JED BROPHY as Nori in New Line Cinema's and MGM's fantasy adventure "THE HOBBIT: AN UNEXPECTED JOURNEY," a Warner Bros. Pictures release. Photo by James Fisher.

 

Contact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com.

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12134167882?profile=original

Yes, you read it right -- "Relocating the Marvel Universe" is back and we've continued our trip down the Atlantic Coast to North Carolina, the home of a great college basketball program and a whole lot of lighthouses.

But writing this entry proved to be a bit more difficult than I first expected. You see North Carolina just isn't very conducive to superheroing. There are a fair amount of cities, but none are very big. Back in the 1960s and 1970s, when much of the groundwork of the Marvel Universe was laid out, the southern Atlantic states -- North Carolina, South Carolina and Georgia -- were pretty much viewed as a hillbilly-filled backwater, but since then they've grown enormously -- especailly Georgia and North Carolina.

With that in mind, the "theme" for North Carolina became "second chances": Villains who turned their lives around. People who moved on and those who are seeking to repent.

From that idea, North Carolina became the haven for a would-be alien conquerer, a wannabe Iron Man, a Spider-inspired upstart, a castaway cousin and a burglar gone-good.

What characters have made North Carolina their home? Check out "Relocating the Marvel Universe -- Part 35 -- North Carolina" for all the details.

Learn more about the Relocating series itself here!

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A New Look at New X-Men

          12134168684?profile=originalA decade later, Grant Morrison’s tenure on New X-Men remains one of the most hotly disputed eras for Marvel’s band of mutants.  There are runs that pretty much everyone agrees are great: Claremont and the combination of Cockrum, Byrne, Smith or Romita, or more recently, Whedon and Cassaday.  And there are runs that are widely considered to be inferior: Claremont’s return which preceded Morrison and the Chuck Austen issues which coincided with it.  Yet Morrison’s run is still vigorously debated.  Some fans and critics cite it as a seminal work, holding it up as an example of ingenuity and excellence.  Other fans deride it, pointing out its flaws and complaining about the treatment of certain characters.  The debate was in evidence again recently when Comic Book Resources wrote about 100 great comics of the last ten years (no link, sorry). 

I feel like I’m in a unique position to comment on the controversy as I’ve been in both camps.  I had problems with Morrison’s New X-Men when it was first published and dropped it soon after it started.  Years later, I was able to buy the second half of his run in a trade paperback sale.  With perspective and the passage of time, I found that I appreciated his approach a lot more.  I recently read Morrison’s run for a third time.  It is not as perfect as his supporters would claim.  But it is much better than his detractors would have you believe.  

 

E is for Extinction

(Issues 114-117: E is for Extinction, Danger Rooms)

 

Grant Morrison certainly earned the moniker “New” for his tenure on the X-Men.  Everything seemed new: new costumes, new characters, and most importantly, new ideas.  Morrison completely the changed the world of the X-Men and that’s why his work is so divisive, even today. 

The new ideas are, of course, the center of the storm.  Everybody won’t like the same ideas and they won’t like them all equally.  I thought that the concept of secondary mutation was brilliant.  It gave Morrison and other writers the opportunity to increase the power and effectiveness of some of the weaker characters.  And though it took some artists time to get used to the new look, I’ve grown fond of Beast’s feline form.  On the other hand, I detested the idea that Cassandra Nova was Xavier’s twin whom he killed in the womb.  Xavier’s moral authority has been undercut a lot over the years but this absolutely decimated it: Xavier was a murderer before he was born.  It was probably supposed to be clever, but it came across as creepy. 

12134168869?profile=originalGrant Morrison is an experimenter, like musicians Tom Waits or Lou Reed.  Some of those experiments are going to turn out beautifully.  Waits and Reed wrote some great songs and Morrison wrote some brilliant comics.  But experiments sometimes misfire.  As much as I like Tom Waits, I skip past more of his songs than any of my other favorite musicians.  I think this is where Morrison’s fans miss the mark.  Yes, he has lots of ideas and that’s a good thing.  But that doesn’t mean that every idea is a good one.  

Two of Morrison’s best ideas were expanding the world of mutants and going public.  Marvel’s mutants had long been a metaphor for persecuted minorities, whether African-Americans, Jews or homosexuals.  But the metaphor was sometimes strained.  After all, there were only a few dozen mutants in the Marvel world, no more a hundred or two.  By expanding the population of mutants, Morrison and other writers were able to build on that central metaphor.  Joe Casey could conceive of international mutant offices like X-Corp.  Chris Claremont could come up with separate mutant enclaves in Montana and California.  And in New X-Men, Morrison’s public demonstrations made more sense with more mutants. 

I also really liked that the X-Men finally went public.  I had been waiting a long time for that step.  It made perfect sense, considering Xavier’s dream of equality and amity.  Unfortunately, I wasn’t as pleased with the execution.  I didn’t like that the announcement was made by Cassandra Nova possessing Xavier’s body.  It was such a strong statement- it was such a momentous step forward- that it shouldn’t have been part of some villain’s machinations.  

I also had a problem with what I can only describe as the ugliness of New X-Men.  Morrison introduced mutants who had deformities but no corresponding abilities, like Ugly Jon who had two faces but no extra powers.  And, as previously mentioned, he initiated developments that were creepy or gross like fetal murder.  Frank Quitely and Igor Kordey introduced an Eastern European industrial style that was a sharp contrast with the sleek style of the Spanish and Brazilian artists who had worked on the X-Men in the previous decade.  Quitely’s first cover on New X-Men 114 depicts characters who are disproportionate and dumpy.  I have since grown to appreciate Quitely’s art thanks to his work on Sandman: Endless Nights and other projects but at the time- and even a little bit now- the ugliness of the art was a real turn-off. 

 

12134170254?profile=originalImperial

(Issues 118-126: Germ Free Generation, ‘Nuff Said, Imperial)

 

A couple of years ago, I wrote a list of the 100 greatest characters of the past decade.  As I was compiling the list, I noticed that Grant Morrison had created more great new X-Men than any other writer.  That stands to reason.  He introduced a lot of them during his time on the title.  But it’s not only about quantity.  Morrison came up with the most unusual, most offbeat, most interesting and most distinctive new characters. 

They weren’t all introduced during thus particular stretch.  Beak debuted in issue 117, just after E is for Extinction.  Glob Herman walks through a background in that same issue.  Dust and Quentin Quire won’t show up until issues 133 and 134.  Yet Germ Free Generation was the key moment in introducing the next generation of mutants.  Angel Salvadore appears in issue 118 as a prospective student that Wolverine is sent to track down.  The Cuckoos are there, as well.  Meanwhile, Xorn was introduced in the 2001 Annual and crossed over to the regular title with issue 122.  These are some of the most-loved, most-depicted and most-intriguing characters of the past ten years.

12134170498?profile=originalThe other strength of Imperial is that it demonstrated Grant Morrison was telling big stories with big stakes.  Readers often want to know that something important is going to happen, that the story is worth reading.  That was certainly true with Morrison’s New X-Men.  We’d already seen that with E is for Extinction when Cassandra Nova’s new sentinels destroyed Genosha and a million mutants.  The high stakes were confirmed by Imperial.  There was the possibility of an interplanetary war as one of the most powerful empires in the galaxy had been infiltrated by one of the most evil minds in existence.  These were stories with tension.  These were stories that mattered.  Even now, years later, I read through these issues quickly because I can’t wait to get to the next one.  

 

And that’s a good place to stop.  Come on back next week for Part II, concerning New Worlds and Riot at Xavier’s.  Then check out Part III, with Assault on Weapon Plus and Planet X.

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12134027688?profile=original“In Mortal Combat with . . . Sub-Mariner!”

Editor:  Stan Lee  Writer:  Stan Lee  Art:  Wally Wood

 

 

When fans discuss the classic titles put out by Marvel Comics during the Silver Age, Daredevil seldom comes up.  For one thing, the lead character lacked the flashy super-powers of Spider-Man or the Fantastic Four.  He didn’t even have the dramatic visuals of the Hulk or Giant-Man.  Then, there was the fact that the title never saw any of the Jack Kirby art for Marvelites to ooh and ahh over.

 

Daredevil did pick up a few points when Wally Wood took over the art chores, starting with the fifth issue.  Wood’s clean, photogenic style was a marked improvement over previous series artist Joe Orlando.  Orlando’s art seemed murky and uneven, making it look like it had been drawn in a backroom someplace, over the week-end, on butcher paper.  (To be fair, a good share of the blame has to go to Orlando’s inker, Vince Colletta, whose scratchy, broken lines always looked like part of the nib of his pen had snapped off.)

 

12134158686?profile=originalDaredevil # 7, when remembered at all, is known for two things.

 

It was the debut of his all-red costume, which so quickly became his classic look that most Silver-Age readers forgot that he ever wore a different outfit.

 

Less of a landmark, but perhaps more important, this was story in which Daredevil came of age.  It was here that he transitioned from being a glorified acrobat with a gimmick to a real, honest-to-God super-hero.

 

 

 

The initial premise of “In Mortal Combat with . . . Sub-Mariner!” is much like something that Will Eisner would have come up with.

 

Will Eisner is legendary among comics creators, and in his case, legendary is no overstatement.  Eisner’s long-running adventures of the Spirit are masterpieces of art and writing that comics professionals are still learning from, some sixty years later.  One of his common devices was to set the derring-do of his two-fisted hero amidst some prosaic aspect of human drama, and it was this aspect that the plot twisted around.

 

Sometimes, Eisner took his “average joe” concept to a point which bordered on the absurd, but somehow, he made it seem like a perfectly normal event.  Such as his story, “The Dictator’s Reform”, told a few months before America’s entry into World War II, in which Adolf Hitler makes a private visit to the United States.  He goes on a walking tour of Central City, to meet the people and try to convince them that he’s not such a bad fellow.  It’s a loopy notion, but under Eisner’s handling, you find yourself thinking, “Hey, why not?”

 

More down to earth, but no less dramatic was his “Taxes and the Spirit”, in which the blue-suited hero goes up against the Internal Revenue Bureau.  This wasn’t a wild, over-the-top affair, as it was when DC’s Superman found himself in the same fix.  No, Eisner handled it realistically, when two Internal Revenue agents discover that the Spirit has never filed a tax return.  They aren’t starchy, persimmon-faced bureaucrats fixated on a petty notion.  Eisner paints them as dedicated agents doing their jobs, simply looking for an explanation.

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It was just this kind of quirky but perfectly natural action, when you stop to think about it, that formed the basis of “In Mortal Combat with . . . Sub-Mariner!”

 

The story opens with Prince Namor in one of his usual humans-are-no-damn-good fugues.  It doesn’t help his mood that his Atlantean warlords are insisting on going to war with us land-dwellers immediately.  Namor realises that a war will devastate his people, as well as the air-breathers.  Rather than do that, he settles on another way to get justice for the wrongs committed against the people of Atlantis.

 

Namor decides to take the human race to court!

 

A loopy idea, but, hey, why not?

 

 

 

In two shakes of a dolphin’s tail, the Sub-Mariner arrives in New York.  Since an appearance by Prince Namor usually means bad things for the cops, the Army, and local property values, the bystanders give him a wide berth.  Once in Manhattan, Subby heads for the nearest office building and selects a law firm from the tenant directory.  Since this is decades before Angie’s List, he uses the ever-reliable pot-luck method . . . .

 

“Now for the first attorney I find!  Ah!  Nelson and Murdock!  I’m certain they will do as well as any others!”

 

Namor announces himself at the offices of Nelson and Murdock, Attorneys-at-Law and states his case.  “I wish to sue the entire human race for depriving us of our birthright!”

 

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He’s not very happy when Matt Murdock tells him there are a couple of problems with that prospect.  First, there’s no legal precedent for such an action, and second, there’s no jurisdictional respondent since no one nation represents the human race.  But as a prince of the blood, Namor won’t be put off by petty details.

 

When Foggy Nelson explains that petty details are pretty much what litigation is all about, Subby leaves in a snit, leaving a smashed door, a shattered desk, and a demolished wall behind him.

 

 

 

12134161868?profile=originalOver the next few hours, Subby rampages through the city, leaving a nice wide trail of destruction so the police and the military can find him.  He wants to be arrested, to force his day in court.  Unfortunately, the authorities have a more permanent solution to the Namor Problem in mind, and they blast away at him with tanks and machine guns.

 

As soon as Foggy and their secretary, Karen, have gone home for the night, Murdock changes to Daredevil, showing off for the first time his brand new crimson duds.  Snagging a ride from an Air Force spotter plane, DD finds the Sub-Mariner and tries to reason with him.  However, in order to do that, like the old joke about the mule and the two-by-four, first the Man Without Fear has to get the fish man’s attention, which he does by a good jump kick to Namor’s solar plexus.

 

After that, the negotiations kind of fall through.

 

DD ducks and weaves the best he can, but Subby finally gets him in the water.  Namor then pounds away at Our Hero.  When he sees Daredevil sinking to the bottom of the river bed, he decides, “I cannot permit one so valiant to die---even though he is my enemy!”  The Sub-Mariner snags DD by the wrist and hurls him back up to the surface.

 

Two panels later, the prince of Atlantis surrenders to a much-relieved shipload of sailors.

 

 

 

The next morning, using his one phone call, the Sub-Mariner retains Nelson and Murdock to handle his case.  Foggy Nelson shows the command decision-making that makes him the senior partner.  “You’d better handle it, Matt.”

 

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Prince Namor finally gets his day in court, but things don’t go too well for him, or Murdock.  Matt’s opening plea, at which he raises the issue of the Sub-Mariner’s civil suit, gets shot down by the presiding judge.  And the tone with which the district attorney levels the charges against the Atlantean rankles Namor’s royal temperament.

 

Murdock smooths things over by pointing out that Namor is the supreme monarch of his people, where his word is law, and fellows like that just don’t play well with us regular folks.  The judge agrees, and he calls a recess, so he can decide the most proper venue to dispose of the Sub-Mariner’s case.

 

12134163494?profile=originalWhile waiting for the hearing to resume, Lady Dorma, Namor’s consort, enters the courtroom and informs her prince that, during his absence, one of his warlords, the treacherous Krang, has launched a rebellion in Atlantis.  That’s it, as far as Subby’s concerned, the trial’s over, and he scatters the half-dozen court officers who try to keep him from marching out.

 

Matt calms the Atlantean down and persuades him not to throw away his chance to be heard.  Namor agrees to wait twenty-four hours, “but not one instant more!”  The judge, however, postpones the trial for a week, and Murdock has to go down to intake and break the news to the impatient Sub-Mariner.

 

Subby decides that this legal stuff is all a bunch of hooey and bursts out of his jail cell.  The Army hasn’t been caught sleeping, though.  Armoured units and troops of soldiers line the streets for blocks around the jail, and the bullets and the bombs start flying.  They barely faze Namor, so determined is he to get back to Atlantis and deal with Krang.

 

Meanwhile, Matt has changed back to Daredevil and locates the commanding officer of the troops.  DD asks for time to handle the enraged Sub-Mariner himself, before anyone else is hurt.  The C.O. thinks Daredevil is out of his mind, but agrees.  Thus, begins one of the most dramatic man-to-man contests ever seen in comics.

 

12134165470?profile=originalDaredevil, armed only with his agility, billy club, and enhanced senses, against a super-strong, indestructible, lightning-quick Sub-Mariner, who’s pretty hacked off, to boot.

 

Wally Wood’s sleek art depicts the combat in elegant snapshots.  Daredevil somersaulting high over a charging Namor.  Namor streaking high into the sky, towing DD, hanging desperately from his billy-club line.  The Sub-Mariner wrenching a lamppost free from its foundation, swinging it at the toppling hero.

 

The Man Without Fear is hopelessly outmatched.  He knows it.  Namor knows it.  But DD keeps coming.  He hits the fish man with a wrecking ball, drops a steam-shovel full of boulders on him, then vaults out of his foe’s reach at the last instant when none of it makes so much as a dent in his Atlantean hide.

 

The Sub-Mariner’s contempt for his weaker opponent gives way to disbelief, and then awe, as Daredevil refuses to quit.  “This is madness!” shouts Namor.  “Does your own life mean nothing to you?  Have you no sense of fear?”

 

 

 

Finally, fatigue brings Daredevil to his knees.  Disdainfully, Namor turns his back and walks away.  With his last ounce of strength, DD wraps Subby with an electrical cord, then---hoping his insulated gloves will be enough to protect him---attaches it to a live wire from the broken lamppost base.  The very air crackles as enough voltage to power a city block courses through Namor’s body and blasts Daredevil off his feet.

 

When the smoke lifts, Daredevil lies face down on the pavement, nearly unconscious.  But the Sub-Mariner is only dazed.  The Atlantean shakes his head clear, then turns his attention back to the armed forces lined up against him.

 

Wracked with pain and exhaustion, unable to even lift himself up, Daredevil reaches out desperately and clutches one of Namor’s winged ankles---and then passes out cold.

 

Prince Namor looks down at his helpless adversary.  Then he takes to the sky and heads seaward.  The Man Without Fear has won his respect.

 

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He won the respect of the readers, as well.

 

Up to this point, Daredevil had been a costumed character with a gimmick---he’s blind, but makes do with his other senses having been increased to the Nth degree.  Most of the crooks he had fought, Rick Jones could have beaten after one judo lesson from Captain America.

 

But the Sub-Mariner was one of Marvel’s heavyweights, someone who had fought the Hulk and the Thing to a standstill.  For the first time, Marvel fans saw raw courage behind DD’s lame wisecracks and glibness.  The battle with Namor elevated him from a mere costumed adventurer to a genuine super-hero.

 

There wouldn’t be many moments like this for the Man Without Fear.  His title would remain a second-tier one, and the plots would stay fairly lightweight, occasionally even drifting toward farce.  And Wally Wood, whose art gave the series such a polished veneer, would be replaced before the end of the year.

 

But, for this one issue, at least, the man called Daredevil proved that he could hit in the big leagues.

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Comics for 1 February 2012

ACTION COMICS #6
ACTION MYSTERY THRILLS COVERS SC
ALPHA GIRL #1 (MR)
AMAZING SPIDER-MAN #679
AMERICAN VAMPIRE HC VOL 03 (MR)
ANIMAL MAN #6
ANNE RICE SERVANT OF THE BONES #6 (OF 6)
ARCHIE ARCHIVES HC VOL 04
ART OF CARBON GREY HC
AVENGERS ACADEMY #25
AVENGERS HAWKEYE TP
AVENGERS X-SANCTION #3 (OF 4)

BATMAN GATES OF GOTHAM TP
BATWING #6
BETRAYAL O/T PLANET O/T APES #4 (OF 4)
BOYS #63 (MR)
BRIMSTONE #7 (OF 7) (MR)

CAPTAIN AMERICA CAP A FLEECE ZIP-UP HOODIE
CHARMED #18
COMPLETE ANNOTATED OZ SQUAD TP

DAMAGED #5 (OF 6) (MR)
DAREDEVIL BY BRUBAKER AND LARK ULT COLL TP BOOK 01
DARK HORSE PRESENTS #8
DEFENDERS #3
DETECTIVE COMICS #6
DOCTOR WHO ONGOING VOL 2 #14

FATALE #2 (MR)
FATHOM VOL 4 #4
FEAR ITSELF FEARLESS #8 (OF 12)
FUTURAMA COMICS #59

GARTH ENNIS JENNIFER BLOOD TP VOL 01 (MR)
GI JOE A REAL AMERICAN HERO #175
GI JOE V2 ONGOING TP VOL 02 COBRA CIVIL WAR
GI JOE VOL 2 ONGOING #10
GREEN ARROW #6

HAUNTED CITY #2
HAWK AND DOVE #6
HEAVY METAL MARCH 2012 (MR)
HELLRAISER #10 (MR)
HELLRAISER MASTERPIECES #7 (MR)

ICE AGE ICED IN ONE SHOT
INFESTATION 2 TRANSFORMERS #1 (OF 2)
INVINCIBLE #88
IRREDEEMABLE #34
IZOMBIE #22 (MR)

JOHN CARTER A PRINCESS OF MARS GN TP
JOHN ROMITA AMAZING SPIDER-MAN ARTIST ED HC
JURASSIC STRIKE FORCE 5 #1
JUSTICE LEAGUE INTERNATIONAL #6

KIRBY GENESIS CAPTAIN VICTORY #3

LIL DEPRESSED BOY TP VOL 02
LOCKE & KEY CLOCKWORKS #4 (OF 6)

MADMAN 20TH ANNIVERSARY MONSTER HC
MAGIC THE GATHERING #1
MARVEL SELECT COLOSSUS AF
MEN OF WAR #6
MIGHTY SKULLBOY ARMY TP VOL 02

OMAC #6

PHAZER WAR O/T INDEPENDENTS CROSSOVER #1
PREVIEWS #281 FEB 2012
PUNISHER #8

RACHEL RISING #5
RAT CATCHER TP (MR)
RED LANTERNS #6
RED SKULL INCARNATE TP
REED GUNTHER #8
RICHIE RICH GEMS WINTER SPECIAL ONE SHOT
ROBERT JORDAN WHEEL OF TIME EYE O/T WORLD #20

SAVAGE DRAGON #178
SCOOBY DOO WHERE ARE YOU #18
SERGIO ARAGONES FUNNIES #7
SONIC SUPER SPECIAL MAGAZINE #2
SONIC THE HEDGEHOG #233
SPIDER-MAN SPIDEY-SUIT ON ZIP-UP HOODIE
STAR WARS DAWN OF THE JEDI #0
STATIC SHOCK #6
STORMWATCH #6
STRANGE TALENT OF LUTHER STRODE #5 (OF 6) (MR)
SUPERMAN REIGN OF DOOMSDAY HC
SUPERNATURAL #5 (OF 6)
SWAMP THING #6
SWEET TOOTH #30 (MR)

THE LONE RANGER #2
THOR DEVIANTS SAGA #4 (OF 5)
TWELVE #9 (OF 12) (RES)
TWELVE MUST HAVE #1

UNCANNY X-MEN #6

VALEN OUTCAST #3
VAMPIRELLA TP VOL 02
VENOM #13
VILLAINS FOR HIRE #3 (OF 4)

WARLORD OF MARS ANNUAL #1 (MR)
WARLORD OF MARS FALL OF BARSOOM TP VOL 01
WARRIORS OF MARS #1 (MR)
WINTER SOLDIER #1
WITCHBLADE REDEMPTION TP VOL 04

X-CLUB #3 (OF 5)
X-FACTOR #231 XREGG
XOMBI TP

This list comes from Comics & Collectibles, Memphis. Arrivals at your LCS may vary.

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Quick Comments on New Comics

12134155690?profile=originalBatgirl 5: One of my favorite new titles.  I love the combination of action and introspection.  I like Barbara’s combination of confidence and fragility- “I know how to do this, but I haven’t done this in a long time.”  I like that Gail Simone is trying to give Batgirl a Rogues Gallery of her own (The Mirror in the first arc, Gretel in this issue).  And, oh yeah, I love the Bruce Wayne guest spot. 

 

Buffy the Vampire Slayer Season 9 #5: The first arc was a little weak as far I was concerned so I’m happy to see Buffy back to form with this issue.  I enjoyed the appearance of the first slayer and the dark Tinkerbell in Buffy’s dream.  It was the right level of weirdness and coolness.  I’m glad that Buffy, and especially Willow, are regaining a sense of purpose.  And I’m intrigued by the new complication in Buffy’s life.  Andrew Chambliss doesn’t quite have the patter done yet but there are hints of it.  Good stuff. 

 

Captain America 7: This used to be one of the best comics on the stands.  Now I can’t help but think this used to be better.  There’s nothing particularly wrong with this issue.  But there’s nothing particularly great either.  I would have preferred to see Baron Zemo back for more instead of the underdeveloped Captain Bravo.  And there doesn’t seem to be any reason for Cobra and company to be using the Madbomb.  I know that’s supposed to be part of the mystery but we need more than what we’ve been given.

 

12134156660?profile=originalGreen Lantern 5: Meanwhile, Green Lantern continues to impress.  Sinestro is as cold as ever.  He’s really chilling when he’s in control.  Hal’s desperation has made for an interesting perspective on his character.  I appreciated the way in which Hal convinced the Korugarians to work with Sinestro, if only temporarily.  The resolution with the Sinestro Corps happened a little too quickly for my taste but the issue was yummy as a whole.   

 

Invincible 87: I think I finally figured out why I’m getting tired of Invincible.  It’s too talky.  I understand that Kirkman is trying something new by having Invincible save the world with his brains instead of his fists.  But, boy, is it boring.  Mark tries to convince Eve that he’s doing what’s right.  He argues with Cecil.  Then he argues with Allen and Oliver.  There are some fisticuffs at the beginning and the end but I’m running out of patience.   

 

The Stand: The Night Has Come 6: The afterword summed up my feelings nicely.  It’s nice to see this wonderful series completed.  But it’s bittersweet to know that I won’t have a new issue waiting for me next month.  This has been one of the best adaptations I’ve ever seen.  Roberto Aguirre-Sacasa kept just the right pace and got straight to the heart of the characters.  Mike Perkins used all of the tools in his comic book arsenal, while others tend to draw adaptations that look like a series of movie stills.  Even in this issue, Perkins includes ghost silhouettes, overlapping images, white space and black panels.  I’ve never had a single complaint about this series and my only one now is that I’m sad to see it go.  

 

12134156885?profile=originalWolverine 300: A very cool anniversary issue.  There’s some great art by Adam Kubert, Ron Garney and others.  And Jason Aaron invents some interesting scenarios.  We see Wolverine’s adopted daughter Amiko as a slightly out of control teenager.  We hear a Japanese lord lament the low reputation of their native ninja, after being defeated by so many American superheroes.  And, oh yeah, Sabretooth shows up to throw a monkey wrench into Wolverine’s plans.  Good pace, good action and a good size. 

 

Wolverine & the X-Men 4: This comic is freaking awesome!  I expected it to be good considering that Aaron has done a great job with Wolverine in his own title, but I didn’t expect that this series would have such a sense of humor.  I’m cracking up every couple of pages.  I especially enjoyed the classroom scene with Quentin Quire as the smart aleck, Kid Gladiator as the arrogant prick, Broo as the brown-noser and Genesis as the shy, new kid.  Plus, I was impressed at the way Jason Aaron confronted the disparate portrayals of Wolverine with his speeches to X-Force and the faculty.  

 

X-Men Legacy 260.1: And over here, we have the B team.  I like a lot of these characters but right now they’re living in the shadow of Wolverine’s team.  So far, they’re doing the same things that we see in Wolverine & the X-Men, just not as well.  Also, while I’m not opposed to romantic triangles, the new flirtation between Gambit and Frenzy seems like a rehash of the early days of Scott and Emma.  I’d love to see this team take their act on the road and develop an identity of their own. 

 

12134157654?profile=originalX-Factor 230: There’s not a single bad guy in this issue and I didn’t mind one bit.  Madrox is gone, X-Factor is left without a leader and all of the members are too busy arguing with each other to do anything else.  It can be hard to write a transitional issue like this, but Peter David pulls it off with flair by focusing on the tension between the characters.

 

Memorial 2: I’m still enjoying this series, though this issue didn’t move forward as much as I would have liked.  The main character is still lost and confused, though she’s starting to figure things out.  Of course, the villains aren’t going to give her that time.  And her allies may or may not be trustworthy.  Actually, a lot more happened than I originally thought; Chris Roberson’s writing is so effortless I barely noticed. 

 

Near Death 5: Near Death is quickly leaping to the top of my list.  I absolutely loved this two-parter in which one of Markham’s old peers tries to kill him.  We learn a lot about Markham through his relationship with Sutton, his best friend who was injured in an explosion last issue, and Detective Cahill, with whom he has an uneasy truce.  Plus, the confessional scene did a great job of showing us what Markham is really thinking.  Even so, this issue wasn’t all talk.  There’s a fire, a car bomb, a kidnapping, an ambush and a change of scenery.  Jay Faerber is giving us strong characterization and rapid paced action at the same time.

 

12134157895?profile=originalStar Wars: Agent of the Empire 2: When Dark Horse advertised this series as “James Bond meets Star Wars,” they weren’t kidding.  They even have a “Bond girl” and their own version of Q.  So far, it’s all light-hearted fun.  Yet there’s the potential here for a lot more and I wouldn’t mind seeing them go for it.  There are hints of the Empire’s xenophobia, but it’s not really addressed in the story.  And I’d like to see Agent Cross interact more with other imperials so that we can see the difference between an agent who does his job well and the villains he has to work with. 

 

Wonder Woman 5: After a strong start, Wonder Woman has become a little uneven.  I like most of the new takes of the Greek gods but the depiction of Poseidon as a giant fish was a bit of a miss.  Plus, new character Lennox isn’t nearly as cool as he- or Brian Azzarello- thinks he is.  The story is strongest when it stays focused on Wonder Woman.  Her quest to protect Zola is heartwarming and her plan to confront Hera is courageous. 

 

Uncanny X-Men 5: There are two core X-Men titles and they’re both excellent.  Kieron Gillen gives us a mystery worth investigating with a hyper-evolved county in Montana.  But the real strength of this issue is the interaction between the characters.  It’s fun to see Illyana trying to draw the light out of Colossus, after so many years of the opposite.  Magneto’s conversation with Psylocke is illuminating- and I’m glad to see Gillen deal with the X-Force question as openly as Aaron did in Wolverine & the X-Men.  Plus, I was pleasantly caught off guard by the playful teasing between Hope and Namor.  Action, mystery, character, humor- there’s a little bit of everything in here and it all works well.

 

Uncanny X-Force 20: X-Force has always been a balancing act.  On one side, there’s the dark subject matter of a team that does dirty deeds so that other mutants won’t have to.  On the other, there’s the humorous repartee of its main characters, especially Deadpool and Fantomex.  They haven’t fallen off of the tightrope yet but they’re starting to wobble.  However, the biggest problem with this issue was the art.  Greg Tocchini once had a beautifully detailed style, at CrossGen and on Superman.  But here, his finishes are so rough that it’s sometimes hard to tell exactly what’s being depicted.  That’s a major problem in the battle scenes.   It also makes it doubly difficult to empathize with the characters as they straddle the line between expedient and evil. 

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Andrew A. Smith

Scripps Howard News Service

The Golden Age of radio is a nearly forgotten era, which makes it all the cooler that writer/artist Ernie Colón has brought it back in graphic novel form.

 

12134153887?profile=originalInner Sanctum: Tales of Mystery, Horror and Suspense (NBM, $16.99) is a collection of stories adapted from the old radio show in glorious black and white. If you’ve ever listened to Inner Sanctum, you might recognize "Alive in the Grave,” about premature burial. Or “Death of a Doll,” the great-grandfather of the Chuckie movies. Or “The Horla,” about a concert pianist who fears a beast only he can see. Or “The Undead,” a vampire tale with a twist. Colón also throws in a story of his own called “Mentalo,” about a magician who does real magic – and pays a heavy price.

 

I actually heard some Inner Sanctum episodes growing up, repeats on a radio station I could only hear late at night. (It was probably WLS-AM in Chicago, but not knowing made it more mysterious.) I don’t remember if the specific stories in Colón’s book were among the ones I heard, but I can say they are representative of the show.

 

Which are also representative of an entire genre that fans of the fantastic know well: The moody suspense tale with a twist ending – usually, but not always, delivering vengeance from beyond the grave upon some deserving miscreant. Inner Sanctum falls into the continuum of horror series that include EC’s 1950s horror comics; Warren Publishing’s 1960s-70s horror magazines; and TV’s Night Gallery and Twilight Zone. It’s a popular genre, because it delivers the goods.

 

As does Colón, one of my favorite artists. Colón has tackled just about everything in comics, not just the usual superheroes, but children’s books (Richie Rich, Casper the Friendly Ghost), horror (Creepy, Eerie), fantasy (Amethyst, Princess of Gemworld), historical adventure (Arak, Son of Thunder), humor (Damage Control) and even non-fiction graphic novels (The 9/11 Report, Che: A Graphic Biography). Strangely, I think it’s the hints of the kids’ books that make his work so memorable to me: His lines are clean and his backgrounds uncluttered, like a Richie Rich book -- a hint of childhood innocence that makes the horror of his adult stories all the more pronounced. Whatever the reason, Colón’s work always has a vibrant verisimilitude, informed by a sort of universal experience, that makes it very immediate and accessible.

 

Which means he can scare the pants off you. I highly recommend Inner Sanctum, which ought to come with a reinforced belt.

 

Also from NBM this month is Salvatore Vol. 2: An Eventful Crossing ($14.99), which has turned me 180 degrees on this offering from French artist Nicolas de Crécy.

 

12134155070?profile=originalThe first book of this anthropomorphic story introduced us to a fondue-eating canine mechanic who was building a land-and-seaworthy vehicle to travel to find his lost love in South America, accompanied by a mute, tiny homunculus; a porcine mother who’d lost one of her litter in the sewers of Paris; and a feline, female teen Goth, who found and adopted the (intelligent?) piglet as a pet. We met the mother pig when she was at the dog’s shop (and he was ripping her off), whereupon she somehow ended up on a plane’s wing in flight in a sort of slapstick Buster Keaton sequence, while the Goth chick was … you know, I don’t remember. It all seemed rather non sequitur to me. This world seemed arbitrary and inconsistent, with some animals wearing clothes and others not; the various threads of story didn’t seem to go anywhere; the only human was inexplicably tiny and mute; and so forth.

 

But, as I said, An Eventful Crossing has changed my mind entirely. All the stories are progressing dramatically and are holding my interest, and what I interpreted as inane, random dialogue in the first book has transformed into solid (and funny) characterization. I’m still baffled by the tiny little assistant mechanic, but he shows spunk and personality in this book, simultaneously revealing that he is essentially a child (despite his Coke-bottom glasses, business suit and male pattern baldness).

 

I was wrong to dismiss this book as an artist’s self-indulgence, and hope now to correct my error. Salvatore is initially hard to embrace, because it is a story that refuses to conform to expectation and classification. But it’s that very quality that’s making it a unique and entertaining read for me now.

 

Contact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com.

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Comics for 25 January 2012

30 DAYS OF NIGHT ONGOING #4

ABSOLUTE KINGDOM COME EDITION HC NEW PTG
ADD HC (MR)
ALL STAR WESTERN #5
ALPHA FLIGHT #8
AMERICAN VAMPIRE #23 (MR)
ANGEL & FAITH #6
APPLE SELECTION SC VOL 01
AQUAMAN #5
ARCHIE #629
ART OF THE DRAGON SC
ARTIFACTS ORIGINS ONE SHOT
ASTONISHING SPIDER-MAN AND WOLVERINE TP
ASTONISHING X-MEN #46
AVATAR LAST AIRBENDER TP VOL 01 PROMISE PART 1
AVENGERS SOLO #4 (OF 5)

BART SIMPSON COMICS #67
BATMAN AND ROBIN WHITE KNIGHT DARK KNIGHT HC
BATMAN BEYOND INDUSTRIAL REVOLUTION TP
BATMAN THE DARK KNIGHT #5
BLACKHAWKS #5
BPRD HELL ON EARTH RUSSIA #5
BULLETPROOF COFFIN DISINTERRED #1 (OF 6) (MR)

CAPTAIN AMERICA AND BUCKY #626
CATWOMAN TP VOL 01
CREEPY ARCHIVES HC VOL 12
CREEPY COMICS #7

DAKEN DARK WOLVERINE #20
DARK SHADOWS #3
DARKNESS #98 (MR)
DC UNIVERSE ONLINE LEGENDS #22
DEADPOOL #49.1

ELEPHANTMEN #37 (MR)
EPOCH #4 (OF 5)

FAMOUS MONSTERS ART COLLECTION VOL 02
FANTASTIC FOUR #602
FATHOM BLUE DESCENT #4
FF #14
FF BY JONATHAN HICKMAN PREM HC VOL 02
FLASH #5
FURY OF FIRESTORM THE NUCLEAR MEN #5

GAME OF THRONES #5 (MR)
GARTH ENNIS JENNIFER BLOOD #8 (MR)
GFT ALICE IN WONDERLAND #1
GODZILLA KINGDOM OF MONSTERS #11
GREEN HORNET ANNUAL #2
GREEN LANTERN NEW GUARDIANS #5
GREEN WAKE #9 (MR)

I VAMPIRE #5
INCORRUPTIBLE #26
INFESTATION 2 #1 (OF 2)
IRREDEEMABLE TP VOL 08

JUDGE ANDERSON PSYCHIC CRIME FILES TP
JUSTICE LEAGUE #5
JUSTICE LEAGUE DARK #5

KEY OF Z #4 (OF 4) (MR)
KING CONAN PHOENIX ON THE SWORD #1 (OF 4)
KIRBY GENESIS #5
KNIGHTS OF THE DINNER TABLE #182
KUNG FU PANDA #4 (OF 6)

LAST PHANTOM #11
LEGION SECRET ORIGIN #4 (OF 6)
LIL ABNER HC VOL 04

MANARA LIBRARY HC VOL 02
MARKSMEN #5 (OF 6)
MARVEL FIRSTS 1970S TP VOL 01
METAMAUS LOOK INSIDE MODERN CLASSIC MAUS HC
MICE TEMPLAR VOL 3 #7
MIGHTY THOR #10
MMW UNCANNY X-MEN TP VOL 04

NANCY IN HELL ON EARTH #1 (OF 4) (MR)
NAUGHTY & NICE GOOD GIRL ART BRUCE TIMM SC

OFF HANDBOOK OF MARVEL UNIVERSE A TO Z TP VOL 03
QUEEN SONJA #26

RED SKULL INCARNATE TP
RESURRECTION MAN TP VOL 01
ROBOCOP ROAD TRIP #2 (MR)
ROMEO & JULIET THE WAR GN

SAVAGE HAWKMAN #5
SECRET AVENGERS #21.1
SIXTH GUN #18
SPIDER-MAN #22
STRAWBERRY SHORTCAKE BERRY FUN #4 (OF 4)
STUFF OF LEGEND JESTERS TALE #4 (OF 4)
SUPERMAN #5
SWEET TOOTH TP VOL 04 ENDANGERED SPECIES (MR)

TAROT WITCH OF THE BLACK ROSE #72 (MR)
TEEN TITANS #5
TEENAGE MUTANT NINJA TURTLES ONGOING #6
THE IMMORTAL DEMON I/T BLOOD #2
TRANSFORMERS ROBOTS IN DISGUISE ONGOING #1

ULTIMATE COMICS ULTIMATES #6
UNCHARTED #3 (OF 6)
UNWRITTEN #33.5 (MR)
USAGI YOJIMBO #143

VOODOO #5

WALKING DEAD #93 (MR)
WALLY WOOD STRANGE WORLDS OF SCIENCE FICTION TP
WARLORD OF MARS FALL OF BARSOOM #5
WITCHBLADE #152
WOLVERINE WOLVERINE VS X-MEN TP

X-MEN LEGACY #261
X-MEN LEGACY AFTERMATH TP

Copied from the list posted on Facebook by Comics & Collectibles, Memphis. Arrivals at your LCS may vary.

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12134027688?profile=originalHere’s a quick quiz to start things off:

 

Which one of the following individuals did not visit the planet Krypton during the Silver Age (which I demark as 1956-68)?

 

A.  Superman

B.  Jimmy Olsen

C.  Supergirl

D.  Professor Amos Dunn

E.   Lex Luthor

F.   Batman

G.  Lois Lane

 

 

12134144488?profile=originalAfter Mort Weisinger took over as editor of the Superman titles there came a mob of Krypton survivors:  Supergirl, Zor-El and Alura, the Phantom Zone prisoners, Super-Monkey, Dev-Em and his parents, the entire population of Kandor.  So many Kryptonians wound up on Earth, in fact, that one had to begin to wonder if anyone other than Jor-El and Lara actually perished in the planet’s destruction.  In a 1964 “Metropolis Mailbag”, reader Ned Snively, of Winter Haven, Florida, took Mort to task for the proliferation of living Kryptonians.

 

Ye Olde Editor replied that, yes, Ned did have a point; however, all of these survivors were just a tiny fraction of the many billions who populated Krypton, and it did not stretch the odds incredibly for a handful to survive. 

 

But what about the reverse?   What about all those visitors from Earth to Krypton?  It’s a good thing that nobody ever pressed Weisinger to explain that.  Puzzling out the answer to that one probably would have made his puzzler sore.  It often seemed that time-travel in the Silver Age was about as easy as booking a flight to Vegas, which made the fact that Krypton had exploded some thirty years before no more an inconvenience than standing in line at customs.

 

 

 

 

Not surprisingly, it was Superman himself who made the most visits to his home planet during the Silver Age.  Thanks to his super-memory and his mind-prober ray, the Man of Steel’s recollexions of life on Krypton were robust---which was fortunate, since the first two times he went home came strictly by accident.  That meant no awkward moments trying to figure out which restroom to use or any embarrassing gaffes in punching up your order from the food-rob.

 

The Man of Steel’s first Silver-Age trip home was an unexpected gift from Jimmy Olsen.  In a three-part “novel” appearing in Superman # 123 (Aug., 1958), Jimbo comes into possession of a magic totem possessing the power to grant three wishes.  In atypical selflessness, Jimmy decides to use his three wishes on behalf of his super-pal.  Each wish gets a chapter to show the results of Jimmy’s generosity.  Unfortunately, the first two wishes didn’t turn out as good as Jim had hoped, but he feels he's come up with a winner on his final one.  In order to surprise the Metropolis Marvel, the cub reporter types his wish for Superman to meet his parents.

 

12134145855?profile=originalInstantly, Superman is whisked back to Krypton.  He's overjoyed to see the long-dead sights of his childhood, but when he seeks to fulfil his fondest desire---to see his parents again---he learns that he has been sent too far into the past.  His father, Jor-El, is a young bachelor who has not yet established himself as a great scientist.  At the moment Superman sees him, young Jor-El is hot-footing it to a date with the cute girl in the robot-assembly department.  This would be Lara, the woman who was Superman’s mother.  Or will be.  (Time-travel stories always wreak havoc with the tenses.)

 

As it turns out, Jimmy was having another one of his “Gilligan” moments when he typed out his last wish for the Man of Steel.  Instead of typing out a wish that Superman meet his parents, the kid’s fumble-fingers tapped out a request that Superman mate his parents.  This being the innocent Silver Age, “mate” translated to causing Jor-El and Lara to fall in love and marry, and not the first thing that came to all of your dirty minds.

 

There's some fol-de-rol about Jor-El and Lara being undercover agents for the Krypton Bureau of Investigation and being inadvertently convicted along with the renegade they were assigned to investigate.  Ultimately, thanks to Superman’s help, they recapture the villain and clear their names.  Their close call makes Jor-El and Lara realise that they have fallen in love, and when Jor pops the question to Lara, Superman is magically returned to present-day Earth.

 

 

 

 

The Man of Steel has no-one to blame but himself for the next mischance that sends him back in time to Krypton---and to one of the classic Superman stories of all time:  “Superman’s Return to Krypton”, from Superman # 141 (Nov., 1960). 

 

When astronomers spot a planet-sized beast heading for Earth, Superman streaks into outer space to confront it.  Caught up in pursuing the alien beastie, the Man of Steel accidentally zips through time and space, winding up in a red-sun system.  Luckily, he manages to land on the nearest planet a fraction of a second before the red solar radiation steals his super-powers.

 

12134147054?profile=originalSnooping around, a stunned Superman discovers that he has stranded himself on Krypton, before the time of his birth.

 

In one of those convenient Silver-Age coïncidences, Superman comes across a Kryptonian motion-picture crew shooting a science-fiction film and gets mistaken for an extra.  This provides him with money and an excuse for wearing his costume.  During a break in the shooting, he heads into the city to figure out how much time there is before the big bang. 

 

He gets his answer when a video-news flash announces the wedding of Jor-El and Lara.  Drawn by the desire to see them again and to tell them who he is, Superman attends the ceremony.  This scene creates the first of a series of emotional set-pieces that makes this story so memorable.

 

Superman sees his parents, their faces effused with a glow of happiness, and the throng of merry well-wishers.  In a moment of terrible frustration, he cannot bring himself to destroy their moment of joy by telling them of Krypton’s fate. 

 

In the next panel, the Man of Steel is shown, gazing down at the city from his hotel-room balcony, as he thinks, “Look at them down there . . . living . . . laughing . . . loving . . . blind to the crashing doom that will soon destroy them all!” 

 

The scene showing the celebration of the newlyweds and their friends juxtaposed to that single panel of Superman, standing apart, alone, looking on sullenly, brings home the tragedy of Krypton’s destruction.  For the first time in any story, the people of Krypton were more than just background setting or props to advance the plot.  In giving them life, writer Jerry Siegel made grimly real the doom that would shortly snuff it out.

 

12134147658?profile=originalSuperman determines to cheat destiny and save his people.  Posing as a student of science, he ingratiates himself with Jor-El, who takes him on as an apprentice.  And at a dinner party, he meets famous emotion-movie actress Lyla Lerrol.  Here, the story divides into two distinct plots.  One concerns Superman’s efforts to help Jor-El, who has since discovered the fact of Krypton’s imminent demise on his own, and find a way to rescue the population.  The other tells of the growing romance between Superman and Lyla.

 

In the former, the Man of Steel finds himself thwarted by fate at every turn; in the latter, he succeeds beyond all obstacles.  In a remarkably poignant sequence, the romance of Superman and Lyla blooms into love, and in its wake, Kal-El of Krypton discovers that he no longer fears the certainty of death when his world disintegrates.  He proposes to Lyla and she happily accepts.  Yet, fate jerks Superman’s chain one more time, and he is inadvertently taken away from Krypton before he can marry Lyla or die in the explosion of his world.  The ending is downbeat, a rare thing for a DC tale of the time.

 

 

 

 

Superman made his last Silver-Age time-trip to the world of his birth on purpose, and it’s only a brief episode in the story “Secret of Kryptonite Six”, from Action Comics # 310 (Mar., 1964). 

 

When the Man of Steel is unable to find a cure for a deadly spotted plague which has infected Lori Lemaris and the rest of the Atlanteans, he reluctantly accepts an offer of help from Phantom-Zone prisoner Jax-Ur, who claims to know an antidote.  The ingredients of this antidote can only be found in the Scarlet Jungle, so Superman uses a time-bubble to transport himself and Jax-Ur back to Krypton.  While on Krypton, the two interact with no-one else, so this outing lacks the cachet of dealing with a doomed people, as Superman’s previous visits did. 

 

12134148481?profile=original 

They are on Krypton only a few hours, but it is sufficient time for Jax-Ur enact a cunning plan which reaches fruition when they return to present-day Earth.  Naturally, the villain’s scheme fails, and Superman fans are left with yet another addition to the list of various forms of kryptonite to keep straight.

 

 

 

 

Logically, Supergirl would be at home on old Krypton even more than her cousin, since she spent the first fifteen years of her life in Kryptonian society, growing up in Argo City.  Yet, she made only one Silver-Age time-trip to her home world, in “The Last Days of Superman”, from Superman # 156 (Oct., 1962), and it is a throwaway scene, at that.  When the Man of Steel is believed to be dying of Virus X, the Girl of Steel travels back to Krypton to see if her people discovered a cure.  They hadn’t.

 

 

 

 

12134148499?profile=originalOn the other hand, Superman’s pal, Jimmy Olsen, was practically a native.  He made only two time-trips to Krypton, but he managed to blend right in.  In the first instance, “How Jimmy Olsen First Met Superman”, from Jimmy Olsen # 36 (Apr., 1959), Jimmy responds to an inventor’s help-wanted ad, seeking volunteers to test a new time-machine.  And since, apparently, the laws of physics are no bar to a really skilled handyman with a good set of tools, when Jimbo tries out the machine, he finds himself transported to Krypton.

 

Following a minor brush with the law, Jimmy has the time of his life, since Krypton, it appears, has a socialist government---something not touched upon in the other tales.  At every turn, Jim finds free, government-provided clothing, anti-gravity belts, sporting equipment, transportation, and food.  Through a chance encounter, and the fact that Jor-El and Lara were obviously willing to entrust their only child to a fellow who walks up and introduces himself as “Jim-My Ol-Sen from out of town”, Jimmy becomes Kal-El’s baby sitter.  Jor-El and Lara’s cavalier attitude toward child care is a moot point, however, given that the next day, Krypton explodes.  Jimmy makes it back to his time-ship just in time to have a ringside seat to the disaster.

 

 

 

 

The dauntless cub reporter’s second trip to the K-world---in “Olsen’s Time-Trip to Save Krypton”, from Jimmy Olsen # 101 (Apr., 1967)---didn’t go quite as smoothly.  Inspired by ceremonies in Kandor honouring Superman’s home world, Jimmy decides to go back in time and prevent the destruction of Krypton.  Jim gets his hands on a do-it-yourself home time-machine kit, and following the easy instructions, finds himself on Krypton before he can say “Jeepers!”  Already dressed for the occasion in Official Kryptonian Clothing and Official Kryptonian Anti-Gravity Boots, Jimmy fits right in.  A man with a mission, he hurries down to the Science Council, only to get there just as the esteemed greybeards are having a good chuckle over that “crackpot” Jor-El’s predictions of doom.

 

12134149272?profile=originalDeciding that trying to convince the Science Council himself would only get him fitted for an Official Kryptonian Straitjacket, Jimmy goes to see Jor-El and Lara.  He doesn’t make the good impression he made the first time, and even baby Kal-El throws a tantrum over Jimmy.  Jor-El tosses him out on his ear.

 

Jimmy gets the idea to pass himself off as a psychic, using his knowledge of Kryptonian history to “predict” events.  He figures, once he persuades the populace that he can, indeed, predict the future, then they will listen to him when he “foretells” the planet’s destruction. 

 

This results in a scene which is faintly chilling:  Jimmy and a girl he has befriended are travelling on a monorail when, almost too late, he remembers that this particular train is destined to derail and plunge into a river below, killing all aboard.  He grabs the girl and leaps from the monorail moments before the disaster.  A guilt-ridden Jim watches the trapped, terror-stricken passengers slowly drown.  Then, a more macabre realisation kicks in---that even if he had saved them, it would only be to die days later when Krypton explodes.

 

Despite his best efforts, the History Can’t Be Changed rule kicks in, and Jimmy returns to Earth in his own time, a sadder but wiser fellow.

 

 

 

 

Professor Amos Dunn was the one man who did not have to travel through time to visit Krypton.  He visited Superman’s world while it was still around.  We learn about this in “The Man Who Saved Kal-El’s Life’, from Action Comics # 281 (Oct., 1961).  Dunn is a brilliant scientist in the field of electricity.  In the 1920’s, he invents a device for sending radio signals through space.  Eventually, these signals reach Krypton, where Jor-El receives them and translates them.  This initiates a series of interplanetary discussions between the two scientists. 

 

12134150468?profile=originalWhen Jor-El learns of Krypton’s imminent doom, he seeks Professor Dunn’s help.  Jor-El has invented a “matter-radio”---what we would now call a teleportation device---but it requires both a sending and a receiving station.  Jor-El relays instructions on how to build the matter-radio transmitter, and after building it, Dunn teleports to Krypton.  Jor-El makes Dunn aware of the situation.  The professor agrees to return to Earth and arrange to have thousands of receiving stations built, in order that the population of Krypton can be teleported to Earth.

 

During Dunn's visit, baby Kal-El is bitten by a venomous sea snake, and the professor performs emergency first-aid to save the toddler’s life (hence the story’s title).

 

Professor Dunn returns to Earth and gets to work.  However, Jor-El overestimated the time left before the end.  He desperately radios Dunn to begin the teleportation process, but Dunn hasn’t worked out the bugs in his machine and it won’t operate.  He can only listen helplessly to Krypton’s final screams.

 

 

 

 

By now, you start getting the idea that one of the reasons why Jor-El couldn’t finish the work on his rescue rocket in time was he kept getting interrupted by a constant stream of strangers showing up at his door.

 

Whew!  That Kal was a nice enough chap, but I’m glad he’s gone, Lara.”

 

“So am I.  He always had the oddest expression on his face whenever he looked at me.  It was creepy.  Anyway, it’ll be nice to finally have some time to ourselves.”

 

Ding dong!

 

“I’ll get it, darling.”

 

“Rao! Who is it, now?”

 

“Jor, do you know a Jim-My Ol-Sen?”

 

“Never heard of him!”

 

“He says he’s from out of town.”

 

 

 

 

Not every time-traveller journeyed to Krypton with the noble goal of saving its people from doom, however.  At least two visitors from Earth had more self-interest in mind.

 

12134151869?profile=originalSuperman # 170 (Jul., 1964) tells the story “If Lex Luthor Were Superman’s Father”.  Despite being mislabeled as an Imaginary Story on the cover, this improbable tale is presented as an actual event in the life of Superman, who makes only a three-panel walk-on at the end.

 

Following yet another escape from prison, Lex Luthor reviews life on Krypton through his time-scope and concocts a scheme from ‘way out of left field, even for him.  He intends to travel to Krypton, back to the time before Jor-El and Lara became engaged.  Then, he will out-woo Jor-El and capture Lara’s heart.  Consequently, they will marry and have the son who will eventually grow up on Earth to become Superman.  

 

Thus, Luthor figures, when he returns to present-day Earth, the Man of Steel will no longer interfere with his crimes, since Superman wouldn’t dare oppose his own father.

 

Wearing a space uniform equipped with an anti-gravity amulet to let him walk on the much denser Krypton, Luthor uses his modified spaceship to travel back in time to Superman’s world.  Upon landing (and apparently just missing Superman on his first visit home, when he brought his parents together), he claims to be “Luthor the Noble”, a hero from another planet.  He establishes his bona fides by trying to warn the people of Kandor about their city’s imminent abduction by Brainiac.  He is disbelieved by almost everyone, including Jor-El, who refuses to listen to Luthor’s warning.  Lara, now working as Jor’s lab assistant, believes Luthor, however. 

 

When Brainiac strikes, Luthor is proven correct, and Lara chastises Jor-El for not heeding him.

 

12134152664?profile=originalThis moves “Luthor the Noble” to the inside track with Lara, and he begins to court her in earnest.  Lara warms up to the attention, since Jor-El is too wrapped up in his experiments to even notice.  Better still, a few days later, Jor-El becomes trapped under the sea when a rock-slide traps his one-man aqua-cone.  Luthor learns of the disaster, but keeps his mouth shut.  Unaware of her fiancé’s plight, Lara believes he has abandoned her, and assents to Luthor’s proposal of marriage.

 

Jor-El manages to escape his watery trap, but arrives back in Kryptonopolis too late to interrupt the wedding.  However, just before the “I do’s”, a stroke of fate reveals Luthor the Noble to be Luthor the Fink.  The people of Krypton aren’t the least bit happy about being duped, and the villain has to flee in his time-space ship before he can be sent to the Phantom Zone.

 

 

 

 

Of course, another reason why Luthor met with so little resistance in wooing Lara may have been because Jor-El was distracted by some ardent attention being thrown his way---by Lois Lane!

 

As shown in “Lois Lane’s Romance with Jor-El”, from Lois Lane # 59 (Aug., 1965), Lois, using a time-bubble invented by Professor Potter, went back to Krypton with the usual noble intention, taking with her a scientist’s plans for a device that neutralises nuclear reactions.  She arrives on Krypton to meet the pre-married Jor-El and Lara, then discovers that the time-bubble, a product of the usual Potter engineering, has broken down.  Trapped on Krypton, Lois plots to change history in two ways---by thwarting the planet’s destruction and by stealing Jor-El away from Lara.

 

12134153268?profile=originalPlan B doesn’t work out quite the way Lois expects.  She digs deep into her bag of coquettish tricks, but to Jor-El, they make her seem impulsive and conniving.  He far prefers Lara’s unspectacular but sincere loyalty and support.  After Jor-El gives Lois the “let’s just be friends” speech, a jealous Lara shows her claws and the hussy from Earth wisely retreats.

 

Even worse for Lois, Plan A fails, too.  From the plans Lois provided, Jor-El builds the anti-nuclear device, using some irreplaceable rare materials.    However, the site selected for the construction was Kandor, and you guessed it!  Lois can only watch helplessly as the city is miniaturised and stolen by Brainiac.

 

Realising that she is now doomed as well, Lois is desperate enough to give Potter’s time-bubble one more shot.  This time, it works!  Here, the story takes its wildest turn.  As she travels forward in time, Lois pauses long enough to peek in on the married Jor-El and Lara and their baby Kal-El.  Unfortunately, it is precisely this moment that Jor-El decides to test his Phantom Zone projector, unknowingly bathing Lois in its beam.

 

Lois spends the next thirty years in the Phantom Zone!  Superman discovers her there during one of his routine checks on the Zone prisoners.

 

Then he makes the mistake of letting her out.

 

 

 

 

And that brings us back to my quick quiz.  How did you do?

 

If you said “F”---Batman---you got it right.  The Masked Manhunter never journeyed to Krypton, at least, not during the Silver Age.

 

If you think you remembered that he had, it might be you are recalling his and Robin’s adventure in Kandor with Nightwing and Flamebird, from World’s Finest Comics # 143 (Aug., 1964), or the time when circumstances combined to make Batman believe he was born on Krypton, in World’s Finest Comics # 146 (Dec., 1964). 

 

The Caped Crusader didn’t make it to old Krypton until World’s Finest Comics # 191 (Feb., 1970), in the story “Execution on Krypton”, when he and Superman travel back to investigate a mystery on the thieves’ island of Bokos.  The story was edited by Mort Weisinger, but since it was published after 1968, the Batman misses the cut on a technicality.

 

In fact, all of these stories were edited by Weisinger.  Mort certainly believed in mining Superman’s heritage for all it was worth, but sometimes he overdid a plot premise.  By the end of the Silver Age, fully a half-dozen time-travellers from Earth wound up at Jor-El’s front door, some of them more than once.  Sooner or later, these tales would have to step all over themselves.

 

Maybe Weisinger found Ned Snidely’s question about the abundance of Krypton survivors easy to explain away, but a whole lot tougher had to be the “Dear Editor” letters about the visitors to Krypton:  Why didn’t Jor-El and Lara recognise Superman since he had met them on his last trip to Krypton?  Or Jimmy Olsen?  How could Jimmy be at two places at the same time just before Krypton exploded?  If Superman, Jimmy, Lex Luthor, and Lois Lane were all present when Kandor was kidnapped, why didn’t they run into each other?  Why didn’t Mon-El meet Lois Lane in the Phantom Zone, or let Superman know she was there?  What about . . . ?

 

Maybe that’s the real reason Mort retired.

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Single Issues vs. Story Arcs

12134143494?profile=originalI’ve been reading Jay Faerber’s new crime noir series, Near Death.  (Full disclosure: I’m a big Jay Faerber fan from his earlier series Noble Causes and Dynamo 5.)  The premise is that a killer for hire named Markham has a change of heart after a vision in which he sees all of his previous victims.  He doesn’t suddenly become an altruistic do-gooder or a pacifist.  Rather, he pragmatically decides that he should to try to save as many lives as he’s taken as some sort of a metaphysical balance.    

            The first issue moves along at a brisk pace.  We see Markham’s vision and are present for his change of heart.  We even see Markham’s first mission as a new man. 

The second and third issues also move quickly.  In each issue, Markham takes a job.  He presents himself as a problem solving soldier of fortune and a bodyguard.  He finishes the job but there’s always a twist along the way, showing that the job isn’t quite what he was told from the beginning.  Yet Markham manages to fulfill his responsibilities while also staying true to his new ethic. 

Three issues, three stories.  Near Death is an excellent example of a done-in-one comic.  Yet Near Death also left me wanting more.  You see, after three issues, the formula was already becoming stale.  Markham will take a job.  There will be a twist.  Markham will finish the job.  Despite its interesting premise, I was concerned that Near Death would become an excellent example of the limitations of the done-in-one or stand-alone comic. 

There’s a long-standing debate in comic book circles as to what is the right length of a story.  Many Silver Age aficionados will argue for the supremacy of the single-issue story as that’s what they grew up with.  Former Marvel Editor-in-Chief Jim Shooter infamously decreed that no story should last more than three issues, since Jack Kirby’s famous Galactus story was only three issues.  And in the last decade, most comic book publishers pushed for six-issue stories so that they could more easily be collected in trade paperbacks. 

I’m not going to argue for a six-issue standard.  It’s difficult to sample new comics when you’re only getting a sixth of a story.  Plus, one ill-conceived story could last for half a year.  The publishers have pretty much admitted that it was a mistake as they’ve abandoned that mandate in recent years.  The first story in the new Captain America series lasted 5 issues; the new Uncanny X-Men went for three.

I’m not going to argue for the done-in-ones either.  Sure, the reader gets a completed story in every comic.  However, the brief nature of that story leaves little room for complexity.  There’s one twist, maybe an obstacle or two.  But there’s scant room for character development or growth. 

That was my concern about Near Death.  We didn’t know Markham any better by the end of issue three than we did at the beginning of issue one.   And while each story had an interesting or surprising twist, they didn’t have time to build a lot of tension.

12134143301?profile=originalI would argue that the right length for a story is relative to that story.  And I would also argue that the length of story within a series should vary. 

Admittedly, I hold this view partly because of the comics I grew up with.  I came of age during the Bronze Age.  I started out with Wolfman and Perez on the New Teen Titans.  That title serves as an excellent example of variable story length.  Issue 20 is a stand-alone story.  Issues 21 and 22 are a two-parter.  22 through 24 are pieces of a four-part story, including that year’s annual.  26 and 27 are another two-parter.  28 and 29 are both technically stand alone stories, though they help to form a much longer arc concerning new character Terra. 

Yet, while I acknowledge the basis and possible bias behind my opinion, I honestly think that’s the way comics should be.  The length of a story shouldn’t be determined arbitrarily by convention- whether it’s one, six or three.  It should be determined by the needs of that particular story.  Plus, in order to keep the reader both entertained and surprised, the length of the story should vary.  Variety is, as they say, the spice of life.

I should have remembered that Jay Faerber grew up reading the same comics that I did and watching many of the same television shows.  (He’s written about many of them, including the New Teen Titans, in his “Under the Influence” afterword).  The stand-alone stories in Near Death were the way in which he got the series off to a quick start.  However, the fourth issue changed pace and answered many of my concerns. 

This time, Markham finished the current job before the half-point of the issue, complete with the now-expected twist.  That gave Faerber room to include a scene in which Markham discusses the implications of his new life with a close acquaintance.  Faerber deepened and developed Markham, without hitting us over the head to tell us that’s what he was doing.  One of the implications of his new life is that Markham’s old associates don’t approve.  Those old associates return at the end of the fourth issue, introducing the first cliffhanger to the series. 

 It looks like Near Death isn’t going to be a done-in-one series, even though it started out that way.  Faerber is already varying the length of his stories, giving himself the room to include more character development and more complicated plots.  He’s not tied to either single issues or to story arcs.  And that’s a very good thing. 

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