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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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By Andrew A. Smith

Scripps Howard News Service

My introduction to Lee Falk’s “The Phantom” was in comic books, not the syndicated comic strip. Thanks to Hermes Press, you can experience both at the same time.

 

12134142300?profile=original“The Phantom” is the great grand-daddy of costumed heroes, first appearing as a newspaper comic strip in 1936 in the now-traditional skintight costume, and a mask where white shows where the eyes ought to be. (Superman didn’t appear in his circus suit for two more years, and Batman, with his pupil-less eyes, debuted in 1939.) For the record, The Phantom’s creator intended for the character’s outfit to be gray – Falk even considered calling him “The Grey Ghost” – but a printer’s error resulted in the familiar, albeit impractical, purple suit.

 

The color was one of the things that mesmerized me as a kid, when I stumbled across Gold Key’s The Phantom, which ran from 1962 to 1966. I wondered: “Why purple?” And also: “Where is he?” Sometimes The Phantom’s jungle adventures seemed to be in India, sometimes Africa. (For the record, the strip was set in India in the 1930s, but The Phantom’s fictional country of Bengali gradually shifted to Africa by the 1960s, and has been there ever since.)

 

But what’s coolest about The Phantom is the mythology that Falk spun around “The Ghost Who Walks.” The Phantom is actually a family, with the purple long-johns and mission to fight “piracy, greed, cruelty and injustice” passed on from father to son. Given that there has always been a Phantom going back to 1536, even after witnesses have seen a Phantom get killed, a legend has sprung up that he is immortal – “The Man Who Cannot Die.” The current Phantom, the 21st, lives in a cool Skull Cave in “the Deep Woods,” has a loyal army of pygmies with poison arrows, anonymously commands the Jungle Patrol (a law-enforcement outfit) and has never revealed his face to anyone outside his immediate circle. He’s probably the wealthiest man on the planet,  has a wolf and a huge white horse for partners, terrorizes bad guys and is married (as of 1977) with two kids. That’s a very cool gig.

 

Hermes Press began reprinting the original comic strip in a hardback collection in 2009, and to my delight I discovered that those old strips were vastly entertaining. They’re sort of a cross between a screwball comedy and movie serials – hardly a surprise given their 1930s origins -- whose tone is that of gleeful, barely controlled chaos, a feeling the Indiana Jones movies captured so well. (That also seems to have been the tone attempted in the 1996 Phantom movie with Billy Zane, which I quite enjoyed, even if the critics didn’t.) “The Phantom: The Complete Newspaper Dailies” is approaching volume four, with collections of the color Sunday strips (which began in 1939) beginning soon.

 

But as I said, it wasn’t those strips that made me a phan. It was, instead, the 1960s Phantom comic book published by Gold Key. Hermes is also reprinting those, with the first volume already out ($49.99). It will be followed not only by additional Gold Key volumes, but also collections from the publishers who followed Gold Key, King Comics (1966-69) and Charlton (1969-77).

 

I recently read a review castigating the Gold Key adventures as boring. And maybe they are a little sedate, especially if you’ve read the comic strips on which they’re based. But they were fascinating to me in the 1960s, and some of the magic remains.

 

First were the arresting covers, painted by Gold Key veteran George Wilson – no other comic book at the time had anything like them. The inside art was by journeyman Bill Lignante, who wasn’t flashy but got my attention anyway. For one thing, his Phantom had a very distinctive face, one that eventually would sport a hawk-like nose that had obviously been broken more than once. For another, The Phantom had body hair (as evidenced by the back of his hands). Those were realistic touches other comics wouldn’t dare use for years to come.

 

If it’s newer stories you want, the current “Phantom” comic strip features the 22nd Phantom being trained by his dad, the one who’s been around since the ‘60s. Dynamite Entertainment publishes various comic books starring the 22nd Phantom as an adult, and those are often released as trade paperbacks.

 

They’re good, but I’m still partial to the older stories. And thanks to Hermes Press, those ghosts still walk!

 

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

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Comics for 18 January 2012

AMAZING SPIDER-MAN #678
AVENGERS #21
AVENGING SPIDER-MAN #3

BACK ISSUE #54
BATMAN #5
BATMAN ODYSSEY VOL 2 #4 (OF 7)
BIRDS OF PREY #5
BLUE BEETLE #5
BOMB QUEEN VII QUEENS WORLD #2 (OF 4) (MR)

CAPTAIN ATOM #5
CATWOMAN #5
CHARISMAGIC #4
CHEW #23
CLASSIC JURASSIC PARK TP VOL 04
COBRA ONGOING #9
CONAN ROAD OF KINGS #12
CROSSED PSYCHOPATH #7 (OF 7) (RES) (MR)

DAKEN X-23 COLLISION TP
DANGER GIRL DANGER SIZED TREASURY ED
DANGER GIRL REVOLVER #1 (OF 4)
DAREDEVIL #8
DARK TOWER GUNSLINGER BATTLE OF TULL PREM HC
DC UNIVERSE PRESENTS #5
DEAD MANS RUN #1
DEADPOOL CLASSIC TP VOL 06
DEADPOOL MAX 2 #4 (MR)
DEFENDERS TOURNAMENT OF HEROES #1
DIABLO #2 (OF 5)

END OF NATIONS #3 (OF 4) (RES)

FABLES #113 (MR)
FEAR ITSELF FEARLESS #7 (OF 12)
FRAGGLE ROCK CLASSICS TP VOL 01

GENERATION HOPE #15 XREGB
GHOST RIDER #8
GHOSTBUSTERS ONGOING #5
GREEN HORNET #21
GREEN LANTERN CORPS #5

HACK SLASH #12
HACK SLASH EVA MONSTERS BALL TP (MR)
HALO FALL OF REACH INVASION #1 (OF 4)
HELLBLAZER #287 (MR)
HELLRAISER MASTERPIECES #6 (MR)

INVINCIBLE IRON MAN #512

JOHN CARTER A PRINCESS OF MARS #5 (OF 5)
JOHN CARTER OF MARS WORLD OF MARS #4 (OF 4)
JUGHEAD #211

KIRBY GENESIS DRAGONSBANE #1

LEGEND OF OZ THE WICKED WEST #2
LEGION OF MONSTERS #4 (OF 4)
LEGION OF SUPER HEROES #5
LOCUS #612
LORD OF THE JUNGLE #1 (MR)

MASS EFFECT INVASION #4 (OF 4)
MEMORIAL #2 (OF 6)
MMW ATLAS ERA TALES TO ASTONISH HC VOL 04
MOON KNIGHT #9
MORNING GLORIES #15 (MR)

NEAR DEATH #5
NEW MUTANTS #36 XREGB
NIGHTWING #5

PATRICIA BRIGGS ALPHA & OMEGA CRY WOLF VOL 01 #4
PATRICIA BRIGGS MERCY THOMPSON MOON CALLED TP VOL
PLANET OF THE APES #10
PRINCELESS #3
PROPHET #21

RED HOOD AND THE OUTLAWS #5
RED SONJA #62
RED SONJA RAVEN
ROBERT JORDAN WHEEL OF TIME EYE O/T WORLD #19

SECRET SIX THE DARKEST HOUSE TP
SIMPSONS COMICS #186
SIX GUNS #4 (OF 5)
SONIC THE HEDGEHOG ARCHIVES TP VOL 17
SONIC UNIVERSE #36
SPIDER-MAN DAREDEVIL BY LEE BERMAJO POSTER
STAR TREK ONGOING #5
STEED AND MRS PEEL #1 (OF 6)
STEVE CANYON HC VOL 01 1947-1948
SUPERGIRL #5
SUPERIOR #7 (OF 7) (MR)
SUPERMAN WAR OF THE SUPERMEN TP

THUNDER AGENTS VOL 2 #3 (OF 6)
THUNDERBOLTS #169
TINY TITANS #48
TWELVE TP VOL 01

ULTIMATE COMICS HAWKEYE BY HICKMAN PREM HC
ULTIMATE COMICS SPIDER-MAN #6
UNCANNY X-FORCE #20 XREGG
UNCANNY X-MEN #5

VENOM #12
VOLTRON #2

WALLY WOOD STRANGE WORLDS OF SCIENCE FICTION HC
WAR OF THE GREEN LANTERNS AFTERMATH HC
WOLVERINE PUNISHER GHOST RIDER OFF INDEX MU #6
WONDER WOMAN #5

X-FACTOR TP VOL 12 SCAR TISSUE
XENOHOLICS #4 (MR)

YOUNG JUSTICE #12

copied from memphiscomics.com

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By Andrew A. Smith

Scripps Howard News Service

Ever since Neil Gaiman’s astonishingly literate Sandman series ran from 1989 to 1996, I’ve wanted someone to point out the cool stuff I missed. And now, with DC/Vertigo’s lavish The Annotated Sandman Volume One ($49.99), that project has begun.

 

12134140681?profile=originalAs should be obvious to anyone who reads comics regularly, writers from the UK make far more literary allusions than American ones. Maybe UK kids receive a more comprehensive literary education, or maybe it’s a cultural thing. Whatever the reason, it is manifestly true, and no UK comic-book writer does it more than Neil Gaiman. And even he never did it more than in Sandman, which wove together myth, folklore, literature, DC Comics and pop culture into a seemingly seamless whole that served as a backdrop for compelling (and often horrifying) stories.

 

This was the stuff, ahem, that dreams are made of. The Sandman series has been reprinted in a variety of formats and remains a critical and commercial bonanza, an evergreen seller for DC’s Vertigo line.

 

But even as I reveled in the smart, moving stories in Sandman, I was fully aware that there were aspects of the book I was flat-out missing. There were throwaway bits here and there, lurking in the background, referring to things I didn’t know about, or simply didn’t connect. They weren’t of sufficient importance that I failed to understand or appreciate the stories, but enough that I was aware of them. And I wanted to know what they were, both out of curiosity, and in case they added another layer to the already multi-layered stories.

 

12134141261?profile=originalAnd I wasn’t the only one, which explains the existence of The Annotated Sandman. Gaiman tapped Leslie S. Klinger to do the annotations, an expert on Dracula and Sherlock Holmes, and in general an experienced hand at taking an academic approach to pop culture. It also helps that Gaiman provided Klinger the original scripts and correspondence from when Sandman was being created.

 

The result is a huge (12” by 12”) hardback, with page-by-page, panel-by-panel notes explaining the minutiae that is not readily apparent in Sandman #1-20. (Three more volumes will cover issues #21-75, and presumably annuals and specials). It’s in black and white, as opposed to the original color comic book, but the lack of hue doesn’t seem to hurt anything and probably prevents the book from being prohibitively expensive.

 

And, of course, it’s fun. Re-reading Sandman is by no means a chore, especially now that experience is enhanced by the explanations, addenda and et cetera found in the annotations. I was surprised by how much I did catch the first time around, but it’s comforting to get the rest – references to G.K. Chesterton, the English “poll tax” rebellion, Geoffrey Chaucer, and so forth. There are even references to the Erinyes – the Furies of Greek myth – that I missed the first time around, whose mention foreshadows the important role they play in the series finale. 

 

Many books that are widely praised turn out to be a disappointment when finally read. Sandman is not one of those, and fully deserves this treatment.

 

12134141299?profile=originalAnd while I’m discussing DC Comics, this is a good place to plug Batman: The Black Mirror ($29.99) by writer Scott Snyder and artists Jock and Francesco Francavilla.

 

Snyder made his bones with American Vampire, an ongoing Vertigo book with a clever take on bloodsucker mythology – that just happened to have Stephen King as co-writer on the first five issues! Snyder then took over the venerable Detective Comics for its final 11 issues before being re-launched with a #1 issue (along with all of DC’s other superhero books) last September.

 

Snyder did so well on Detective #871-881 that he was awarded Batman with the September re-launch. And it is those issues collected in Black Mirror, stories featuring an evil underworld society, a whale corpse in the lobby of a prestigious bank and former Robin Dick Grayson’s final turn filling in for the Dark Knight. It also contains, running from the start to a horrifying finish, the return of Commissioner Gordon’s possibly sociopathic son, Jim Junior.

 

The Batman franchise was one of the few that continued virtually unchanged through the aforementioned September re-launch, so in comic-book terms, what happens in these issues “count” in current continuity. And as you’d guess from Snyder’s Vampire origins, the legacy he leaves for Gotham City is chilling.

 

Black Mirror is simply Batman comics as they ought to be – no matter who’s under the mask.

 

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

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Comics for January 11th, 2012

 

 

 

 

 

12134125891?profile=original

7 WARRIORS #3 (OF 3) (MR)
ACTIVITY #2
ADVENTURES OF HUCKLEBERRY FINN HC
ALL NEW BATMAN THE BRAVE AND THE BOLD #15
ALPHA FLIGHT BY PAK AND VAN LENTE PREM HC VOL 01
AMAZING SPIDER-MAN #677
ARCHIE BEST OF DAN DECARLO HC VOL 03
AVENGERS 1959 #5 (OF 5)
AVENGERS BY BRIAN MICHAEL BENDIS TP VOL 02
BATGIRL #5
BATMAN AND ROBIN #5
BATMAN THROUGH THE LOOKING GLASS HC
BATTLE SCARS #3 (OF 6)
BATWOMAN #5
BLACK PANTHER MOST DANGEROUS MAN ALIVE #528
BLUE ESTATE TP VOL 02 (MR)
BRILLIANT #2 (MR)
BTVS SEASON 9 FREEFALL #5 JEANTY VAR CVR
BTVS SEASON 9 FREEFALL #5 MORRIS CVR
CAPTAIN AMERICA #7
CARNAGE USA #2 (OF 5)
CARTOON NETWORK ACTION PACK #66
COBRA ANNUAL 2012 ORIGIN OF COBRA COMMANDER #1
COLTS MANNING 14 INCH PLUSH (C: 1-1-3)
COLTS MANNING 7 INCH PLUSH (C: 1-1-3)
COMIC SHOP NEWS 90CT BUNDLE #1282 (NET)
DAKEN DARK WOLVERINE #19
DARK MATTER #1 (OF 4)
DARK TOWER GUNSLINGER BATTLE OF TULL PREM HC
DARK TOWER GUNSLINGER WAY STATION #2 (OF 5)
DARKNESS #97 CVR A HAUN (MR)
DC UNIVERSE ONLINE LEGENDS #21
DEADPOOL #49
DEATHSTROKE #5
DEMON KNIGHTS #5
DOCTOR WHO ONGOING VOL 2 #13
DR WHO MAGAZINE #442 (C: 0-1-2)
DUNGEONS & DRAGONS 100 PAGE SPECTACULAR
ESSENTIAL MARVEL TWO IN ONE TP VOL 04
FANBOY MAKE YOUR OWN COMIC BOOK (NET) (O/A) (C: 1-1-3)
FEAR ITSELF AVENGERS PREM HC
FEAR ITSELF GHOST RIDER PREM HC
FLASH TP VOL 01 THE DASTARDLY DEATH OF THE ROGUES
FORMIC WARS SILENT STRIKE #2 (OF 5)
FRANKENSTEIN AGENT OF SHADE #5
GERONIMO STILTON HC VOL 09 WEIRD BOOK MACHINE
GHOST RIDER BY DANIEL WAY ULTIMATE COLLECTION TP
GHOST RIDER CYCLE OF VENGEANCE #1
GHOST RIDER OFF INDEX TO MARVEL UNIVERSE GN TP
GI JOE A REAL AMERICAN HERO #174
GREEN LANTERN #5
GREEN LANTERN #5 VAR ED
GRIFTER #5
HAUNTED MANSION HC VOL 01 WELCOME FOOLISH MORTAL (O/A)
HELLRAISER TP VOL 02 (MR)
HP LOVECRAFT THE DUNWICH HORROR #4 (OF 4)
INCREDIBLE HULK #4
INVINCIBLE #87
INVINCIBLE TP VOL 15 GET SMART
JOURNEY INTO MYSTERY #633
KULL THE CAT & THE SKULL #4 (OF 4)
LEGION LOST #5
LOBSTER JOHNSON THE BURNING HAND #1 (OF 5) JOHNSON CVR
LOGANS RUN AFTERMATH #4 (RES)
MAGNETO NOT A HERO #3 (OF 4)
MARVEL UNIVERSE AF ASST 201107 (C: 1-1-3)
MEGA MAN #9 REG CVR
MISADVENTURES OF ADAM WEST #2 (MR)
MISADVENTURES OF ADAM WEST #3 (MR)
MISTER TERRIFIC #5
MONSTER MESS HC
MORIARTY #8
MY GREATEST ADVENTURE #4 (OF 6)
MYSTIC TENTH APPRENTICE TP
NEW AVENGERS #20
NORTHANGER ABBEY #3 (OF 5)
NORTHLANDERS #47 (MR)
OPERATION BROKEN WINGS 1936 #3 (OF 3) (MR)
ORCHID #4
PC CAST HOUSE OF NIGHT #3 (OF 5)
PIGS #5 (MR)
POKEMON BLACK & WHITE GN VOL 05 (C: 1-0-0) (PP #997)
PREACHER HC BOOK 06 (MR)
PUNISHERMAX #21 (MR)
RAY #2 (OF 4)
RESURRECTION MAN #5
ROGER LANGRIDGES SNARKED #4
SCALPED #55 (MR)
SCARLET SPIDER #1
SCARLET SPIDER #1 BLANK VAR (NET)
SECRET AVENGERS #21
SEVERED #6 (OF 7) (MR)
SFX #217 (C: 0-1-1)
SHADE #4 (OF 12)
SMURFS GN VOL 10 RETURN OF SMURFETTE
SNAKE EYES ONGOING (IDW) #9
SPAWN #215
SPIDER-MAN COMPLETE BEN REILLY EPIC TP BOOK 03
SPIDER-MAN SPIDER-ISLAND HC
STAND NIGHT HAS COME #6 (OF 6)
STAR WARS AGENT O/T EMPIRE IRON ECLIPSE #2 (OF 5) (C: 1-0-0)
STAR WARS FIG COLL MAG #43 SNOWTROOPER (C: 0-1-3)
STAR WARS KNIGHTS OF THE OLD REPUBLIC WAR #1 (OF 5) CARRE CV
STAR WARS LEGACY TP VOL 11 WAR (C: 0-1-2)
SUICIDE SQUAD #5
SUPER HEROES #22
SUPERBOY #5
THE OCCULTIST #3 (OF 3)
THE STRAIN #2 (OF 12)
TRANSFORMERS MORE THAN MEETS EYE ONGOING #1
ULTIMATE COMICS X-MEN #6
UNWRITTEN #33 (MR)
UNWRITTEN TP VOL 05 ON TO GENESIS (MR)
WOLVERINE #300
WOLVERINE #300 BLANK VAR (NET)
WOLVERINE AND X-MEN #4 XREGG
WOLVERINE BEST THERE IS BROKEN QUARANTINE PREM HC
WOLVERINE BEST THERE IS CONTAGION TP
X-FACTOR #230 XREGG
X-MEN LEGACY #260.1
YOUNG JUSTICE TP VOL 01

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12134027688?profile=original“You’re right, Cap!  I see the fuse!  It’s gonna blow!

 

These were the last words Bucky Barnes, Captain America’s boy partner, ever spoke in the Silver Age.  One panel later, he was dead, blown to pieces by a booby-trapped drone plane, and a mere three panels after his Silver-Age introduction in The Avengers # 4 (Mar., 1964).

 

I’m tempted to say that that is some sort of record for shortest time between debut and death for a Silver-Age character, but to insist so would be a bit of a cheat.  Comic-book fans with stubborn memories would remember Bucky’s long history with Captain America during the Golden Age.

 

12134127890?profile=originalBucky first appeared alongside his star-spangled mentor in Captain America Comics # 1 (Mar., 1941).  Following his own origin, Captain America was stationed, as Private Steve Rogers, at Fort Lehigh, New Jersey.  There, he met Bucky Barnes, a boy whose soldier father had been killed in a training exercise.  The other G.I.’s had adopted him as the camp mascot.   One night, Bucky burst into Rogers’ tent and inadvertently caught Steve in the act of changing into his costume.  In typical comic-book logic, this somehow entitled him to become Cap’s partner.

 

Donning his own blue-and-crimson outfit, Bucky enthusiastically fought the Nazis and the Japanese alongside Cap.  He proved popular enough to headline twenty issues of his own title, Young Allies Comics, leading his own kid gang, including Toro, sidekick to the original Human Torch.

 

After the war, Captain America Comics shifted gears and turned Cap and Bucky into crime-fighters, tackling gangsters with names like Scarface and the Big Guy.  As soon as he was given his discharge papers, Steve Rogers became a teacher at the Lee School, with Bucky as one of his pupils.  But peacetime was not as good to Bucky as the war had been.

 

The youngster had battled Nazi troops from one end of Europe to the other and never received so much as a scratch.  But only a couple of years after V-J Day, Bucky was gunned down by a slinky villainess named Lavender, in Captain America Comics # 66 (Apr., 1948).  He survived the experience, but was wounded bad enough for Captain America to replace him with a female sidekick, Golden Girl, for a year and a half.

 

12134128091?profile=originalThe lead story in Captain America Comics # 71 (Oct., 1949) saw Bucky finally released from the hospital, just in time for him and Cap to get caught up in a scheme by a second-rate villain named the Trickster.  It would be the last time Bucky appeared in the comic, but it really didn’t matter, because the title itself ended four issues later.

 

In 1953, Atlas (as Marvel Comics was calling itself then) returned Cap and Bucky to active duty, in Young Men # 24 (Dec., 1953).  Atlas even brought back the Captain America title, but it failed to make much of an impression and folded in 1954, after a three-issue run.

 

That was the last mention of Bucky Barnes until The Avengers # 4.  But in that ten years’ time, a new generation of fans had stepped up to the spinner racks, youngsters who had never read any of Cap and Bucky’s Golden-Age adventures.  To them, Captain America was an exciting new character.  Sure, Marvel dropped enough baggage about Cap (especially in his Silver-Age “try-out” in the Human Torch tale that appeared in Strange Tales # 114 [Nov., 1963]) to figure out that there was some kind of history there.  But, to all purposes, Captain America was a Silver-Age hero whose story began when Giant-Man fished his frozen body out of the Atlantic Ocean.

 

 

 

 

12134132269?profile=originalAs the revived Captain America explained to the Avengers, he and Bucky had been trying to stop a hijacked drone plane from taking off for Nazi Germany.  While Cap had failed to grab onto the plane, Bucky took hold, only to find that an explosive charge had been rigged.  It detonated an instant later, plunging Cap into the icy waters of the North Atlantic, to fall into a state of suspended animation for two decades.

 

Bucky hadn’t been so lucky.  He was blown into pieces-parts.

 

Now, this is where my non-comics-reading fans, like my friends, the Wards, are saying, “Wait a second, commander!  You just told us Captain America and Bucky went home after the war and fought crooks.  Bucky even survived being gut-shot by that brazen hussy.  And, now, you’re saying Bucky got killed fighting Nazis?”

 

Well, yeah.

 

You see, Marvel Comics editor Stan Lee figured nobody reading his magazines now would remember all that stuff, or even know about it.  So, basically, he took a big blue pencil to all those post-war issues of Captain America Comics and Young Men

 

Later on, Stan would discover that fans did know about all those late-1940’s and early 1950’s Cap tales, and they wanted an explanation.  Marvel Comics delivered one in 1972---but it didn’t take Our Heroes off that exploding drone-plane.  (Instead, the 1950’s Cap and Bucky were a different couple of fellas, y’see . . . .)

 

And young Mr. Barnes was still very dead.

 

 

 

 

In that Silver-Age perspective, Bucky became one of those characters---like Ben Parker and Dr. and Mrs. Wayne---whose death was the principal reason for his existence in the first place.  Stan Lee insisted that every Marvel hero of the Silver Age would have a tragic flaw, and Bucky’s death represented the cross that the otherwise-perfect Captain America would bear.  Rarely did an early Captain America adventure go by which didn’t have at least one scene of the Star-Spangled Avenger reproaching himself over Bucky’s death---a combination of survivor’s guilt and self-blame over failing to save the boy.

 

12134133066?profile=originalReaders were hammered with Cap’s guilt over Bucky repeatedly in the first year of his revival, but probably nowhere did it manifest itself more strikingly than in his relationship with Avengers groupie Rick Jones.

 

Within hours of coming out of suspended animation and returning to New York, the shield-slinger has decided to give up his life as Captain America.  “It would be meaningless without Bucky!” he concludes.  “I don’t belong in this age---in this year---no place for me---if only Bucky were here----“

 

On cue, Rick Jones enters Cap’s hotel room, and Cap nearly jumps out of his skin.  “Bucky!! It’s you!!” he cries. “You’ve come back!!  Bucky, you’ve come back!!”  All things considered, Rick takes that greeting pretty much in stride, but outside of telling Steve who he really is, the lad can’t get a word in edgewise.

 

“It’s unbelievable!” Cap rants.  “You’re like his twin brother!  Your voice---your face---everything!!  You could be Bucky’s double!” 

 

Understandably, Rick starts to get the idea that he just barged in on a star-spangled nutcase, and starts edging his way toward the door when Cap says, “. . . You’ve suddenly made me realize that life goes on!  In a way, Bucky can still live again!”

 

I shudder to think of what modern sensibilities would make of that exchange, but fortunately, Rick met Cap in a more-innocent time, and in short order, Rick becomes a true Captain America booster.  Even by Silver-Age comic-book standards, though, Cap’s attitude toward Rick Jones bordered on the psychotic.

 

12134133484?profile=originalDuring most Avengers stories, Cap kept Rick close to his side, protectively.  He was like the big brother that Rick never had.  He taught Rick self-defence techniques and expressed his support of the lad’s efforts to become an Avenger. 

 

. . . Except for the time, in The Avengers # 7 (Aug., 1964), when Rick finds one of Bucky’s old costumes in Steve’s closet and tries it on.  Cap spots him wearing it and rips Rick a new one, swearing that he will never have another partner.

 

. . . And except for the time when Iron Man, in issue # 10 (Nov., 1964), recommends that they make Rick a full-fledged member.  Captain America slaps the idea down almost before Shellhead can finish his sentence, objecting on the basis that he still carries guilt over Bucky Barnes’s death.  And none of the other Avengers has the gumption to overrule him.

 

. . . And then there is the time that Cap jumps down Rick’s throat for daring to express his opinion at an Avengers meeting, in issue # 11 (Dec., 1964).

 

 

 

 

Captain America’s moaning and groaning over Bucky’s death increases after the story “The Masters of Evil”, from The Avengers # 6 (Jul., 1964).  Here, the readers discover that Baron Zemo was the Nazi agent who tried to steal the drone plane upon which Bucky met his end.  When the baron, safely hidden in his South American stronghold, learns that Captain America is still alive, he forms the Masters of Evil to take revenge on the Star-Spangled Avenger.  And when Cap finds out that Zemo is still alive, it flames his own thirst for vengeance, a chord that repeats through all of Zemo’s repeated attacks on the Avengers, over the course of several issues.

 

Probably sensing that the readers were tiring of Cap’s constant whining, Stan Lee brought things to a head.   In “Now, By My Hand, Shall Die a Villain”, from The Avengers # 15 (Apr., 1965), Cap jets to Baron Zemo’s jungle hideout for a showdown.  In a final confrontation, Zemo attempts to blast Cap with a disintegrator pistol.  However, the Star-Spangled Avenger uses his shield to reflect sunlight into the villain’s eyes, blinding him.  Firing wildly, the baron triggers a rockslide which crushes the life out of him.

 

With Bucky’s death avenged, Cap was never again as maudlin.  Cap was still shown to think about his dead partner from time to time, but he stopped crying in his beer over it.

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Stan also probably suspected that the fans were starting to find Cap’s relationship with Rick rather creepy, so in the next issue---the landmark “The Old Order Changeth”---Rick was once again passed up for Avengers membership and summarily dismissed from the series.

 

By this time, Captain America had been awarded a series of his own, taking up the back half of Tales of Suspense, beginning with issue # 59 (Nov., 1964).  After a handful of minor-but-entertaining tales, Cap’s series shifted back to World War II, beginning with a retelling of his and Bucky’s origins.  The Cap stories from Tales of Suspense # 63 (Mar., 1965) through # 71 (Nov., 1965) were all set during the war.  These offered the Silver-Age readers their first look at Bucky in action. 

 

Stan Lee wrote all of these WWII tales, and he gave Cap and Bucky an easy comaraderie, portraying them as confident and capable, with witty dialogue in the same vein as his later Sgt. Fury scripts.  For someone who professed to hate the idea of “kid partners”, Stan did a superb job of writing Bucky as a competent, resourceful hero in his own right, a true partner to Cap, rather than a sycophantic hanger-on.

 

It paid off, after the series shifted back to the present; Bucky had become more of a real character in the eyes of the fans.  Thus, when Cap was shown reflecting on his partner’s death, it had more gravitas, more meaning, because the readers could now more easily identify with his loss.  I don’t know if that result was what Stan had in mind when he scripted those wartime tales, but I’m sure if you asked him, he would tell you “Of course!”, whether he did or not.

 

While the constantly brooding Cap was pretty much a thing of the past, Stan would still play the “Bucky card” on occasion.  One such occasion arose in a four-issue arc beginning with Tales of Suspense # 88 (Apr, 1967), and the story “If Bucky Lives!”  It kicks off when Cap receives a video transmission from Bucky over an Avengers monitor, drawing the shield-slinging hero to a remote island off of Nova Scotia.  To no-one’s surprise, this turns out to be an ambush laid by his arch-foe, the Red Skull.

 

12134138078?profile=originalThe highlight of the multi-parter is the next issue’s confrontation between Cap and Bucky.  The Skull tells him that Bucky survived the drone’s explosion in a state of suspended animation, similar to Cap’s own.  The Nazi villain then brainwashed the youngster, instilling hatred for his former partner.  Or so he says. 

 

The shield-wielding Avenger is forced to fight the youth, and his reluctance lets Bucky get the best of him---until tell-tale clues inform Captain America that Bucky is really a sophisticated robot.  Enraged over the Skull’s manipulation of his feelings, Cap quickly reduces the replica to nuts and bolts.

 

The “Bucky Returns” trick was used a lot over the next fifteen years, probably because Cap fell for it every time.  They always involved a duplicate of Bucky Barnes---robot, android, or human double---used to lure the Star-Spangled Avenger into a trap.  Most of them came after my 1968 cut-off point for the Silver Age, but it was a common Bronze-Age device.  In fact, the next time it was attempted, in 1970, it followed the plot of “If Bucky Lives!” almost identically, substituting Modok and Baron Strucker for the Red Skull as the main villains.

 

(Cap shows he’s finally wised up to the gag in Captain America # 281 [May, 1983], when yet another Bucky shows up at Steve Rogers’ door.  The Avenger grabs him and bounces his head off a wall several times, expecting to find another robot---only to discover that he is Jack Monroe, the 1950’s Bucky.  Oops.)

 

 

 

 

However, the last Bucky story of the Silver Age brought the character full-circle, back to where he entered the era.  Appropriately, it appeared in The Avengers---in issue # 56 (Sep., 1968).

 

In the rush to present Captain America to the Marvel fans of 1964, the one-page account of Bucky’s death and Cap’s survival shown in The Avengers # 4 left many unanswered questions.  Why were Cap and Bucky going after the drone-plane?  Why was it booby-trapped?  And why were Our Heroes in standard G.I. uniforms, instead of their colourful costumes?  The breakneck pace of the story brushed right past those details, and nobody seemed to care enough to go back and find out.

 

12134138681?profile=originalLeave it to Roy Thomas to care enough.  He unveiled the full events of that final adventure in the story “Death Be Not Proud!”  It begins with Captain America summoning the then-active roster of Avengers to the castle once occupied by Doctor Doom ‘way back in Fantastic Four # 5.  Cap confesses to the assembled heroes that he has been preoccupied lately with determining whether or not Bucky could have survived the explosion of the drone-plane.  “If I somehow survived it,” reflects Cap, “couldn’t he have, too?”

 

In order to put an end to his gnawing doubts, Cap proposes using Doom’s time machine to go back to that fatal day.  Goliath, Hawkeye, and the Black Panther insist on tagging along with their red-white-and-blue buddy, while the Wasp operates the device.

 

Since all of them were alive in 1945, the Avenger foursome, borrowing a page from DC’s rules of time-travel, arrives in wartime England in an invisible and intangible state.  Led to the proper hangar by the 1968-Cap, the Avengers have a ringside seat to the last mission of Captain America and Bucky.

 

Roy Thomas crafted a masterful tale, an early showing of his proclivity for fleshing out old stories without altering the original events.  All of the loose ends from The Avengers # 4 are tied neatly.  And though briefly materialised on the scene, due to an outside influence on the time machine, the Avengers are unable to thwart Zemo’s plan before the effect wears off.  Thus, they are forced to helplessly watch those last, awful moments.

 

Bucky Barnes leaves the Silver Age in the same four panels in which he entered it.  And this time, Captain America has no doubts; he could only have been killed instantly.

 

 

 

 

At least, there were no doubts, then.

 

For nearly forty years, despite all the times Marvel had tantalised Captain America and the readers with “Bucky Returns!” plotlines, the true Bucky Barnes had remained really, most sincerely dead.  So certain was this that the comics fanship coined the term Bucky-dead for any character perceived to have been killed off permanently, with no chance of revival.

 

Like most shorthand terms, Bucky-dead was instantly descriptive.  Then, in 2005, it became instantly invalid.  For that was when Bucky returned to the Marvel universe alive, all grown up, and working for the Commies as “the Winter Soldier”.  As the modern account would have it, the Red Skull’s phoney story, back in Tales of Suspense # 89, wasn’t too far off the mark.  Bucky did survive the drone’s explosion, only to be found by the Russians, who altered his memories and put him to work for the KGB.

 

As with all controversial comics plotlines, the readers are largely divided over Bucky’s survival and return.  I suspect most of those who don’t like it are of my vintage.  As I see it, Bucky’s death, and Captain America’s perception of it as his one tragic failure, had more dramatic cachet than any shock value from his resurrection.  It also doesn’t help things that the revolving door of comic-book deaths was opened a little wider.

 

Fortunately, I am rooted in the Silver Age; editorial decisions of the modern day don’t count.  For me, Bucky Barnes’ story ended right where it should have, with the conclusion of The Avengers # 56, when Cap gave his little buddy his final send-off . . . .

 

12134139873?profile=original

 

 

Bucky Barnes, Requiescat in Pace.

 

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Comics for 4 January 2012

ACTION COMICS #5
ALTER EGO #106
ANIMAL MAN #5
ANNOTATED SANDMAN HC V1 (MR)
ARTIFACTS #13 (OF 13)
ATLAS UNIFIED #1
AVENGERS ACADEMY #24
AVENGERS ANNUAL #1
AVENGERS DEFENDERS WAR TP NEW PTG
AVENGERS X-SANCTION #2 (OF 4)

BATMAN THE DARK KNIGHT HC V1 GOLDEN DAWN
BATMAN THE RETURN OF BRUCE WAYNE TP
BATTLESTAR GALACTICA ORIGINS OMNIBUS TP
BATWING #5
BETRAYAL O/T PLANET O/T APES #3 (OF 4)
BIONIC BOOK RECONSTRUCTED SC
BLOOD RED DRAGON #3
BOYS #62 (MR)
BPRD HELL ON EARTH TP V2 GODS AND MONSTERS
BRODYS GHOST ONE SHOT

CHARLIE ADLARD CURSE O/T WENDIGO TP
CHARMED #17
CLASSIC MARVEL FIG COLL MAG #162 KARNAK
CLASSIC MARVEL FIG COLL MAG #163 HYDRO MAN
CLASSIC MARVEL FIG COLL MAG SPEC MODOK
COLD WAR #4

DC COMICS THE NEW 52 PRESENTS THE DARK #1
DC SUPERHERO FIG COLL PHANTOM STRANGER
DC SUPERHERO FIG COLL MAG #97 CHEETAH
DC SUPERHERO FIG COLL MAG SPECIAL CLAYFACE
DEFENDERS #2
DETECTIVE COMICS #5
DUKE NUKEM GLORIOUS BASTARD TP

EC ARCHIVES HAUNT OF FEAR HC VOL 01
EC ARCHIVES VAULT OF HORROR HC VOL 02
EERIE ARCHIVES HC VOL 09
ELISABETH SLADEN AUTOBIOGRAPHY HC
ELRIC THE BALANCE LOST #7
ENDERS GAME ULTIMATE COLLECTION TP

FATALE #1 (MR)
FEAR ITSELF FEARLESS #6 (OF 12)
FEAR ITSELF PREM HC
FEARLESS TP VOL 01
FERALS #1 (MR)
FLASH GORDON ZEITGEIST #2

GFT MYTHS & LEGENDS #11
GI JOE VOL 2 ONGOING #9
GODZILLA KINGDOM OF MONSTERS TP VOL 02
GODZILLA LEGENDS #3 (OF 5)
GRAVEYARD OF EMPIRES #3
GREEN ARROW #5

HAWK AND DOVE #5
HELLRAISER #9 (MR)
HELLRAISER MASTERPIECES #5 (MR)
HULK #47
HUNTRESS #4 (OF 6)

ILLUSTRATORS IN & OUT SC
INNER SANCTUM GN
IRREDEEMABLE #33
IZOMBIE #21 (MR)

JURASSIC PARK DANGEROUS GAMES #5 (OF 5)
JUSTICE LEAGUE INTERNATIONAL #5

KATO ORIGINS TP VOL 02 HELLFIRE CLUB

LADY DEATH (ONGOING) #13 (MR)
LIFE WITH ARCHIE #16
LIL DEPRESSED BOY #8

MAGNETO WAS RIGHT RED T/S
MARVEL PREVIEWS JANUARY 2012
MEN OF WAR #5
MODERN MASTERS SC VOL 27 RON GARNEY
MUDMAN #2

NOWHERE MAN #1 (OF 4)

OMAC #5

PEANUTS #1 (OF 4)
PENGUIN PAIN AND PREJUDICE #4 (OF 5)
PUNISHER #7

RACHEL RISING #4
RED LANTERNS #5
ROBOCOP ROAD TRIP #1 (MR)

SALEMS DAUGHTER HAUNTING #4
SCHOOL BITES SPECIAL SEMESTER COLL TP
SCOOBY DOO WHERE ARE YOU #17
SCOURGE #6
SCREAMLAND DEATH O/T PARTY TP
SEVEN SOLDIERS OF VICTORY TP VOL 01
SHINKU #4 (MR)
SOULFIRE VOL 3 #6
SPIDER-MAN MASQUES PREM HC
STAND TP VOL 02 AMERICAN NIGHTMARES
STAR TREK LEGION OF SUPERHEROES #4 (OF 6)
STATIC SHOCK #5
STORMWATCH #5
SUPER DINOSAUR #7
SUPERNATURAL #4 (OF 6)
SWAMP THING #5
SWEET TOOTH #29 (MR)

TANK GIRL BAD WIND RISING HC
TANK GIRL CARIOCA #3 (OF 3) (MR)
THE LONE RANGER #1
THEATER #4 (MR)
THOR DEVIANTS SAGA #3 (OF 5)
THUNDERBOLTS #168
TIMELINK UNOFF UNAUTH GT CONTINUITY DR WHO SC
TRUE BLOOD FRENCH QUARTER #5 (OF 6)

UNCANNY X-FORCE #19.1
UNCANNY X-MEN #4

VALEN OUTCAST #2
VAMPIRELLA VS DRACULA #1
VESCELL #5 (MR)
VILLAINS FOR HIRE #2 (OF 4)

WARLORD OF MARS DEJAH THORIS #9 (MR)
WITCHBLADE #151
WITCHFINDER TP VOL 02 LOST AND GONE FOREVER
WOLVERINE AND X-MEN ALPHA AND OMEGA #1 (OF 5)

X-23 #20
X-CLUB #2 (OF 5)
X-FORCE HC VOL 02
X-MEN #23 XREGB

YOUNG JUSTICE RED ARROW 6-IN AF

ZORRO RIDES AGAIN #7 (OF 12)

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

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The big story of 2011: DC's gigantic gamble

By Andrew A. Smith

Scripps Howard News Service

As we look back on 2011, there is little doubt what comic-book story was #1: DC’s re-launch of its entire superhero universe in September.

 

12134123262?profile=originalEven in retrospect it’s hard to believe they did it. Never before has any publisher – perhaps any business – canceled its major product line and started it over from scratch. Especially when you consider that Detective Comics – for which DC Comics took its name – had an unbroken run back to 1937, and that Action Comics had the highest numbering of any current American comic book (#904). Those little pieces of history are now gone, as even those two venerable books were re-started at #1 in September.

 

You can imagine the sheer hysteria that gripped comics fandom when “The New 52” titles were announced in May. We fans couldn’t comprehend why DC would take such a risky step. We absolutely freaked out. “What was DC afraid of?” we wailed, for we were certain that only the threat of imminent demise could force such a move. Was digital destroying the print market? Had Warner Bros. given its comic-book arm an ultimatum? Was this the last gasp of a dying industry? Since nobody believed DC’s official reasons for doing it – vague, unconvincing corporate-speak that I have already forgotten – the rumors ran wild.

 

And it worked.

 

All of The New 52 titles sold out in September, and DC was #1 with a bullet. In October, it was a rout: DC’s share of dollar sales was 13 percent higher than arch-rival Marvel’s, and DC had 51 percent of the entire industry in units sold!

 

Best of all, the rising tide has begun lifting all boats. DC may be enjoying the lion’s share of the market pie, but their wild gamble has also made it a bigger pie for everyone. Sales of comics are up across the board, putting a lot of grateful comic shops thoroughly in the black.

 

Stories this big usually don’t happen in the comics industry, but this one surely did. And there were two more nearly as big in 2011.

 

12134124455?profile=originalOne is the strip-mining of comic-book concepts and characters for other media. It’s been going on for years, but 2011 was a particularly good year – or a bad one, depending on your point of view.

 

The most obvious example was the five superhero movies of 2011, whose combined budgets could probably feed Bangladesh for a year. X-Men: First Class was both a critical and commercial success, and seems to have rebooted the franchise. Thor and Captain America: The First Avenger hit big enough for sequels, and also helped set the table for 2012’s The Avengers, which could also be a franchise. Green Lantern was deemed a flop, but it probably broke even and Warner Bros. is still thinking sequel. Even the superhero-slash-comedy movie, Seth Rogen’s The Green Hornet, made $220 million worldwide.

 

On Broadway, the musical Spider-Man: Turn Off the Dark is playing to packed houses, making money despite its bloated $70 million budget and so many delays, injuries, cast and crew changes, rewrites and other problems it became a skit on Saturday Night Live, a punchline on late-night TV and a New Yorker cover. Even now its troubles aren’t over; former director Julie Taymor is suing the producers on the grounds that they’re using her artistic contributions without payment.

 

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In videogames, Spider-Man: Shattered Dimensions and Batman: Arkham City were two of 2011’s biggest releases. And while Warner Bros. has had trouble getting a live-action superhero movie franchise off the ground, the Warner Home Video unit had two hits in 2011, Green Lantern: First Flight and Batman: Year One.

 

12134125458?profile=originalThe Big Bang Theory, which we geeks can thank for helping mainstream our obsessions, has entered its fifth season. The second-season premiere of AMC’s The Walking Dead garnered more adults 18-49 than any other drama in basic cable history, and it’s already been renewed for Season 3. The Super Hero Squad Show, Batman: The Brave and the Bold and Young Justice cartoons had new episodes in 2011, joined by Green Lantern, plus The X-Men, Iron Man, and Wolverine anime.

 

One last big story is the huge growth of digital comics in 2011. All of the major publishers are moving to same-day release of print and digital comics, with Marvel bringing up the rear in February 2012. This may turn out to be the biggest story of 2011 in the end, but for now all we can say is “to be continued.”

 

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

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Deck Log Entry # 135 Merry Christmas 2011!

12134027688?profile=originalChristmas Eve, 1944.

 

Peace on Earth and good will towards man never seemed farther away.  The world was still at war, and what would become known as the Battle of the Bulge was in its second week of savage conflict.  It was Germany’s last desperate attempt to take over Europe---a massive offensive through the Ardennes mountain region of Belgium.  American G.I.’s whom, a few weeks ago, thought they might make it home for Christmas were now embroiled in the bloodiest fighting they had seen in three long years.

 

If there was any safe haven amidst all this horror, a German woman, Elisabeth Vincken, and her twelve-year-old son, Fritz, were in it.  They had taken refuge in a small hunting cottage deep in the Hürtgen Forest.  It was all they had left after an Allied bombing raid had destroyed their home in Aachen, along with most of the city.

 

It was just the two of them.  Elisabeth’s husband, Hubert, had been ordered to serve with the civil-defence guard for the town of Monschau, five miles away.  They had meagre supplies.  For light, a few candles.  For heat, a single fireplace.  For food, some eggs, a few vegetables, mostly potatoes, and a rooster that they were trying to fatten up for a special dinner to celebrate the day that Mr. Vincken returned.

 

12134173656?profile=originalThe war, it seemed, was all around them.  Elisabeth and Fritz could hear the pounding of field artillery, the rumble of bombers overhead, the hammering of gunfire, and the screams of men fighting and dying. 

 

 

 

The noises of war had been constant for the nine days since the Germans had launched their offensive, but on this Christmas Eve night, a lull fell over the countryside, and Elisabeth and Franz were grateful for the serenity of quiet.  For them, that was Christmas miracle enough.

 

Then the stillness was interrupted by a knock at their cabin door.  Believing that his father had returned, young Fritz jumped up excitedly, only to be restrained by the firm, gentle hand of his mother.  Elisabeth blew out the candles and cautiously opened the door.

 

She saw standing there two men, carrying---more like dragging---a third man.  Blood from a bullet hole in his leg had left a crimson trail in the snow.  They wore helmets and uniforms.  But they were the wrong kinds of helmets and uniforms.

 

Americans!

 

None of the three men looked older than twenty.  They were pale, with faces lined with dirt and desperation, and they shivered in the freezing cold.  They carried rifles and appeared to be at the very limit of human endurance.  They could have forced their way into the shelter of the cabin.  But they did not.

 

Instead, they looked at Elisabeth Vincken with pleading eyes.

 

12134173885?profile=originalAfter a long moment, Elisabeth Vincken said “Kommt rein,” and stood aside to let the solders enter.  They carried the wounded man, who looked more dead than alive, inside and laid him down on Fritz’s bed next to the kitchen.

 

Neither Elisabeth nor Fritz spoke English, and none of the Americans spoke German.  Mrs. Vincken then tried French.  One of the soldiers knew enough of that language to get by.

 

During the fighting, he explained, they had gotten separated from their outfit.  They had wandered lost in the ice-covered woods for the last three days, without food, hiding from the Germans.

 

Elisabeth told them to warm themselves by the fireplace, while she tended to the other soldier’s leg wound.  She tore up a bedsheet to make bandages.

 

To feed the hungry men, Fritz was sent to get a half-dozen potatoes from the larder, while his mother dispatched the rooster and prepared it for the cooking pot.  In an hour, the tiny cottage filled with the aroma of hot food.

 

Fritz was setting the table when another knock came at the door.

 

 

 

12134174876?profile=originalMrs. Vincken answered the knock, and was met by four more soldiers in uniform.

 

The uniform of the Wehrmacht.  German ground troops!

 

Elisabeth’s face turned white.  Fritz, standing behind his mother, froze with fear.  Even at his age, he knew that sheltering enemy soldiers was considered treason, and at this stage of the war, collaborators were treated harshly.  His mother could be shot.

 

Mrs. Vincken stepped outside, slowly closing the door behind her, and greeted the German soldiers.  They, too, were hungry and cold and, if anything, were even younger than the American G.I.’s.  One of them, a corporal, told Elisabeth that they had gotten lost and asked if they could rest inside until morning.

 

Certainly they could, she told them.  “But,” she added, “we have three other guests, whom you may not consider friends.”

 

“Who’s inside?” demanded the corporal.  “Americans?”

 

The soldiers swiftly unslung their rifles.

 

Elisabeth met the Germans’ now-wary eyes with a stern glare.  “Listen,” she told them.  “You could be my sons, and so could those in there.  A boy with a gunshot wound, fighting for his life.  His two friends, lost like you, and just as hungry and as exhausted as you are.”

 

The corporal started to speak.

 

“This one night,” said Elisabeth, raising her voice, “this Christmas night, let us forget about killing.”

 

 

 

12134178062?profile=originalThe German soldiers stared at her in awkward silence.  Before they could say anything, one way or the other, Mrs. Vincken pointed to a small shed and told the men to put their weapons in there.  Reluctantly, they did so.  Then Elisabeth invited them to go inside her home and sit down to dinner.

 

The German soldiers entered the cabin.

 

Seeing the Wehrmacht uniforms, the G.I.’s instantly grabbed for their rifles.  Until a sharp cry from Elisabeth stopped them cold.  She spoke to the G.I. who understood French.  He translated for the other two Americans. 

 

With uncertainty on their faces, they handed their rifles to Elisabeth, who put them out in the shed with the others.

 

The air was thick with tension as two groups of enemies who had been taught and trained to kill each other sat down to dinner.  Forced to sit shoulder to shoulder at the small table, or only a few feet across from each other, they glared back and forth with uncomfortable suspicion.  To soften the mood, Elisabeth introduced the Americans to the Germans. 

 

The American who spoke French was Jim.  The wounded man’s name was Harry.  The other G.I. was Ralph.

 

Gradually, the men from the other side began to speak.

 

The German soldiers were young, indeed.  Two of them, Heinz and Willi, were only sixteen.  The corporal was the veteran, at twenty-three.  All four were a long way from their homes.

 

From Fritz’s bed, Harry moaned painfully.  One of the German soldiers went over to the bed, sat down, and put on his eyeglasses.

 

“Do you belong to the medical corps?” asked Mrs. Vincken.

 

“No,” he replied, “but I studied medicine at Heidelburg until a few months ago.”

 

He examined Harry's wound and redressed it.  Then, in rough English, he explained to the other G.I.’s that there were no signs of infection.  “He is suffering from a severe loss of blood.  What he needs is rest and nourishment.”

 

The German corporal “suddenly remembered” a bottle of red wine he had in his ruck sack.  Heinz produced a loaf of rye bread from his, and they handed them over.  In return, Ralph dug out a can of instant coffee from his pack.  The booty was added to their Christmas “feast”.

 

12134179700?profile=originalOne of the Americans and one of the Germans pulled the bed alongside the short, narrow table and a plate was set for Harry.  Mrs. Vincken poured him a glass of wine.  Then dinner was served.

 

Elisabeth said grace.  It was the same simple prayer that Fritz had heard his mother speak over every meal.  “Komm, Herr Jesus.  Seien Sie unser Gast.”  But this time, he noticed, there were tears in her eyes.  Looking around the table, the boy saw the war-weary soldiers blinking back tears, as well, their thoughts of people and places far, far away.

 

It didn’t take long for the seven starving soldiers to go through the chicken soup, roast potatoes, rye bread, and pineapple pudding.  By the time their plates and bowls were empty, the atmosphere in the little cottage had lightened considerably.  Warm food on a cold night has a way of doing that.

 

Afterward, the men exchanged cigarettes---Ecksteins for Chesterfields---and shared a smoke. 

 

 

 

12134174876?profile=originalThe soldiers grabbed whatever open spots there were to found, huddled up in their winter coats, and got as comfortable as they could.  They were so bone-tired that sleep came quickly.

 

By daybreak, Harry had regained enough strength to be moved.  Mrs. Vincken prepared for him a glass of the wine sprinkled with some sugar.  Using a couple of poles and Elisabeth’s best tablecloth, the German soldier who had studied medicine constructed a stretcher for him.

 

The others enjoyed a breakfast of oatmeal and instant coffee.  Then, it was time to go.

 

Jim pulled out a map and the German corporal traced out a route for him.  Translating, the English-speaking one told him, “Continue along this creek, and you will find the 1st Army rebuilding its forces on its upper course.”

 

“Why don’t we head for Monschau?” asked Jim.

 

“No,” said the German.  “We have retaken Monschau.”

 

To make sure they could find their way, the German corporal gave his field compass to Ralph.

 

12134178101?profile=originalElisabeth returned their weapons to them, and standing in front of the small cabin which had been their brief sanctuary from the crucible of war, the Americans and the Germans shook hands.

 

“Merry Christmas!”

 

Fröhliche Weihnacten!

 

“I hope someday you will return home safely to where you belong,” said Elisabeth Vincken.  “May God bless and watch over you.”

 

 

 

They disappeared in opposite directions, and Elisabeth Vincken never saw any of them, again. 

 

A few weeks later, Hubert Vincken returned to his family, safe and well.  He and Elisabeth remained happily together for another nineteen years, until his death in 1963.  She followed him three years later.

 

As for young Fritz, he grew up and followed his father’s trade as a baker.   In 1958, he got married and moved to Hawaii, where he established his own bakery shop.  Eventually, he became a U.S. citizen.

 

12134182295?profile=originalFor decades, Fritz had wondered over the fates of those seven soldiers who had come knocking on his mother’s door on that Christmas Eve in 1944.  In 1973, Readers Digest published Fritz’s first-hand account of that night. After that, it would surface occasionally, usually as a human-interest piece by a local news station.  One year, reporter Rod Ohira wrote it up for the Honolulu Advertiser.

 

In March of 1995, the story was mentioned on the television series Unsolved Mysteries, which led to Fritz getting the answer to his lifelong question, at least, in part.  He was contacted by the resident chaplain of a nursing home in Maryland.  The chaplain told Fritz that he knew a man who had been telling the same story.

 

In January, the following year, Fritz Vincken visited the Northhampton Manor Nursing Home in Maryland and was reunited with Ralph---Ralph Blank, former soldier in the 181st Infantry, 8th Division.  When Ralph opened a box and pulled out the compass that the German corporal had given him fifty-two years earlier, tears welled up in both men’s eyes. 

 

“Your mother saved my life.”

 

 

 

For all of her days, whenever she talked of that night, Elisabeth Vincken would say, “God was at our table.”

 

For those of Christian faiths, Christmas is a celebration of the birth of their saviour.  Men of other religions observe their own holy days with equal reverence.  That is as it should be.

 

But there is something about the season of Christmas that transcends religion.  It’s an ephemeral, almost electric feeling that fills the air and imbues us with a greater sense of kindness, of cheerfulness, of kinship.  We regard each other less by our differences and more by our common humanity.  For one brief time of the year, we . . . all of us . . . those of all faiths and those with no religion . . . are joined together by one profound spirit of good will---the Christmas spirit.

 

It was there, sixty-seven years ago, in that small forest cottage in the midst of a world war.

 

To-day, at this time of times, on this day of days, and for many more of them, may the Spirit of Christmas be at your table.

 

 

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From Cheryl and myself, to all of you, our fondest wishes for a Merry Christmas, and many more of them!

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By Andrew A. Smith

Scripps Howard News Service

Still looking for the perfect gift for the geek in your life? Here’s our third and last round of suggestions:

 

* Supergods: What Masked Vigilantes, Miraculous Mutants, and a Sun God from Smallville Can Teach Us About Being Human by Grant Morrison (Spiegel & Grau, $28) is a book that’s as hard to categorize as its author.

 

12134169891?profile=originalMorrison has succeeded critically and financially in the comics world with his eclectic writing, which combines a healthy love for superheroes, an unbridled imagination, fierce intelligence and a comprehensive literary background. In Animal Man, he wrote himself into the story and made the lead character aware that he was in a comic book. He wrote Doom Patrol as a surreal, Dadaist fantasy with a transvestite street, nightmarish men made of scissors and a painting that swallowed Paris. He put Batman through a chemical-induced mental breakdown that incorporated many of the weirdest, mostly ignored stories from the character’s 72-year history. And he wrote a love letter to the Man of Steel called All-Star Superman which many consider the ultimate statement on the character, and has already been made into an animated movie.

 

Now comes the book Supergods, which is a sort-of history of comics, a sort-of Morrison biography and a sort-of meditation on the underlying meaning of superheroes, spirituality, magic and the human journey. And it’s clear that this Scotsman has pondered more about American pop culture than most Americans.

 

But he also brings the wealth of a UK education, readily making references to everything from old English kid-lit to ancient Roman philosophers. And when Morrison wasn’t sending me to Google to look those up, he was dropping words that required me to dust off the dictionary.

 

Comics fans have always yearned for their little hobby to be taken seriously. We may not have the words for it, but we know there’s a wealth of psychological, social and philosophic elements behind the capes and cowls of our super-powered vigilantes just waiting to be mined (and explained to us). Recent years have seen steps taken in that direction, with the advent of university classes on Alan Moore’s Watchmen and a raft of academic books about comics. Now Morrison has taken that effort a quantum leap forward, giving us a book that offers erudite analysis leavened by genuine affection for the superhero genre. It’s a smart read, but also a fun one.

 

12134171062?profile=originalMeanwhile, two classy coffee-table books have been released just in time for the holidays by DK Publishing for the Star Wars and movie-monster fans lurking among us.

 

* The Star Wars Character Encyclopedia ($16.99) is exactly what it says it is, a book featuring brief curricula vitae of more than 200 characters from the film series. It begins 2-1B (a surgical droid) and ends with Zuckuss (a Gand bounty hunter), with entries for both specific characters and generic representatives of various races.

 

Each page depicts a single character, with short lists, biographies, descriptions – whatever is appropriate – plus important weapons or alien appendages pointed out for special mention. For new fans it’s a colorful compendia of exciting possibility; for veterans it’s a handy reference for the name of that droid that’s on the tip of your tongue. It’s not comprehensive or deep – it mainly hits the highlights – but there are other books for that.

 

12134170899?profile=original* The other glossy tome is Monsters in the Movies ($40), an affectionate collection of evil selected by popular filmmaker John Landis (Animal House, An American Werewolf in London). Landis explains in the foreword that these are his favorite monsters, not a comprehensive list of them, but never you mind – chances are his favorites are yours, too.

 

Landis breaks the book down into 15 chapters, each devoted to a category of killer. Each chapter begins with a one-page overview of the topic at hand, usually containing both explanation and history, followed by pages of pages of things that go bump in the night. Each page is a montage of movie stills – lots of stills, because as a fan himself Landis knows what we want – with extended explanatory captions.

 

Despite Landis’ disclaimer, I didn’t notice an obvious lack of any of the monsters I know, and learned about a bunch I’d never met. Now that Monsters in the Movies has alerted me to their existence, I want to track down their movies and indulge in a little scary fun – after I stock up on wooden stakes, silver bullets and , of course, a bigger boat.

 

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

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Comics for 28 December 2011

30 DAYS OF NIGHT ONGOING #3

ALL STAR WESTERN #4
ALPHA FLIGHT #7
AMERICAN VAMPIRE #22 (MR)
ANGEL & FAITH #5
ANNE RICE SERVANT OF THE BONES #5 (OF 6)
ANNIHILATORS EARTHFALL #4 (OF 4)
ANOTHER TIME ANOTHER PLACE QUANTUM LEAP SC
ANTHOLOGY OF GRAPHIC FICTION HC
AQUAMAN #4
ARCHIE #628 (ARCHIE MEETS KISS PT 2 )
ARTIFACTS #12 (OF 13)
AVENGERS CHILDRENS CRUSADE #8 (OF 9)
AVENGERS SOLO #3 (OF 5)

BART SIMPSON COMICS #66
BATMAN THE DARK KNIGHT #4
BETTY & VERONICA BATTLE OF THE BFFS
BLACK PANTHER MOST DANGEROUS MAN ALIVE #527
BLACKHAWKS #4
BROADCAST TV DOODLES OF HENRY FLINT SC (MR)

CAPTAIN AMERICA #5
CAPTAIN AMERICA #6
CAPTAIN AMERICA AND BUCKY #625
CHASE TP
COMIC ART PRICE GUIDE 3RD ED SC
COVER GIRLS OF THE DCU STARFIRE STATUE
CROSSED BADLANDS OPENING SALVO (MR)

DC COMICS PRESENTS BATMAN BLAZE OF GLORY #1
DC COMICS PRESENTS BATMAN URBAN LEGENDS #1
DC COMICS PRESENTS ELSEWORLDS 80 PAGE GIANT #1
DC COMICS PRESENTS LEGION OF SUPER HEROES #2
DC UNIVERSE ONLINE LEGENDS #20
DEADPOOL #48
DMZ #72 (MR)
DOROTHY AND WIZARD IN OZ #4 (OF 8)
DUNGEONS AND DRAGONS #14

ESSENTIAL SPIDER-MAN TP VOL 07 NEW ED
EXTINCTION SEED #1 (OF 6)

FATHOM VOL 4 #3
FF #13
FLASH #4
FRENEMY OF THE STATE #5 (OF 5)
FURY OF FIRESTORM THE NUCLEAR MEN #4

GAME OF THRONES #4 (MR)
GEARS OF WAR #21 (MR)
GENERATION HOPE SCHISM TP
GIG POSTERS SC VOL 02
GREEN LANTERN NEW GUARDIANS #4
GREEN WAKE #8 (MR)

HACK SLASH #11
HAUNT #20
HONEY WEST SC
HOUSE OF MYSTERY TP V7 CONCEPTION (MR)

I VAMPIRE #4
INCORRUPTIBLE #25
IRON MAN 2.0 #12

JOE HILL THE CAPE #3 (OF 4)
JUSTICE LEAGUE DARK #4

KICK-ASS 2 #6 (MR) (OF 7)
KIRBY GENESIS CAPTAIN VICTORY #2

LEGION SECRET ORIGIN #3 (OF 6)
LENORE VOLUME II #4
LOBO UNBOUND TP (MR)

MARVEL MINIMATES AGE OF X BOX SET
MARVEL VS CAPCOM MINIMATES SERIES 1 ASST
MEDITERRANEA #6 (OF 14)
MICE TEMPLAR VOL 3 #6
MIGHTY THOR #9
MMW GOLDEN AGE MARVEL COMICS TP VOL 01
MONOCYTE #2 (OF 4)
MUPPETS PRESENTS TREASURE OF PEG LEG WILSON

PREVIEWS #280 JAN 2012

RED SONJA #61
ROBERT JORDAN WHEEL OF TIME EYE O/T WORLD #18
ROOTS OF THE SWAMP THING TP

SAVAGE HAWKMAN #4
SECRET AVENGERS #20
SECRET AVENGERS TP V2 EYES OF DRAGON
SHAKY KANES MONSTER TRUCK GN
SIMPSONS SUPER SPECTACULAR #14
SKELETON STORY #6 (OF 6)
SONIC THE HEDGEHOG #232
SPACE WARPED #6 (OF 6)
SPACEMAN #3 (OF 9) (MR)
SPAWN ORIGINS TP VOL 13
SPIDER-MAN #21
STAR TREK ONGOING #4
STAR WARS CRIMSON EMPIRE III EMPIRE LOST #3 (OF 6)
SUPERMAN #4
SUPERMANS GIRL FRIEND LOIS LANE ARCHIVES HC V1

TEEN TITANS #4
TEENAGE MUTANT NINJA TURTLES MICRO SERIES #2
TERRY MOORE SKETCHBOOK V1 HOT GIRLS & COLD
THE GUILD ZABOO #1

ULTIMATE COMICS ULTIMATES #5
ULTIMATE COMICS X-MEN #5
UNCANNY X-MEN #3 XREGB
UNCHARTED #2 (OF 6)
UNWRITTEN #32.5 (MR)

VENGEANCE #6 (OF 6)
VOODOO #4

WALT & SKEEZIX HC VOL 05 1929-1930
WARLORD OF MARS #14
WITCH DOCTOR RESUSCITATION ONE SHOT

X-MEN AGE OF X TP
X-MEN LEGACY #260 XREGG
X-MEN SCHISM HC

Copied from the list posted at memphiscomics.com. Arrivals at your LCS may vary.

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Jack Kirby, Kurt Busiek and Aristotle


12134168489?profile=original
I wanted to like the new Dynamite series, Kirby Genesis.  It’s written by one of my favorite writers, Kurt Busiek.  It features covers and art direction by the incredible Alex Ross.  And it contains all of Jack Kirby’s crazy creations from late in his career:  Captain Victory, Silver Star and so on. 

               The series started off on the right foot.  There was a zero issue which introduced many of these characters to unfamiliar readers through sketches and short bios.  We met characters like the Midnight Swan for the first time and caught glimpses of new designs for more-established characters like Captain Glory.  

               The story also started well.  Kurt Busiek introduced us to a trio of normal humans: the slightly awkward teenager Kirby Freeman, his gorgeous next-door neighbor Bobbi Cortez and her father, the former cop, Jake.  They were our eyes and ears into this wonderfully weird world. 

Plus, Busiek gave us a reason for all of this weirdness.  Jack Kirby had once contributed a drawing for a NASA.  The drawing was rejected.  But Busiek posed a hypothetical scenario.  What if Kirby’s drawing had been included on the space probe?  And what if all of this weirdness was drawn to our world in response to this weirdness?  It was a simple concept that explained the sudden appearance of so many different aliens at once.  The unusual earth creatures and cultures were the cherry on top, drawn out of hiding at just the right time. 

               Unfortunately, the story hasn’t held together.  Four issues in and the plot is all over the place.  The three 12134168865?profile=originalmain characters are completely separated.  One of them, Bobbi, has been taken over by the strange entity of the Midnight Swan and hasn’t appeared as herself in several issues.  There have been scenes in space and scenes in the past, scenes without any of our supposed point-of-view characters. 

               I understand the desire to capture the craziness of Jack Kirby.  His mind was full of ideas, overflowing with imagination.  But Genesis hasn’t captured it as much as it has become caught up in it.  It’s being tossed around like the inside of a tornado and nothing is holding together.  We still need a lens through which to view the wild and crazy creations of Jack Kirby.  Genesis started out with one, but lost it.  It lacks focus.  It lacks cohesion.  It lacks… unity. 


Back in the Golden Age- not the Golden Age of Comics but the original Golden Age of Greece- the philosopher Aristotle wrote a theory of aesthetics known as the classical unities.  He argued that drama should be unified in three specific ways: action, place and time.  Drama should have unity of action- one main plot with few or no sub-plots.  It should have unity of place- all of the action should occur in a single physical space.  And it should have unity of time- all of the action should occur within a single day.

  12134169860?profile=original             Aristotle’s rules for drama can be unnecessarily restrictive.   They certainly weren’t followed by all of the authors in his own age.  However, the classical unities can be important guidelines for creating a cohesive story. 

The unity of time doesn’t have to be confined to a single day or the unity of place to a single setting.  Yet a good story will still follow the principles that underlie the unities.  For example, the musical Rent restricted its story to a single year rather than a single day.  It also took place in one city, New York, and in one neighborhood.  Rent had unity of time and place, even though its unity was a little broader than one day and one location.   Those unities helped the story hold together.  They gave it cohesiveness so that it was one interlocking story rather than multiple stories tacked together. 

               That’s where Kirby Genesis has gotten off track.  There’s nothing holding the story together.  The only unity is that the characters were all created by Jack Kirby.  That’s not enough.  There’s no unity of place- the characters are scattered all over the planet.  There’s no unity of time- flashbacks are taking place in the past and plots in the present are moving forward at vastly different paces.  There’s no unity of action- there’s no one story!  There’s not even a limited set of stories as the series has gotten away from its three central characters.  The series is now balancing six or seven separate stories, some of which don’t even have a tangential connection to the others.

A writer might be able to ignore one or even two of Aristotle’s classical unities.  But when a writer abandons all three unities, the story becomes a jumbled mess.  And that’s the case with Kirby Genesis.  It’s not a story.  It’s a jumbled mess.  And that’s too bad. 

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Comics for 21 December 2011

ACTIVITY #1
AMAZING SPIDER-MAN #676
ANITA BLAKE CIRCUS DAMNED SCOUNDREL #3 (OF 5)
ARCHIE & FRIENDS #159
AVENGERS #20

BACK ISSUE #53
BALTIMORE VOL 01 THE PLAGUE SHIPS TP
BATMAN #4
BATMAN BLACK AND WHITE STATUE BY PAT GLEASON
BATMAN INCORPORATED LEVIATHAN STRIKES #1
BATMAN ODYSSEY VOL 2 #3 (OF 7)
BETTY & VERONICA #257
BIRDS OF PREY #4
BLONDIE HC VOL 02
BLUE BEETLE #4
BOYS BUTCHER BAKER CANDLESTICKMAKER #6 (MR)
BPRD HELL ON EARTH RUSSIA #4

CAPTAIN ATOM #4
CARTOON NETWORK 2 IN 1 BEN 10 GENERATOR REX TP
CATWOMAN #4
CLASSIC MARVEL FIG COLL MAG #160 BLACKHEART
CLASSIC MARVEL FIG COLL MAG #161 PUPPET MASTER
CLASSIC MARVEL FIG COLL MAG SPEC ODIN
COBRA ONGOING #8
CONAN ROAD OF KINGS #11
CRIMINAL MACABRE OMNIBUS TP VOL 02

DAKEN DARK WOLVERINE #18
DAREDEVIL #7
DARK HORSE PRESENTS #7 (MR)
DARK SHADOWS #2
DARKNESS #96
DC BLACKEST NIGHT FIG COLL MAG #15 LYSSA DRAK
DC BLACKEST NIGHT FIG COLL MAG #16 ARISIA
DC COMICS PRESENTS THE KENTS #2
DC SUPERHERO FIG COLL MAG #94 HOURMAN
DC SUPERHERO FIG COLL MAG #95 BATGIRL
DC SUPERHERO FIG COLL MAG SPECIAL MR MXYZPTLK
DC UNIVERSE PRESENTS #4
DEADPOOL MAX 2 #3 (MR)
DEFENDERS COMING OF DEFENDERS #1
DEFENDERS STRANGE HEROES
DESTINATION MOONBASE ALPHA UNOFF UNAUTH GT
DOC BIZARRE MD HC
DOCTOR WHO ONGOING 2 TP V2 WHEN WORLDS COLLID
DUNGEONS & DRAGONS DRIZZT #4 (OF 5)

END OF NATIONS #2 (OF 4) (RES)

FABLES #112 (MR)
FANTASTIC FOUR #601
FEAR ITSELF FEARLESS #5 (OF 12)
FORMIC WARS SILENT STRIKE #1 (OF 5)

GENERATION HOPE #14 XREGB
GHOSTBUSTERS ONGOING #4
GI JOE A REAL AMERICAN HERO #173
GI JOE A REAL AMERICAN HERO TP VOL 03
GIANT-SIZE GFT 2011 HOLIDAY
GODZILLA KINGDOM OF MONSTERS #10
GRAPHIC CLASSICS GN VOL 22 AFRICAN AMERICAN
GREEN HORNET #20
GREEN LANTERN CORPS #4

HELLBLAZER #286 (MR)
HELLRAISER MASTERPIECES #4 (MR)
HULK #46

INCREDIBLE HULK #3
INFESTATION OUTBREAK TP
INFINITE TP VOL 01
INVINCIBLE #86
INVINCIBLE IRON MAN #511

JOHN CARTER A PRINCESS OF MARS #4 (OF 5)
JUSTICE LEAGUE #4

KEVIN SMITH BIONIC MAN #5
KEY OF Z #3 (OF 4) (MR)

LADY MECHANIKA #3
LAST BATTLE ONE SHOT
LEGION OF MONSTERS #3 (OF 4)
LEGION OF SUPER HEROES #4
LIL DEPRESSED BOY TP VOL 00
LOCUS #611

MASS EFFECT INVASION #3 (OF 4)
MEMORIAL #1 (OF 6)
MMW GOLDEN AGE USA COMICS HC VOL 02
MOONSTONES MODERN MYTHS BLACKEST TERROR #1

NEAR DEATH #4
NEW MUTANTS #35 XREGB
NIGHTWING #4

OFFICER DOWNE BIGGER BETTER BASTARD ED HC (MR)

PLANET OF THE APES #9
PUNISHERMAX #20 (MR)

QUALITY COMPANION SC

RATFIST TP
RED HOOD AND THE OUTLAWS #4

SAVAGE DRAGON #177
SERGIO ARAGONES FUNNIES #6
SIEGE HC
SIMPSONS COMICS #185
SIX GUNS #3 (OF 5)
SOLOMON KANE TP VOL 03 RED SHADOWS
SONIC UNIVERSE #35
SPEED RACER CIRCLE OF VENGEANCE #2 (OF 4)
STAR WARS KNIGHT ERRANT DELUGE #5 (OF 5)
STUFF OF LEGEND JESTERS TALE #3 (OF 4)
SUPERGIRL #4

TEENAGE MUTANT NINJA TURTLES ONGOING #5
THE IMMORTAL DEMON I/T BLOOD #1
THUNDER AGENTS VOL 2 #2 (OF 6)
THUNDERBOLTS #167
TINAS MOUTH EXISTENTIAL COMIC DIARY GN
TINY TITANS #47
TINY TITANS TP VOL 06 THE TREEHOUSE AND BEYOND
TRANSFORMERS DEATH OF OPTIMUS PRIME (ONE SHOT)

ULT COMICS SPIDER-MAN TP VOL 03 DOSM PRELUDE
ULTIMATE COMICS SPIDER-MAN #5
UNCANNY X-FORCE #19 XREGG

VAMPIRELLA #12
VENOM #11
VERTIGO RESURRECTED SGT ROCK HELL HARD PLACE

WALKING DEAD WEEKLY #51 (MR)
WOLFSKIN TP VOL 02 HUNDRETH DREAM (MR)
WOLVERINE #20 XREGG
WOLVERINE AND JUBILEE CURSE OF MUTANTS TP
WOLVERINE AND X-MEN #3 XREGG
WOLVERINE PUNISHER GHOST RIDER OFF INDEX MU #5
WONDER WOMAN #4

X-23 #19
X-FACTOR #229 XREGG
XENOHOLICS #3 (MR)

YOUNG JUSTICE #11

Note: I copied this list from memphiscomics.com. Arrivals at your LCS may vary.

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Andrew A. Smith

Scripps Howard News Service

We’re entering the home stretch on the holiday season, and I’ve yet to scratch the surface on potential gifts for the beloved geeks among us. Here are some more:

 

12134167052?profile=original* Archie Comics has been aggressively pushing the envelope the last few years, and one of the biggest headlines was when it posited two futures for Riverdale’s favorite redhead, one in which he marries Betty and another in which he marries Veronica (collected last year in the Archie Marries … hardcover and The Archie Wedding: Will You Marry Me? trade paperback). Those twin stories have continued in the new Life with Archie magazine, which are also being collected, and the first TPB of those tales has hit the bookstores.

 

Like the magazine, Archie: The Married Life Vol. 1 ($19.99) alternates between “Earth-Veronica” and “Earth-Betty”. I find this a little disorienting on first read, because there are enough similarities in both universes as to cause occasional confusion as to which alternate future you’re reading about. (In both, for example, Veronica’s father is up to something nefarious, and in both Midge Klump dumps the hot-tempered Moose Mason and marries Jughead.) The simple solution there, of course, is to simply read the stories from each “Earth” successively, not alternately. Problem solved.

 

And it’s worth the effort, because this is really fun stuff. OK, “fun” as in: Wow, this is grim. It’s the same old Archie, blundering through one problem after another, only now those problems are serious grown-up stuff like money problems, marital friction, death and unemployment. If that sounds terrible, it’s not -- I discovered that my love for the Riverdale gang is just as strong as it was in my teens, and I’m eager to see how the qualities that made me love them then (loyalty, courage, clumsiness, etc.) will help them beat the big, bad world outside the safe confines of Riverdale High.  Because you know they’ll win: It’s Archie!

 

It’s also fun to see the characters finally grow. Jughead falls in love, Mr. Weatherbee courts Miss Grundy, Moose takes anger-management classes, Dilton becomes … well, we don’t know about Dilton yet, but it promises to be good. There are hints that in both universes that Dilton the grown-up scientist has become aware that the universe is actually a multiverse, with different dimensions containing every Archie story ever written, no matter how contradictory, from spy spoofs (Man from R.I.V.E.R.D.A.L.E.) to superhero spoofs (Pureheart the Powerful). Now Prof. Doiley is lurking in the background, orchestrating events. But to what end?

 

Perhaps we’ll find out in Vol. 2. In the meantime, Archie: The Married Life Vol. 1 is an excellent read, abetted by top-flight superhero creators like Norm Breyfogle, Paul Kupperberg and Michael Uslan.

 

12134167293?profile=originalAnd speaking of things most of us grew up with, DC Comics has just released the Spy vs. Spy Omnibus ($49.99), containing every single cartoon of that name by creator Antonio Prohias for MAD magazine.

 

And as much as this book functions as a “Spy vs. Spy” collection, it’s also a celebration of Prohias, who fled Cuba after Fidel Castro took a strong dislike to his editorial cartoons. Finding safe haven among “the usual gang of idiots” in New York, Prohias turned his political experiences into one of the most beloved and long-running gags at MAD. So, located amid the shenanigans of the white-coated Spy and the black-coated Spy (and occasionally the female gray-coated Spy) are behind-the scenes artwork, Prohias family photos and essays on the great man by his friends and contemporaries, like Art Spiegelman and Sergio Aragones.

 

It’s a comprehensive and beautiful package, well worth the $50 (“cheap!”).

 

Another comprehensive package is going to take a bit longer to collect: the complete “Peanuts” library from Fantagraphics. Dedicated to collecting Charles M. Schulz’s beloved comic strip chronologically, Fantagraphics is releasing two books a year, with the project slated to finish in the next decade or so.

 

12134167879?profile=originalWhile the entire collection isn’t practical as a holiday gift, a couple of those books might be. Especially since pairs are released in boxed sets – after their release as “singles” – for $49.99. Currently the collection has progressed to the early 1980s, where the strip is at its peak, with beloved late-comers like Woodstock and Peppermint Patty already aboard, replacing some of the earlier, mostly forgotten characters like Violet and Shermie.

 

There’s nothing that says “holidays” like the Peanuts gang. Didn’t all of us watch A Charlie Brown Christmas and A Charlie Brown Thanksgiving a thousand times?

 

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

From Christmas to Kwanzaa, the holiday season provides an occasion for just about anyone of any faith to please the geek in their life with an appropriate gift. But what to get? Fortunately, the publishers are aware of the opportunity, and put their best foot forward this time of year.

 

12134164876?profile=originalFor example, the biggest event in comic books in 2011 (and possibly ever) was DC’s simultaneous re-launch of 52 titles in September. But even though the bulk of these books were $2.99 – the low end of the scale for comics these days – most would find it financially imprudent to buy all those first issues. To the rescue comes DC Comics: The New 52 Omnibus ($150).

 

Yes, that’s a lot of money. But it’s also a lot of book – 52 comic books, weighing in at more than seven pounds! And it’s cheaper than if you bought the comics individually. Plus, it’s a really nice package, a hardback with slick paper and vibrant colors.

 

As to the contents, it’s a mixed bag, like all anthologies – some books will stir your imagination, others will leave you cold. But all of these books are DC’s best effort: its finest editors, writers, artists, inkers, colorists and letterers doing their absolute utmost on a huge, make-or-break roll of the dice. DC’s creators won that bet for the publisher with top-flight work that has succeeded financially, critically and creatively.

 

That’s what you’ll be getting in this Omnibus, which alone makes the book worthy of your shelf. It’s also the foundation for DC’s superhero titles for the foreseeable future, the blueprint of tomorrow. And as much as it points to the future, the first issues of “The New 52” are also important historically – a huge event that will grow in funnybook legend and fanboy myth.

 

All of that is contained in DC Comics: The New 52 Omnibus. No wonder it’s so heavy!

 

12134165089?profile=originalSpeaking of funnybook legends, Carl Barks is revered among comics fans for decades of work on Disney’s ducks (1942-66). He not only expanded Donald and his three nephews from one-note humor characters to multi-dimensional adventurers, but created and developed Uncle Scrooge, as well as much of the Disney duck mythos, like the Beagle Boys, Gyro Gearloose and Gladstone Gander. Barks worked anonymously in the Disney empire, but was nonetheless known among fans as “the good Duck artist,” who alternated between long, globe-trotting adventure stories and shorter, humorous domestic antics.

 

Barks’ work has been reprinted often, but sporadically. There has never been a comprehensive effort to archive his work … until now. Walt Disney’s Donald Duck: Lost in the Andes” ($24.99) begins an ambitious publishing plan by Fantagraphics to capture all of Barks’ duck work on slick paper between hard covers with lushly restored printing and coloring.

 

This first volume finds the master at his peak: 1948-50. The lead story is a 32-page rip-snorter that takes Donald and his nephews to a lost Incan city where the inhabitants all speak English with a Southern accent. (Why? Read the story!) The rest of the book is filled with short humor tales set in Duckburg, Calisota; one-pagers pitting Donald against Huey, Dewey and Louie; extensive notes on each story; and a long essay by comics academic Donald Ault.

 

It is, quite simply, a gem. Every comics fan of any age will love this book.

 

12134166057?profile=originalAnother must-have for serious comics fans is Eureka’s Graphics Classics Volume Twenty-Two: African-American Classics ($22.50).

 

From slavery to Jim Crow to the Civil Rights era, no group in America has been so harshly oppressed as African-Americans. Which makes it all the more remarkable that their literature is so full of life, love and laughter.

 

That doesn’t mean there’s no tragedy in this book, wherein today’s top African-American creators adapt stories and poems by African-Americans 1891-1931. Several stories would break the hardest heart. But it’s hard not to laugh out loud when Zora Neale Hurston has two black men arguing that the other’s state has the worst white men (and their own the best), or when Leila Amos Pendleton imagines a 1922 black society’s unique take on “Cleopatra” (“She orta lef dem wimmin’s husbands ‘lone.” “Maybe if her Ma had lived she woulda been a better girl.”)

 

This book is fascinating glimpse into a perspective and an era that’s largely unexplored in comics. It will be an education for many, but as school goes it’s painless and fun.

 

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

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12134145089?profile=originalPart I

 

Last week, I started a two-part column on the greatest comic book characters of the 1950s and ‘60s.  These kinds of lists are always less the definitive end of the conversation than the start of one.  So keep reading to find out if your favorite heroes made my list, and feel free to respond with your different opinions. 

 

51.  The Jaguar (Archie, 1961): The Jaguar is a wonderful example of Silver Age excess.  He might have looked cool in his sleek red costume, except for the matching 12134145286?profile=originaljaguar belt and boots.  His mystical belt gives him the power of the jaguar, which somehow includes the power of flight.  He might have been a formidable foe, but he followed Superman into stories of domestic deception.Yet despite his flaws- or perhaps because of them- the Jaguar is a fun and memorable character.

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52.  J. Jonah Jameson
(Marvel, 1963): I’ve learned to appreciate J. Jonah Jameson over the years.  At first, I found him annoying.  But I’ve grown fond of his bombastic style, his belligerent attitude and even his brush-cut.

 


53.  
Josie and the Pussycats (Archie, 1963): Dan DeCarlo introduced this power trio girl band into the world of Archie, inspiring girls with their independent attitude while enthralling boys with their cat-print bathing suits.  Forget the Go-Gos and the Spice Girls- the Pussycats were there first.


12134146060?profile=original12134146266?profile=original54.  Kang the Conqueror
(Marvel, 1963): Arguably the Avengers’ greatest foe.  Kang the Conqueror is a time-travelling villain who attacks the present in order to establish and preserve his empire in the future.  He overmatches the heroes with advanced technology and an intense drive to succeed.

 


55.  Kid Flash
(DC, 1959): He’s just a normal kid.  He’s not an orphan.  He’s not an addict.  He’s a nephew who likes to hang out with his uncle, and whose uncle happens to be a superhero.  Wally West was always one of the most likable sidekicks.  And, by reversing the Flash’s color scheme, he always had one of the most likable costumes as well.

 


56.  The Kingpin
(Marvel, 1967): The Kingpin is a great villain, whether he’s giving trouble to Spider-Man, Daredevil or anyone else.  He has a distinctive look, with his bald head, 12134146474?profile=originalwhite coat and formidable size.  He portrays menace, while mostly getting others to do his dirty work.  He’s the Godfather or the Teflon Don of comics.

 

 

 

 

 

57.  Krypto the Super-Dog (DC, 1955): Everybody loves dogs. 
That goes double for dogs who wear a cape and can fly.

 

 

 

 


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Side-bar: The ‘50s were a good decade for animal heroes.  Rex the Wonder Dog and Detective Chimp were introduced to comic book fans before Krypto came along.  Then Ace the Bat-Hound, Streaky the Super-Cat, Comet the Super-Horse and Beppo the Super-Moneky followed in Krypto’s paw-prints.

 

 

 

 

 

 

 

 

 

12134146294?profile=original58.  Lana Lang (DC, 1950): Lana Lang was the last character to make the list as she’s little more than your standard ingénue.  However, she’s become an indelible part of the Superman canon and her presence added all kinds of possibilities for romantic triangles and entanglements.

 

 

12134147088?profile=original59.  Legion of Substitute Heroes (DC, 1963): They’re (almost) everybody’s favorite underdogs.  They were turned down by the Legion of Super-Heroes because their powers are (mostly) useless.  But they don’t give up easily.  They formed their own team and proved that determination is just as important than ability.

 

 

Side-bar: Comedy doesn’t translate well across eras.  I like the Substitutes, even though they were often played for laughs.  But few of the other humorous characters provoke even a chuckle.  With apologies to Forbush Man, Herbie the Fat Fury and the Inferior Five, you had to be there and I wasn’t. 



12134147672?profile=original12134147892?profile=original60.  Loki (Marvel, 1962)

61.  Magneto (Marvel, 1963): Here are a couple of classic villains who have pestered Thor and the X-Men from the beginning.  Loki is the master trickster.  He’s a manipulator, a liar, an uncertain ally and a dangerous foe.  The first Loki appeared in Marvel’s Venus stories in 1949, though he bore little resemblance to the later version we all love to hate.  Magneto is a megalomaniac.  He perceives himself as the victim because of his tragic 12134148654?profile=originalchildhood during the Nazi regime but he learned the wrong lessons.  Striking first and preaching subjugation of his adversaries, he has become the enemy he hated.



12134148498?profile=original62.  Martian Manhunter
(DC, 1955): The Manhunter from Mars is a man without an era.  He’s too late for the Golden Age and too early for the Silver Age.  On the bright side, he’s one of the most powerful characters in comics, with a wide array of powers that puts even Superman to shame.



63.  Marvel Girl
(Marvel, 1963): She became a much more interesting character- and was also blessed with a much better nom du superhero- in the hands of Chris Claremont, Dave Cockrum and John Byrne.  Whether she’s Marvel Girl, Phoenix or the Dark Phoenix, Jean Grey belongs on this list.


12134149473?profile=original64.  Marvelman (L & M, 1954): Legal opinions may vary.  When DC bought the rights to Captain Marvel from the faltering Fawcett Comics company, the British license holder forged on with their own Captain Marvel imitation named Marvelman.  He shouted Kimota! (“atomic” backwards) instead of Shazam!  He also became an international sensation in the 1980s due to writer Alan Moore, though he had to be called Miracleman on this side of the Atlantic.

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65. Mary Jane Watson (Marvel, 1966): You hit the jackpot, Tiger!

12134149899?profile=original66. Metal Men (DC, 1962): The Metal Men are a great group.  They have a cohesive unity, but also individual identity.  If I wanted one representative, I could have chosen the stuttering Tin, the surly Mercury or the sultry Platinum.  But, like the table of elements, they’re better when they’re all together.

 

Side-bar: In general, I like teams and DC had a lot of them during the Silver Age.  But I find a lot of the groups from this era to be indistinguishable from one another.  They would wear identical uniforms and have only the most basic of personalities.  Fans who grew up during this time may disagree but I have no room (and little patience) for the Challengers of the Unknown, the Secret Six or the Sea Devils. 


12134150296?profile=original67. Metamorpho (DC, 1965): It’s not easy to take this many disparate elements (pun partially intended) and pull them together into a look that works.  Ultra the Multi-Alien failed but Metamorpho succeeded.  He looks great.  He’s incredibly powerful.  And his working-class demeanor, in spite of his world adventurer status, resonates with fans.

12134150891?profile=original68. Mr. Fantastic (Marvel, 1961): He may be the leader of the Fantastic Four but he’s often the least-appreciated character.  He’s the brains behind the outfit but he’s sometimes socially awkward, which is off-putting to fellow characters and fans alike.  However, Mark Waid’s classic run showed the depth and strength of the character like never before.

69. Nick Fury (Marvel, 1963): A character so great he could 12134151660?profile=originalhave made the list twice.  As Sgt. Fury, Nick led the Howling Commandoes during World War II.  As Commander Fury, Nick led the super-spy organization S.H.I.E.L.D.

 

Side-rant: Who cares what S.H.I.E.L.D. stands for?  It’s a holdover from an era when, for some weird reason, everything had to have an acronym: S.P.E.C.T.R.E., The Man from U.N.C.L.E., T.H.U.N.D.E.R. Agents and so on.  I hope the new James Bond movies never try to define Quantum as Q.U.A.N.T.U.M.  It’s completely unnecessary.  It’s entirely possible to name an organization Shield or Quantum or Thunder without having it be an acronym. 

12134151877?profile=original12134152656?profile=original70.  Nightshade (Charlton, 1966)

71.  NoMan (Tower, 1965): People tend to forget this but the Silver Age was more than just Marvel and DC.  Charlton, Tower and others got into the superhero scene.  Nightshade was part of Charlton’s Action Hero line appearing in Captain Atom stories before starring in her own back-up strip.  She has since been eclipsed in the public consciousness by her stand-in, Silk Spectre of the Watchmen, but she’s still appearing in DC Comics such as Shadowpact and Secret Six.  NoMan was arguably the most interesting Thunder Agent.  He could project his mind into a series of android bodies, and would ditch one body for another when it ran into trouble.

12134152864?profile=original72.  Nukla (Dell, 1965): This may be the most obscure character I picked for this list.  Nukla starred in only four issues for Dell, a company known better for their Disney comics or for their wrong-headed superhero/horror monster mash-ups.  But Nukla, aka test pilot Matthew Gibb, was a pretty cool character and cool artists like Dick Giordano and Steve Ditko contributed to his adventures.

 

Side-bar: In part one, I admitted I like the underdog.  Well, I like obscure characters for many of the same reasons.  I would have loved to include more in the list.   Nemesis and Magicman (Adventures into Unknown and Forbidden Worlds) have interesting looks but they’re better known for appearing on cool covers than for starring in good stories.  Private Strong was an interesting addition to the Archie superhero canon, but he was mostly a mix of Captain America and the Shield. 

Charlton’s Nature Boy was a late entry to the mid-‘50s superhero revival but despite some great John Buscema art he was a holdover from the Golden Age with a set-up similar to Captain Marvel’s Shazam. 12134153073?profile=original



73. Poison Ivy
(DC, 1966): She’s such a classic Batman villain that it’s almost hard to believe she wasn’t added to his cast of rogues until the mid-‘60s.

 

12134153863?profile=original74. Professor X (Marvel, 1963): Over the years, the X-Men have tried to outgrow their founder, teacher and mentor.  He’s been killed off, sent into outer space and voluntarily imprisoned.  But he keeps coming back.  After all, it’s his name and his dream.

12134154297?profile=original 

75. The Question (Charlton, 1967): The man without a face.

 

12134154862?profile=original76. Quicksilver (Marvel, 1964): There had been plenty of speedsters in comics before Quicksilver came along.  There was even another Quicksilver at Quality.  But no one was ever as conflicted or complicated as Pietro Maximov.  He’s an overprotective brother, an evil mutant, a hero, a rogue, a jealous husband, a devoted father, an Avenger and an X-Man.

 

12134155266?profile=original77. Ralph and Sue Dibny (DC, 1960, ‘61): Ralph wasn’t the first extendable superhero, but he stretched the boundaries of the genre.  He was among the first to reveal his identity to the world.  He was among the first to treat his wife as an equal partner and not a sidekick (with a tip of the cap to The Thin Man’s Nick & Nora Charles).  He was more of a detective than a superhero.  And while he had a sense of humor about his powers and himself, he more than a jokester.

 

12134155691?profile=original78. Rawhide Kid (Marvel, 1955): The last of Marvel’s Big Three western heroes, the Rawhide Kid is Johnny Bart.  He wears a distinctive white hat and like a lot of cowboys, he was an outlaw for a crime he didn’t commit.

 

12134155894?profile=original79. Richie Rich (Harvey, 1953): This list may be full of superheroes but few characters are as famous as Harvey’s poor little rich kid.  Richie Rich was a superstar.  He was kind to his servants, his friends and even his enemies.

 

80. Rick Jones (Marvel, 1962): I know people make fun of him.  I’ve done it myself.  But in all honesty, Rick is much more than a hanger-on or a superhero groupie.  He initiates a lot of the action.  He helps out despite having no powers.  He’s partnered 12134156484?profile=originalwith the Hulk, the Avengers, Captain America and Captain Marvel.  That’s pretty impressive for someone who started out by wandering into a place he didn’t belong.

12134157492?profile=original


81.  Sabrina the Teenage Witch (Archie, 1962): Another Dan DeCarlo creation for Archie Comics.  Sabrina is the wholesome face of the world of witchcraft, dealing with typical teen problems like adults who don’t understand you and atypical problems like spells that go awry.

 

12134156694?profile=original
82.  Saturn Girl (DC, 1958): My daughter is a big, Saturn Girl.  Probably because she wears pink.  I’m a Saturn Girl fan too but that’s because she’s the calm heart of the Legion of Superheroes.  Cosmic Boy, or the latest winner of some fan poll, may be the official leader but Saturn Girl is the glue that holds the team together.

12134158053?profile=original 

83.  Scarlet Witch (Marvel, 1964): Scarlet Witch is a testament to character growth.  She started out a wilting flower, sheltered by her brother and cowed by Magneto.  She was made an Avenger and quickly became one of the team’s most stalwart members.  She’s been a lover and a mother.  She’s grown more and more comfortable with her ethnic roots (she was raised as a gypsy).  And, recently, she’s become more conflicted, mysterious and possibly evil.12134158082?profile=original

 

84.  Sgt. Rock (DC, 1959): Arguably the greatest war character ever created for comics.  Sgt. Rock is the stoic leader of Easy Company.  Yet despite his brusque exterior, he has a big heart.

 

12134158699?profile=original85.  Sif (Marvel, 1964): Too easily underrated by fans and ignored by Thor, the recent movie showcased her true potential.

 

 

12134158890?profile=original86.  Silver Surfer (Marvel, 1966): One of the coolest characters ever created.  He has shiny silver skin.  He rides a surfboard through space.  He works for one of the greatest powers in the universe and wields cosmic power of his own.

 

 

 

12134159090?profile=original87.  Sinestro (DC, 1961): One of DC’s greatest villains.  The former Green Lantern shows that even law & order can be dangerous when taken to extremes.  He’s a fascist, but a fascinating one.

 

12134159295?profile=original88.  Spider-Man (Marvel, 1962): One of the greatest characters ever created.  Peter Parker is the hard-luck hero who learned that great power requires great responsibility.  He perseveres against impossible odds, while cracking one-liners and keeping a brave stance.

 

12134159871?profile=original89.  Spy vs. Spy (EC, 1961): You don’t have to know their names in order to understand the depth of their rivalry.  The animosity between these two spies has given rise to countless amusing encounters.  And, despite their simple features, their geometric faces convey a lot of emotion.

 

 

 

12134159882?profile=original90.  Supergirl (DC, 1958): The classic ingénue.

 

 

12134161057?profile=original91.  The Thing (Marvel, 1961)

92.  Thor (Marvel, 1962): They’re two of the toughest guys around.  One is the Norse God of Thunder who fights with a war hammer that no one else can pick up.  The other is an everyman made of rock who fights with his fists, though he has more trouble overcoming his low self-esteem.

 

 

12134161463?profile=original

93. Turok (Gold Key, 1954): There’s a long list of characters who star in jungle stories.  There’s even a pretty good crowd of characters who star in dinosaur stories.  But Turok is one of the best.  The Son of Stone is a master hunter in any location and in any age.

12134161288?profile=original94.  Ultra Boy (DC, 1962): I love his self-esteem.  Ultra Boy considers himself one of the big boys even though the limitations on his powers (he can only use one at a time) mean that he’s often caught out of his weight class.  Yet that utter confidence, that supreme belief that he’s as good as anyone, is charming.

 

 

12134161670?profile=original

95.  The Vision (Marvel, 1968): You’ll believe that an android can be more interesting than a man.  The Vision predated Star Trek’s Data by decades as an android who wondered what it would be like to have human emotions and then had trouble understanding them once he got them.

12134161695?profile=original96.  The Warriors Three (Marvel, 1965): The three Norse Warriors make for great supporting characters.  They’re distinct and easily recognizable.  They have strong personalities with just enough depth to keep them from being mannequins.  And now they’re movie stars.  They’re Fandral, Hogun and Volstagg (aka Errol Flynn, Charles Bronson and Falstaff).

 

12134162660?profile=original

97.  Wasp (Marvel, 1963): I’ve always liked characters that enjoy being superheroes.  Wasp is one of those.  For her, the life of a superhero was one big lark.  She delighted in designing new costumes.  She had a blast hanging out with the boys.  But while she didn’t mind making a few jokes, she was never a joke herself.  She was smart, and made a great team leader when given the chance.


12134162856?profile=original98.  Wendy the Good Little Witch (Harvey, 1954): Harvey had one of the best stables of kids’ characters.  After starting out as a companion to Caspar the Friendly Ghost, Wendy graduated to her own series in 1960.

 

12134162881?profile=original99.  Wonder Girl (DC, 1965): She was too interesting to be a younger version of Wonder Woman for long.  Donna is a strong, confident, young woman.  She’s a great friend and an even better ally.

 

 

12134163495?profile=original

100.  Zatanna (DC, 1964): The backwards writing is kind of annoying but everything else about Zatanna is alluring.  She’s smart, spunky and has a better sense of humor than most superwomen.  And, oh yeah, she knows magic.

 

 

Final Side-Bar: When you’re creating something like this, you always set out with the intention of creating the perfect list.  But, of course, it’s never definitive.  Other people will obviously disagree with you.  And, in retrospect, you may wonder yourself why you picked one character over another.  When I look back at my earlier lists, I’m surprised at some of the characters I didn’t include.  I hadn’t read any Scott Pilgrim yet but he’d easily make the ‘90s/’00s list now.  I thought I had included Gravity but I guess I didn’t.  Ana was right that I should have included Big Barda in the ‘70s/’80s list.  And I was so sure I had included someone from Alpha Flight that I mentioned it in a side-bar but apparently I didn’t.  Either Heather Hudson or Northstar must have fallen out between a first draft and the final.  I expect that will happen with this list as well.  I’ll probably change my mind in six months.  So don’t be afraid to tell me who you would have included instead. 

 

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Comics for 14 December 2011

27 SECOND SET #4 (OF 4)
68 JUNGLE JIM ONE SHOT
7 WARRIORS #2 (OF 3) (MR)

ABSOLUTE PROMETHEA HC VOL 03
AIRBOY PRESENTS AIR VIXENS #1
ALL NEW BATMAN THE BRAVE AND THE BOLD #14
AMERICAN VAMPIRE #21 (MR)
ARCHIE CYBER ADVENTURES TP
ARKHAM CITY STAFF T/S
ATOMIC ROBO GHOST OF STATION X #4 (OF 6)
AVENGERS 1959 #4 (OF 5)
AVENGERS ACADEMY #23
AVENGERS X-SANCTION #1 (OF 4)

BALTIMORE CURSE BELLS #5
BATGIRL #4
BATMAN AND ROBIN #4
BATMAN ARKHAM CITY SER 1
BATTLE SCARS #2 (OF 6)
BATWOMAN #4
BLACK PANTHER MOST DANGEROUS MAN ALIVE #526
BLUE ESTATE #8 (MR)
BONNIE LASS #4 (OF 4)
BTVS SEASON 9 FREEFALL #4

CARNAGE USA #1 (OF 5)
CLIVE BARKER OMNIBUS TP

DANGER GIRL ARMY OF DARKNESS #4
DAOMU #8 (MR)
DARK TOWER GUNSLINGER WAY STATION #1 (OF 5)
DC COMICS PRESENTS BATMAN THE SECRET CITY #1
DC UNIVERSE ONLINE LEGENDS #19
DEADPOOL MAX TP NUTJOB (MR)
DEATHSTROKE #4
DEMON KNIGHTS #4
DOCTOR WHO ONGOING VOL 2 #12

ESSENTIAL RAWHIDE KID TP VOL 01
EVERLAST HC

FABLES TP VOL 16 SUPER TEAM (MR)
FANTASTIC FOUR DIGI SPIDER BLK T/S
FARSCAPE TP VOL 06 COMPULSIONS
FEAR ITSELF FEARLESS #1 (OF 12) 2ND PTG
FLASH GORDON COMIC BOOK ARCHIVES HC VOL 05
FRANKENSTEIN AGENT OF SHADE #4

GARTH ENNIS COMPLETE BATTLEFIELDS TP V1 (MR)
GEARHEARTS STEAMPUNK GLAMOR REVUE #1
GHOST RIDER #7
GODZILLA LEGENDS #2 (OF 5)
GREEN HORNET TP VOL 03 IDOLS
GREEN HORNET YEAR ONE TP V2 BIGGEST OF ALL GAM
GREEN LANTERN #4
GREEN LANTERN SER 5 FIGURES
GRIFTER #4
GRIMM FAIRY TALES THE LIBRARY #3

HAWKEN #2 (OF 6)
HITMAN TP VOL 05 TOMMYS HEROES (RES)

IRON MAN 2.0 #11

JINGLE BELLE GIFT WRAPPED SPECIAL ONE SHOT
JOHN CARTER OF MARS WORLD OF MARS #3 (OF 5)
JOURNEY INTO MYSTERY #632

KIRBY GENESIS SILVER STAR #2
KNIGHTS OF THE DINNER TABLE #181
KULL THE CAT & THE SKULL #3 (OF 4)

LEGION LOST #4
LOCKE & KEY CLOCKWORKS #3 (OF 6)

MAGDALENA #10
MAGNETO NOT A HERO #2 (OF 4)
MARVEL HOLIDAY SPECIAL 2011
MEMOIR #5 (OF 6)
MISTER TERRIFIC #4
MMW NICK FURY AGENT OF SHIELD HC V3
MOUSE GUARD BLACK AXE #3 (OF 6)
MY GREATEST ADVENTURE #3 (OF 6)

NEW AVENGERS #19
NIGHTLY NEWS ANNIVERSARY ED HC

OMEGA PARADOX #1
OPERATION BROKEN WINGS 1936 #2 (OF 3) (MR)
ORCHID #3

PC CAST HOUSE OF NIGHT #2 (OF 5)
PIGS #4 (MR)

RAY #1 (OF 4)
RED SONJA #60
RESURRECTION MAN #4
ROCKETEER ADVENTURES HC V1 DM EX ED
ROGER LANGRIDGES SNARKED #3

SAME DIFFERENCE SPECIAL ED HC
SAMURAIS BLOOD #6 (OF 6)
SECRET HISTORY BOOK 17 (MR)
SECRET WARRIORS TP VOL 05 NIGHT
SECRET WARS 2 TP
SECRET WARS TP NEW PTG
SEVERED #5 (OF 7) (MR)
SHADE #3 (OF 12)
SHIELD #4 (OF 6)
SHOWCASE PRESENTS BATMAN TP VOL 05
SHOWCASE PRESENTS WONDER WOMAN TP VOL 04
SNAKE EYES ONGOING (IDW) #8
SPIDER-MAN BY MARK MILLAR ULT. COLLECTION TP
SPIDER-MAN THROUGH DECADES TP
SPONGEBOB COMICS #6
STAND NIGHT HAS COME #5 (OF 6)
STAR TREK LEGION OF SUPERHEROES #3 (OF 6)
STAR WARS AGENT O/T EMPIRE IRON ECLIPSE #1 (OF 5)
STAR WARS EPISODE I ADVENTURES TP
STAR WARS EPISODE I THE PHANTOM MENACE TP
STITCHED #2 (MR)
SUICIDE SQUAD #4
SUPER DINOSAUR DLX COLORING BOOK
SUPERBOY #4

TALES OF THE BATMAN DON NEWTON HC VOL 01
THE OCCULTIST #2 (OF 3)
THE STRAIN #1 (OF 11)
THEATER #3
TUROK SON OF STONE AZTLAN TP VOL 01

ULTIMATE COMICS X-MEN #4
UNCANNY X-FORCE #18
UNWRITTEN #32 (MR)

VERONICA #210
VERTIGO FIRST BLOOD #1 (MR)

WALKING DEAD #92 (MR)
WALKING DEAD TP VOL 15 (MR)
WALKING DEAD WEEKLY #50 (MR)
WAR GODDESS #4 (MR)
WAREHOUSE 13 #3
WARLORD OF MARS #13
WHITE LANTERN 1/4 SCALE POWER BATTERY & RING
WITCH DOCTOR TP VOL 01
WITCHBLADE #150
WOLVERINE AND X-MEN #1 2ND PTG
WOLVERINE BEST THERE IS #12

ZORRO RIDES AGAIN #6 (OF 12)

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

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