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By Andrew A. Smith

Scripps Howard News Service

 

Occasionally someone executes a standard storytelling device with such dazzling skill that it reminds you why that device became standard in the first place. Rebecca Guay is that someone, with A Flight of Angels (DC/Vertigo, $24.99).

 

12134155253?profile=originalAn award-winning fantasy artist, Guay has set up an anthology of five stories on a single theme, with the narrators gathered together in a framing device that amounts to a sixth story. This is an approach to anthologies at least as old as The Canterbury Tales, so it is well-trod ground – a minus if it feels clichéd, which this does not. And it’s a plus when you consider how quickly the reader will grasp the ground rules.

 

The framing story begins with a wounded, unconscious angel falling into a forest in Faerie. Various characters – faeries, a pixie, a hag, a hobgoblin, a trickster, etc. – gather to determine what to do: Heal it, or kill it?


They hold a tribunal, where five characters spin tales on who or what they imagine this angel to be. Each of these stories is written by a master of fantasy, including Holly Black (The Spiderwick Chronicles), Louise Hawes (Vanishing Point), Alisa Kwitney (The Dreaming), Todd Mitchell (The Traitor King) and Bill Willingham (Fables). Each quickly establishes a fully-fleshed, entertaining world of magical rules and mythical characters, wherein they place a complete story, with beginning, middle and end.  Of course, each story has something to do with angels, but otherwise no two are alike.

 

To drive this home, Guay uses five different artistic techniques on the five different stories. Even to a novice they are all obviously by the same artist, but just as obviously Guay chooses a different media or style to reflect the tone of the story. The result is a breathtaking artistic tour de force.

 

Nor does Guay short-shrift the framing device, which is written by Black. Here the artist opts for a duotone wash that reflects the story’s location – the ethereal land of Faerie – and is a clever, subliminal shorthand to remind the reader of transitions into and out of the five stories, which are in full color. Further, the framing device is a fully-realized story in itself, as we learn the origins of Faerie (it goes back to Lucifer’s rebellion), the relationships among the characters (including a bitter faerie lord and the faerie girl who dumped him), character development (a naïve, unworldly faun who becomes less so by the end) and a shocking conclusion.

 

This is a book that is simultaneously as old as campfire tales and as fresh and full of possibility as the dawn. It’s the sort of book that makes me proud to be a comics fan.

 

Elsewhere:

 

12134155865?profile=originalSomebody else who likes comics is the U.S. government! It discovered as long ago as the 1940s that comics were a good way to disseminate information, even to those who would never take the time to read a manual – and it’s been publishing them ever since.

 

Earlier this year, Abrams ComicArts did the world a favor by assembling a collection of government comics created by comics legend Will Eisner (P.S. Magazine: The Best of Preventive Maintenance Monthly). Now they’ve added Government Issue: Comics for the People, 1940s-2000s ($29.95), an overview of the zillions of other comics the government has produced. And it is a gold mine of the serious, the silly and the truly strange stuff the government thinks we ought to know.

 

Want to know how to duck and cover during a nuclear war? How to properly salute? How Social Security disability works? How to clean and operate an M-16? How to know you have syphilis? If so, Uncles Sam’s got a comic book for you, and you can find it in Government Issue!

 

Some of these comics are incredibly cheesy, which is worth a laugh. But some are by top-flight cartoonists who lend their characters to the cause, such as Al Capp’s “Li’l Abner Joins the Navy!”,  “Dennis the Menace Takes a Poke at Poison!” and the Peanuts crew explaining amblyopia (“Security Is an Eye Patch”). You’ll also run across big-name artists like Milton Caniff (Terry and the Pirates”), Joe Kubert (Sgt. Rock) and Kurt Schaffenberger (Lois Lane).

 

The comics are selected by Richard Graham, an associated professor and media services librarian at the University of Nebraska-Lincoln, with a foreword by Sid Jacobson, co-creator of the 9/11 Report: A Graphic Adaptation. The comics are separated by category, but united in their importance to pop-culture history – and, too often, their painful sincerity.

 

Art:

1. Vertigo's A Flight of Angels is an anthology of fantasy stories. Courtesy DC Entertainment Inc.

2. Government Issue is an overview of the comics Uncle Sam has produced over the last seven decades. Courtesy Abrams ComicArts. 

 

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

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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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Andrew A. Smith

Scripps Howard News Service

Call it self-fulfilling prophecy, but I’ve read the first issues of two of DC’s four new Vertigo books, and I feel about them exactly as I expected to.

 

Fairest #1 ($2.99), which arrived March 7, was just as much fun as I’d hoped. For those who missed my previous column on this topic (and for shame!), Fairest is a spinoff from Vertigo’s popular and award-winning Fables series, which posits that all fairy tale characters exist, with each as proportionally powerful as the number of mortals who remember and/or believe in them. This new title focuses on the histories and solo adventures of the ladies in our fairy tales, from Cinderella (who has already had two solo miniseries) to Snow White.

 

It starts with a wraparound cover featuring 12 gals and one guy by the fantastic Adam Hughes; it’s not only gorgeous but a fun challenge to identify all the characters. I was only able to ID them all  because I’ve read more than 100 issues of Fables, and it wasn’t easy – there sure are a lot of blondes! I’ll provide a hint in that those depicted are Ali Baba, Beauty (of “and the Beast”), Bo Peep, Briar Rose (“Sleeping Beauty), Cinderella, Ozma, Princess Alder, Rapunzel, Rose Red, Snow Queen, Snow White, Mrs. Jack Spratt and Thumbelina. Good luck!

12134150655?profile=original

 

The insides are by writer Bill Willingham, the creator and writer of “Fables,” and fan favorite artist Phil Jimenez (“Wonder Woman”), and are a delight. Jimenez pours a ton of detail on the page, mirroring the monthly effort of Mark Buckingham over in “Fables.” And Willingham’s efforts here are as entertaining as they are in “Fables;” with witty dialogue, specific characterization, pell-mell adventure and little details that tickle your childhood fairy-tale memories.

 

12134151455?profile=originalOne oddity must be mentioned: In a book devoted to women, none show up until page 13 (actually two, Snow Queen and Briar Rose), and no Fairest has any dialogue until the last page. The focus of this first issue is on Ali “Prince of Thieves” Baba, a sarcastic effrit and an angry wooden soldier carved by Gepetto. They are all males, which indicates that the book won’t be entirely free of Y chromosomes – it’s just that men won’t be the focus. I’m sure Briar Rose (and possibly the Snow Queen) will have their fair share of adventure soon enough.

 

12134152093?profile=originalAnd I’ll be there to read it, because Fairest #1 was enormous fun. I wholeheartedly recommend it, and caution that remote viewing of the series through a magic mirror or crystal ball is considered piracy.

 

A little lower on my enthusiasm scale is Saucer Country #1 ($2.99), which arrived March 14. The series, unlike most comics, won’t shy away from actual politics. It stars a divorced, female, Hispanic governor of a southwestern state who is considering a run for the presidency on what is the (unnamed) Democratic ticket. Her opponents, whose affiliation is equally unnamed, are clearly Republicans.

 

12134152481?profile=originalThis is the part that interests me, primarily for the novelty. I don’t want many or even most of my funnybooks to provide political commentary, as I prefer my fantasy to be an escape from all that. But once in a blue moon some real-world issues and controversies can add a little reaffirming verisimilitude – as long it doesn’t devolve into the writer standing on a soapbox. Screeds aren’t fun to read even when you agree with the politics, and are flat-out intolerable when you don’t.

 

12134153284?profile=originalThe name of the book refers to what will surely become the main plot before long, in that our heroine comes to the realization on the last page that she had been abducted by aliens. This will certainly complicate her campaign, as if an alcoholic ex-husband and brutal politics aren’t problem enough. But the press material indicates she now believes we’re being invaded – and she needs to be president to stop it. It’s not clear in the first issue if it’s true or if there’s some other reason for the governor’s recovered memories, but it does add a whole new meaning to the term “illegal aliens.”

 

Saucer Country is by British writer Paul Cornell, known primarily for television drama like Doctor Who, and his current runs on DC’s Demon Knights and Stormwatch. The art is by Ryan Kelly, who put in years of solid work on Vertigo’s “Lucifer.” That’s a pretty good line-up, so I’m looking forward to a political potboiler with a side order of aliens – or maybe it’ll be the other way around.

 

12134153700?profile=originalContact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com.

 

1. The first issue of Fairest sports a wraparound cover depicting 13 characters expected to appear in the series. Courtesy DC Entertainment.

2. The second issue of Fairest, due in April, show Ali Baba and Briar Rose with an interfering effrit. Courtesy DC Entertainment.

3. The third issue of Fairest features Snow Queen on the cover. Courtesy DC Entertainment.

4. The cover of the first issue of Saucer Country shows the lead character haunted by gray aliens. Courtesy DC Entertainment.

5. The second issue of Saucer Country is due in April. Courtesy DC Entertainment.

6. The third issue of Saucer Country is due in May.  Courtesy DC Entertainment. 

 

 

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Comics for 28 March 2012

2000 AD #1768
2000 AD #1769

ACTION COMICS #1 5TH PTG
ALL STAR WESTERN #7
ALPHA GIRL #2 (MR)
AMERICAN VAMPIRE #25 (MR)
ANGEL & FAITH #8 REBEKAH ISAACS VAR CVR
ANGEL & FAITH #8 STEVE MORRIS CVR
ANITA BLAKE VH CIRCUS DAMNED SCOUNDREL PREM HC BOOK 03 (MR)
ANITA BLAKE VH TP BOOK 02 CIRCUS OF DAMNED INGENUE (MR)
AQUAMAN #7
AQUAMAN #7 VAR ED
ARCHIE #631
ASTONISHING X-MEN #48
ATOMIC ROBO REAL SCIENCE ADV #1
AVENGERS #24.1
AVENGERS VS X-MEN #0 (OF 12) AVX
AVENGERS VS X-MEN #0 (OF 12) CHEUNG WRAPAROUND VAR AVX
AVENGERS VS X-MEN #0 (OF 12) PHOENIX HANS VAR AVX
AVENGING SPIDER-MAN #5 WITH DIG CDE

BETTY & VERONICA FRIENDS DOUBLE DIGEST #223
BATMAN #1 4TH PTG
BATMAN #4 3RD PTG
BATMAN THE DARK KNIGHT #1 3RD PTG
BATMAN THE DARK KNIGHT #6 2ND PTG
BATMAN THE DARK KNIGHT #7
BATMAN THE DARK KNIGHT #7 VAR ED
BLACK CHARITY HC (MR)
BLACKHAWKS #7
BLOODSTRIKE #26 CVR A BADILLA & SEELEY
BLOODSTRIKE #26 CVR B LIEFELD
BPRD HELL ON EARTH PICKENS COUNTY HORROR #1 (OF 2) CLOONAN C
BPRD HELL ON EARTH PICKENS COUNTY HORROR #1 (OF 2) MIGNOLA V
BULLETPROOF COFFIN DISINTERRED #3 (OF 6) (MR)

CAPTAIN AMERICA AND BUCKY #628
CAPTAIN AMERICA DEATH OF RED SKULL TP
CARBON GREY ORIGINS #2 (OF 2) CVR A NGUYEN (MR)
CARBON GREY ORIGINS #2 (OF 2) CVR B EVANS & LOH (MR)
CHARMED #20 (MR)
CHOKER #6 (OF 6) (MR)
COBRA ONGOING #11
COBRA ONGOING #11 10 COPY INCV
COVER GIRLS HC (MR)
CROSSED BADLANDS #2 (MR)
CROSSED BADLANDS #2 RED CROSSED CVR (MR)
CROSSED BADLANDS #2 RETAILER BONUS INCV CVR (MR)
CROSSED BADLANDS #2 TORTURE CVR (MR)
CROSSED BADLANDS #2 WRAP CVR (MR)

DAKEN DARK WOLVERINE #23
DAMAGED GOODS GN (MR)
DAREDEVIL #10
DARK SHADOWS TP VOL 01
DARK TOWER GUNSLINGER WAY STATION #4 (OF 5)
DARKNESS ACCURSED TP VOL 07
DEADPOOL MAX 2 #6 (MR)
DEADPOOL PREM HC VOL 10 EVIL DEADPOOL
DEADPOOL TP VOL 08 OPERATION ANNIHILATION
DEADPOOL TP VOL 08 OPERATION ANNIHILATION
DETECTIVE COMICS #1 6TH PTG
DMZ TP VOL 11 FREE STATES RISING (MR)
DOROTHY OF OZ PREQUEL #1 (OF 4)
DOROTHY OF OZ PREQUEL #1 (OF 4) 10 COPY INCV

ELEPHANTMEN #38 (MR)

FATALE #1 VAR CVR 4TH PTG (MR)
FF #16
FILM NOIR TASCHEN HC
FLASH #7
FLASH #7 VAR ED
FLASH GORDON ZEITGEIST #4
FLASH GORDON ZEITGEIST #4 10 COPY VIRGIN ROSS INCV
FLASH GORDON ZEITGEIST #4 15 COPY VIRGIN FRANCAVILLA INCV
FURY OF FIRESTORM THE NUCLEAR MEN #7
FUTURAMA COMICS #60

GFT MYTHS & LEGENDS #14 A CVR GARZA (MR)
GFT MYTHS & LEGENDS #14 B CVR QUALANO (MR)
GHOST RIDER #9
GI JOE 2 RETALIATION MOVIE PREQUEL #3
GI JOE 2 RETALIATION MOVIE PREQUEL #3 10 COPY INCV
GI JOE SEXY BARONESS RED T/S XL
GONE TO AMERIKAY HC (MR)
GREEN HORNET #23
GREEN LANTERN NEW GUARDIANS #7
GREEN LANTERN NEW GUARDIANS #7 VAR ED
GRIMM FAIRY TALES #70 A CVR YANG (MR)
GRIMM FAIRY TALES #70 B CVR GARZA (MR)

HAWKEN #3 (OF 6)
HAWKEN #3 (OF 6) 10 COPY INCV
HAWKEYE MUSEUM POSE STATUE
HELLRAISER #12 (MR)
HELLRAISER #12 10 COPY INCV CVR BRADSTREET (MR)
HORROR CINEMA TASCHEN HC
HOUSE OF ODD GN

I VAMPIRE #7
INFESTATION 2 GI JOE #2 (OF 2)
INVINCIBLE #89 VAR CVR 2ND PTG

JINX SC (RES)
JURASSIC STRIKE FORCE 5 #3 A CVR CACAU
JURASSIC STRIKE FORCE 5 #3 B CVR QUALANO
JUSTICE LEAGUE DARK #7
JUSTICE LEAGUE OF AMERICA DARK THINGS TP
JUXTAPOZ #135 APR 2012

KING CONAN PHOENIX ON THE SWORD #3 (OF 4)

LADY MECHANIKA #0 CVR H 4TH PTG (PP #1009)
LAST ZOMBIE NEVERLAND #2 (OF 5)
LEGION OF MONSTERS TP
LEGION SECRET ORIGIN #6 (OF 6)
LIFE WITH ARCHIE #18

MAGIC THE GATHERING #3
MAGIC THE GATHERING #3 10 COPY INCV
MARVEL MINIMATES DEADPOOL CORPS SET
MARVEL PREVIEWS APRIL 2012 EXTRAS
MIGHTY THOR #12
MMW AVENGERS TP VOL 04
MOON KNIGHT #11
MORNING GLORIES #17 (MR)

NEW AVENGERS #23
NEW DEADWARDIANS #1 (OF 8) (MR)
NEW DEADWARDIANS #1 (OF 8) VAR ED (MR)

OFF HANDBOOK OF MARVEL UNIVERSE A TO Z TP VOL 04

PATRICIA BRIGGS ALPHA & OMEGA CRY WOLF VOL 01 #6
POKEMON BLACK & WHITE GN VOL 06
POWERS PREM HC VOL 05 ANARCHY (MR)
PREVIEWS #283 APRIL 2012
PUNISHER PUNISH FIRES NAVY PX T/S XL
PUNISHER PUNISH FIRES NAVY PX T/S XXL

RACHEL RISING #1 3RD PTG
RACHEL RISING #2 3RD PTG
RACHEL RISING TP VOL 01 SHADOW OF DEATH
ROGER LANGRIDGES SNARKED #6
ROHAN AT THE LOUVRE HC

SAVAGE HAWKMAN #7
SCALPED #57 (MR)
SCOOBY DOO WHERE ARE YOU TP
SECRET AVENGERS #24
SECRET AVENGERS RUN MISSION DONT GET SEEN SAVE WORLD
SECRET WARRIORS TP VOL 06 WHEELS WITHIN WHEELS
SHARKNIFE GN VOL 01 STAGE FIRST
SHARKNIFE GN VOL 02 SHARKNIFE ZZ
SPACEMAN #5 (OF 9) (MR)
SPIDER-MAN #24
STAR TREK ONGOING #7
STAR TREK ONGOING #7 10 COPY INCV
STAR TREK ONGOING #7 20 COPY INCV
STEPHEN KING JOE HILL ROAD RAGE #1 (OF 4) TATTOO INCV
SUPERMAN #7
SUPERMAN #7 VAR ED
SW ANAKIN STATIC LIGHTSABER UMBRELLA
SW DARTH VADER STATIC LIGHTSABER UMBRELLA
SW OBI-WAN STATIC LIGHTSABER UMBRELLA

TAROT WITCH OF THE BLACK ROSE #73 (MR)
TEEN TITANS #7
TEEN TITANS #7 VAR ED
TEENAGE MUTANT NINJA TURTLES ONGOING #8
TEENAGE MUTANT NINJA TURTLES ONGOING #8 10 COPY INCV
THUNDERBOLTS GREAT ESCAPE TP
TORPEDO HC VOL 05
TRANSFORMERS ROBOTS IN DISGUISE ONGOING #3
TWELVE #11 (OF 12)

ULTIMATE COMICS ULTIMATES #8 WITH DIG CDE
UNCANNY X-FORCE #23
UNCHARTED #5 (OF 6)
UNDERTOW GN
UNWRITTEN #35.5 (MR)

VOLTRON #4
VOODOO #7

WALKING DEAD #95 (MR)
WARLORD OF MARS DEJAH THORIS #11 (MR)
WARLORD OF MARS DEJAH THORIS #11 10 COPY RENAUD RED INCV
WARLORD OF MARS DEJAH THORIS #11 20 COPY GARZA RISQUE INCV
WARRIORS OF MARS #2 (MR)
WARRIORS OF MARS #2 10 COPY JUSKO B&W INCV (MR)
WARRIORS OF MARS #2 15 COPY JUSKO NEGATIVE INCV (MR)
WARRIORS OF MARS #2 25 COPY JUSKO VIRGIN INCV (MR)
WOLVERINE PUNISHER GHOST RIDER OFF INDEX MU #8 (OF 8)

X-MEN LEGACY #264

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

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12134149068?profile=originalWonder Woman Chronicles Volume Two
by William Moulton-Marston and Harry G. Peter

(collecting Wonder Woman #2-3, Sensation Comics #10-14 and Comic Cavalcade #1, 1942-43)

I have a confession to make: this was my first extended exploration of the Golden Age Wonder Woman. I’d read her first appearance and origin story in a couple of places. But I had never read a 1940s collection of stories before now.
Over the years, I’d heard a lot of other comic book fans describe these adventures so I was curious to experience them for myself. I will agree with those fans who claim that no one else has written the character of Wonder Woman quite like her creator, William Moulton-Marston. Marston’s approach is certainly distinct. It’s also idiosyncratic. For that reason, I would say that no one else has written the character “the same as” Marston, but I wouldn’t say that no one has written the character “as well as” him. Modern writers like George Perez, Greg Rucka and Gail Simone have surpassed Marston’s peculiar take on his character.


The first thing I’ll say is that Marston’s Wonder Woman is fun. She rushes from place to place with the reader caught up in her tailwind. She rarely sits still and that makes for often exhilarating adventures. This is especially apparent in the stories from Sensation Comics where the shorter format forces the action to happen quickly. The character is also fun. She laughs with her friends and at her enemies. She revels in her powers and enjoys surprising people with them.
However, despite the brevity of the stories, Marston still manages to get sidetracked. In one story, Wonder Woman has to play in the World Series as part of a plot to defeat Ares. In another, she becomes a bowling shark, faking ineptness before becoming a champion. The rationale behind these odd excursions is weak and forced (think of the pod race sequence in A Phantom Menace). The stories may be fast-paced but they aren’t always well constructed. This is especially true of the Ares epic from Wonder Woman #2 which opens this volume.

Marston’s personal predilections towards sado-masochism are also readily apparent. I’d always heard that was the case but never quite believed it. It’s not uncommon for heroes to be caught and bound by their enemies, whether it’s Captain Marvel or James Bond. But it’s almost impossible to miss with the prevalence of spankings and the repeated talk of submissive behavior.

Despite my exasperations and misgivings, I still enjoyed this volume. I read it quickly and had a lot of fun with it. It wasn’t held back by the repetitiousness that weighs upon Robert Kanigher’s Silver Age stories. There was a lot of variety in both setting and story. I also enjoyed the character. Wonder Woman’s compassion is admirable and her joy is infectious. I won’t suggest that everyone would enjoy these tales. They’re definitely a product of their time and of their unique creator. Yet with historical allowances and the right frame of mind, they can be amusing.

12134149292?profile=originalCaptain Britain
by Alan Davis and Jamie Delano

(collecting The Mighty World of Marvel #14-16, Captain Britain #1-14, 1984-86)

It’s hard to know where to start for, in many ways, this is the middle of an adventure. The first page is a recap in which Captain Britain recalls all of the events that occurred during the Alan Moore/Alan Davis run. The last page is both a wrap-up and a set-up, establishing the status quo that Captain Britain will bring with him to Chris Claremont and Alan Davis’ Excalibur. Yet in between, there is a phenomenal collection of short stories by Alan Davis and Jamie Delano.
These are short stories. They generally run from 8 to 12 pages. Yet it’s amazing how much Davis and Delano accomplish in such a short format. Davis and Delano manage to tell complete story- with a beginning, middle and end- in each chapter. That’s particularly impressive and refreshing considering that most current comics require 6 issues to finish a story. However, the transitions from one story to another are sometimes abrupt, especially in a collected volume like this.

There’s a lot more to admire about Captain Britain than story structure or pace. The stories themselves are highly imaginative and expansive. They’re also ongoing and evolving.


I really appreciated the way in which Delano and Davis expanded upon the world of Captain Britain. Many of the pieces were already in place, thanks to the previous run by Alan Moore. But Delano added new toys to the box- new villains, alternate Captain Britains and different government agencies. The biggest innovation is arguably the Warpies- children born with deviations that were the result of residual energy from a breakdown in the continuum of time and space. Delano added a new breed of mutants that alluded to the fall-out from Chernobyl and Three Mile Island.

Another great strength of this series was its use of supporting characters. They would change from one appearance to the next. They wouldn’t become unrecognizable but there would be subtle shifts that told us their lives continued even when they were off-panel. A team of villains would have new members or a new leader. A hero would have a new costume or position. Two characters would become a romantic couple from one appearance to the next. These changes gave a sense of reality to the series. The other characters weren’t simply waiting around until the next time Captain Britain noticed them. They had interests and stories of their own.

Of course, all of those secondary considerations mean little if the title character doesn’t hold up his end. Thankfully, Captain Britain is a delight to read about. At times, he’s the straight-laced star as the weirdness of the world circles around him. There are some wonderfully funny moments when Brian Braddock feels put out by the odd guests who have invaded his ancestral home. At other times, he’s the bull-headed strongman. He’s not a dummy. He has a background in science and multiple degrees. But he sometimes forgets to think about a situation before rushing in with his fists. He’s a good guy with a strong moral center but those imperfections make him more interesting.
Altogether, that makes Captain Britain one of the most enjoyable trades I’ve read in some time.

Read more…


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.

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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.

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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.

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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.

 

 

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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.

 

 

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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).

 

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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.

 

 

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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. 

 

Read more…

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.

Read more…

Comics for 9 November 2011

30 DAYS OF NIGHT ONGOING #2

ALL NEW BATMAN THE BRAVE AND THE BOLD #13
ARTIFACTS #11 (OF 13)
AVENGERS ORIGINS VISION #1
AVENGING SPIDER-MAN #1

BALTIMORE CURSE BELLS #4
BATGIRL #3
BATMAN #1 2ND PTG
BATMAN AND ROBIN #3
BATMAN STREETS OF GOTHAM TP VOL 02 LEVIATHAN
BATTLE SCARS #1 (OF 6)
BATWOMAN #3
BLACK PANTHER MOST DANGEROUS MAN ALIVE #525
BOYS TP VOL 09 BIG RIDE
BTVS SEASON 9 FREEFALL #3

CHRONICLES OF WORMWOOD LAST BATTLE TP (MR)
CRAWL TO ME #4 (OF 4)

DARKWING DUCK #18
DC COMICS PRESENTS BATMAN BAD #1
DCU ONLINE LEGENDS TP VOL 01
DEATHSTROKE #3
DEMON KNIGHTS #3
DOLLHOUSE EPITAPHS #5 (OF 5)
DUCKTALES #6
DUNGEONS & DRAGONS DRIZZT #3 (OF 5)

ESSENTIAL SGT FURY TP VOL 01
EXTRAORDINARY ADVENTURES ADELE BLANC SEC HC V2

FANTASTIC FOUR BY JOHN BYRNE OMNIBUS HC VOL 01
FEAR ITSELF #7 POINT TWO
FEMME FATALES MINIMATES SERIES 1 BOX SET
FRANKENSTEIN AGENT OF SHADE #3

GARTH ENNIS JENNIFER BLOOD #6 (MR)
GFT PRESENTS NEVERLAND HOOK #1
GHOST RIDER #5
GODZILLA GANGSTERS AND GOLIATHS TP
GOON TP VOL 05 WICKED INCLINATIONS 2ND ED
GREEN LANTERN #3
GRIFTER #3
GRIMM FAIRY TALES #65 (MR)

HELLRAISER #7 (MR)
HELLRAISER MASTERPIECES #1 (MR)
HP LOVECRAFT THE DUNWICH HORROR #2 (OF 4)
HUNTRESS #2 (OF 6)

INCREDIBLE HULKS HEART OF MONSTER TP

JACK AVARICE IS THE COURIER #2 (OF 5)
JOHN CARTER OF MARS WORLD OF MARS #2 (OF 5)
JOURNEY INTO MYSTERY #631
JURASSIC PARK DANGEROUS GAMES #3 (OF 5)

KILL SHAKESPEARE TP VOL 02
KIRBY GENESIS SILVER STAR #1
KNIGHTINGAIL #1
KULL THE CAT & THE SKULL #2 (OF 4)

LAST PHANTOM ANNUAL
LEGION LOST #3
LILY RENEE ESCAPE ARTIST GN

MAGNETO NOT A HERO #1 (OF 4)
MEGA MAN #7
MEGA MAN GIGAMIX TP VOL 03 (OF 3)
MISSION TP
MISTER TERRIFIC #3

NEW AVENGERS #18

OPERATION BROKEN WINGS 1936 #1 (OF 3) (MR)
ORCHID #2
OZ WONDERFUL WIZARD OF OZ TP

PC CAST HOUSE OF NIGHT #1 (OF 5)
PENGUIN PAIN AND PREJUDICE #2 (OF 5)
PIGS #3 (MR)
POINT ONE #1
PUNISHERMAX #19 (MR)
PUNISHERMAX BULLSEYE TP (MR)

RACHEL RISING #3
RED SONJA #58
REED GUNTHER TP VOL 01
RESURRECTION MAN #3
RETURN O/T MONSTERS BLACK BAT VS DRACULA
RETURN O/T MONSTERS DOMINO LADY VS MUMMY
RETURN O/T MONSTERS SPIDER VS WEREWOLF
RETURN TO PERDITION HC (RES) (MR)
ROBERT JORDAN WHEEL OF TIME EYE O/T WORLD #16

SAGA OF THE SWAMP THING HC BOOK 06 (MR)
SALEMS DAUGHTER HAUNTING #3
SILVER AGE OF COMICS SC
SIMON & KIRBY HC LIBRARY CRIME
SNOWED IN ONE SHOT
SPACE WARPED #5 (OF 6)
SPIDER-MAN MATTERS OF LIFE AND DEATH TP
STAR TREK LEGION OF SUPERHEROES #2 (OF 6)
STAR WARS DARTH VADER & THE LOST COMMAND HC
SUICIDE SQUAD #3
SUPERBOY #3
SUPERMAN LAST STAND OF NEW KRYPTON TP VOL 01

TEENAGE MUTANT NINJA TURTLES ONGOING #2 3RD
TERMINATOR ROBOCOP KILL HUMAN #4 (OF 4)
THE OCCULTIST #1 (OF 3)
THOR IRON MAN GOD COMPLEX TP

ULTIMATE COMICS SPIDER-MAN #4
UNCANNY X-FORCE #17
UNWRITTEN #31 (MR)

VERTIGO RESURRECTED MY FAITH IN FRANKIE #1 (MR)

WALKING DEAD WEEKLY #45 (MR)
WITCHBLADE #149
WOLVERINE #18 XREGG
WULF #4

X-MEN LEGACY #258

YOUNG JUSTICE AQUALAD 6-IN AF

ZOMBIES THAT ATE THE WORLD HC (MR) This list is a copy of the list that Comics & Collectibles of Memphis posted on their Facebook page. Arrivals at your LCS may vary.
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Meta-Textual Musings

 

12134142288?profile=originalThere’s a saying in the comic book world that every fan wishes they were a comic book writer.  Supposedly, the axiom is exponentially true for comic book columnists.  Those who write about comics wish they wrote comics themselves.  However, lately, I’ve gotten the impression that the reverse is also true.  I think that a lot of comic book writers secretly wish that they that had my job.  (By job, I mean the thing I do on my day off for fun and for free.) 

            Comic book writers wish they could comment on the comic book industry.  They entertain fans by writing stories but they don’t have the opportunity to offer perspective on the industry as a whole.  They can’t talk about trends.  They can’t criticize clichés.  They can’t speculate on the future.  When it comes to the bigger picture, comic book writers don’t always have a voice.

            Some writers, and former writers, are able to double as columnists.  Peter David maintains his “But I Digress” column for Comics Buyers’ Guide.  Jason Aaron and Ron Marz write columns for Comic Book Resources (“Where the Hell Am I” and “Shelf Life” respectively).  Grant Morrison outdid every comic book pundit with his non-fiction book Supergods.  That’s only a small sample. 

            Yet a lot of writers don’t have that kind of outlet.  Therefore, in a time-honored tradition, several writers have taken to writing about comics in comics.  This can be done well.  It can be done humorously or self-reflectively.  This can also be done poorly.  It can disrupt the narrative or upset the feel of the book. 

            Bill Willingham’s Fables is, unfortunately, an example of botched commentary.  “Fables” has always been something separate.  It’s not a superhero title and it’s not part of a shared superhero universe.  As such, it was a wonderful alternative for both superhero and non-superhero fans alike.  But, this year, Fables tried to be something it wasn’t: a superhero book.12134143475?profile=original

            After failing to defeat Mr. Dark on numerous occasions, Pinocchio had the idea that the only way the good Fables could beat him was to form a superhero team.  So Pinocchio ran his fellow Fables through a series of superhero auditions.  They devised costumes and codenames.   Pinocchio argued with Ozma for the inclusion of certain Fables based on their ability to fulfill comic book conventions.  Ozma, unaware of those conventions, criticized them and exposed their pointlessness.  The ongoing arguments became a running commentary on superhero clichés and comic books in general. 

            Theoretically, it could have worked.  Regrettably, it didn’t.  Although it wasn’t out of character for the perpetually childish Pinocchio to be a comic book fan, it was a completely new addition to the character.  It felt like an insertion, imposed on the character for the sake of this particular story.  It was also completely new for there to be any reference to superheroes or comics at all.  Willingham failed to establish that this world even had comic books, let alone the well-defined superhero genre of our world.  The tone was therefore inconsistent with the title up to that point.  It wouldn’t have been nearly as out of place in the sister title, Jack of Fables, which routinely commented on the conventions of literature and myth.  But there was no precedent for it in Fables.

Yet the biggest problem was that the whole idea of the superhero team turned out to be irrelevant.  Mr. Dark was defeated, but not by the superhero team.  They didn’t even get into action before they were disbanded.  Perhaps that was Willingham’s intentional comment on the uselessness of superheroes.  Whatever the reason, it was also a failure of Story-Telling 101.  Willingham introduced a huge digression that had no eventual impact on the story or on the characters in it.

        12134144062?profile=original    Happily, Robert Kirkman’s Invincible is an example of how this can be done well.  Like “Fables,” “Invincible” has always been something separate.  Invincible is an independent superhero.  Although he’s had a few spin-offs (Atom Eve, Guarding the Globe) and guest-stars (Tech Jacket, Savage Dragon), Invincible is primarily a self-contained story.  This year, Kirkman took a brief moment to comment on the state of comic books and superheroes.

            Invincible had spent almost a year in space fighting the Viltrumite Empire.  With the war over, Invincible returned home.  However, after his long absence, Mark Grayson (aka Invincible) had to put a lot of the pieces of his life back into place.  He reconnected with his girlfriend.  He visited old friends.  He checked in on his former college roommate.  And he stopped by his local comic book shop to pick up a pretty full pull list.  While there, Mark talked to other comic book fans about what was going on and what he had missed.

           
This little bit of commentary fit right in with Invincible.  Kirkman had long-established that comics were a part of this world and a part of Mark’s life.  Mark’s father wrote superhero novels in his secret identity.  Mark was a big comic book fan- he even had a poster in his room of his favorite hero, Science Dog.  Kirkman had also previously bent the wall between superhero fiction and superhero commentary.  He had Invincible fight his fictional hero, Science Dog, before revealing that this S.D. was a shape-shifter or something like that.  So it was in character for Mark Grayson to have an opinion on comic books and well within the established tone of the book.

            12134144465?profile=originalKirkman was also wise to keep his hand partially hidden.  As readers, we might think that Mark or the other characters were acting as a mouthpiece for the writer.  But Kirkman left just enough room for us to acknowledge that Kirkman’s opinions were maybe not the same as his characters.  In that way, Kirkman was able to have his cake and eat it too.  He wrote about comic books in a comic book in a way that was consistent with the established setting of that title.  

Read more…

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

 

They say crime doesn’t pay, but Crime Does Not Pay sure did. Now, thanks to Dark Horse, we can see what made this particular comic book so successful – and notorious.

 

Crime Does Not Pay began in 1942 at small Lev Gleason publications, co-edited by Bob Wood and Charles Biro, who contributed stories and art as well. It was the first “true crime” comic book, which is to say it purported to relate actual crimes committed by actual criminals, occasionally famous ones like Lucky Luciano and Baby Face Nelson. Of course, reality often took a back seat to fiction when the story called for it, or out of sheer sloppiness. It was a comic book, not a history book!

 

12134141095?profile=originalBut fiction or not, Crime Does Not Pay sold like gangbusters, with reports of anywhere from one to four million copies a month at its peak, even when there were dozens of imitators on the stands. The secret was its sheer luridness; covers showed bullets flying, brains exploding, faces pushed into burning stoves, you name it. Given the title, there was always some sort of coda at the end explaining how the criminal was killed or imprisoned, but nobody was fooled that this was a Sunday school lesson, given how the preceding pages would glorify the criminal’s short, fast life full of sex, violence and money. Plus, the word “CRIME” was huge on the cover, with “Does Not Pay” almost an afterthought.

 

The gusto with which Biro and Wood delivered the goods made Crime a target for censors, and it was a favorite example of such notables as Fredric Wertham, author of the anti-comics screed Seduction of the Innocent. The outrage against comic books like Crime culminated in 1954 with the infamous Comics Code, which nearly killed the industry and definitely put a bullet through the “true crime” genre. Within a year, Crime Does Not Pay and its ilk were out of business.

 

In a strange coda, co-editor Wood murdered his girlfriend in a style reminiscent of a Crime Does Not Pay story (he bludgeoned her to death with a clothes iron in a hotel room during a long drinking binge). After serving time, Wood was himself murdered, probably over gambling debts.

 

Which, in a roundabout way, brings us to Blackjacked and Pistol-Whipped: A Crime Does Not Pay Primer (Dark Horse, $19.99). This collection of Crime Does Not Pay tales is the first such I’ve seen, and the cover – a recreation of the style of the day by Pete Poplaski – depicts Wood’s horrific act of violence. The interior contains an introduction by 100 Bullets writer Brian Azzarello; a lengthy foreword by comics publisher, historian and editor Denis Kitchen; and 24 representative stories from Crime Does Not Pay at its most lurid.

 

12134141692?profile=originalThese stories are utterly absent any redeeming value, which is probably why they’re so incredibly entertaining. They are the guiltiest of guilty pleasures. But another factor is the talent – not only were the stories short and punchy, but the art was often by the likes of Dan Barry (Flash Gordon), Carmine Infantino (The Flash), Fred Guardineer (Zatara the Magician) and George Tuska (Iron Man).  

 

And the influence of Crime Does Not Pay lives on, although not in obvious ways. The apex of violence found in 1940s comic books doesn’t hold a candle to what you can see on TV and in the movies today, so we’ll likely never see another successful “true crime” comic book. But supposedly Crime inspired Harvey Kurtzman’s critically acclaimed war comics from EC Comics in the early 1950s, a high-water mark creators are still trying to top. And the host of Crime – Mr. Crime, a ghostly, ghastly figure in a sheet with “CRIME” emblazoned on a top hat – preceded and probably inspired the three punny “ghoulunatics” who hosted EC’s horror comics, which in turn served as models for the legion of horror hosts that have followed.

 

Which is not to say Crime Does Not Pay was itself wholly original. Mr. Crime was a rip-off of “Mr. Coffee-Nerves,” the corporate mascot of Postum coffee substitute. And the name “Crime Does Not Pay” was lifted from a series of MGM movie shorts which were turned into a long-running radio show.

 

But who cares? Kids bought Crime for the crime, and the rest didn’t matter. Even in today’s more jaded times, the guilt-free exuberance the creators poured into every bullet and blood spatter is infectious. This Crime pays, with hours of fun.

 

Art:

1. Blackjacked and Pistol-Whipped is a guilty pleasure from the 1950s. Courtesy Dark Horse Books

2. A Blackjacked interior page from Crime Does Not Pay #41 (September, 1945). Courtesy Dark Horse Books.

 

 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

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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52 Reviews 52 (Part Three)

WEEK THREE

 

12134136695?profile=originalBATMAN #1

Written by SCOTT SNYDER

Art by GREG CAPULLO and JONATHAN GLAPION

Cover by GREG CAPULLO

Variant cover by ETHAN VAN SCIVER

32 pg, FC, $2.99 US • RATED T

 

This was just plain awesome.

 

The story opens with Batman essentially fighting everyone in Arkham, then there’s a wonderful twist I didn’t see coming. Very quickly Snyder touches all the bases to let us know nothing has changed – Alfred, Commissioner Gordon, all the Robins (Dick, Tim, Damian), the Batcave – then kicks off a mystery with a grisly murder, a rich Gothamite who will clearly be trouble, and a direct threat to Bruce Wayne’s life – with Dick Grayson the prime suspect.

 

Perfect! Beautiful! Bat-tastic! Throw in Capullo’s art, from the Tony Daniel/Jim Lee school, and this is a Bat-book that hits every cylinder and roars out of the cave. There's not a wasted panel, but enough to get us ready for more.

 

12134137085?profile=originalBIRDS OF PREY #1

Written by DUANE SWIERCZYNSKI

Art and cover by JESUS SAIZ

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

 

Something about this series feels ad hoc.

 

Here’s the description: “One is wanted for a murder she didn’t commit. The other is on the run because she knows too much. They are Dinah Laurel Lance and Ev Crawford – a.k.a. Black Canary and Starling – and together, as Gotham City’s covert ops team, they’re taking down the villains other heroes can’t touch. But now they’ve attracted the attention of a grizzled newspaper reporter who wants to expose them, as well as a creepy, chameleon-like strike team that’s out to kill them.”

 

That’s pretty much what we get out of the first issue. Black Canary and Starling (new character) are a team (no explanation), and they are outlaws, and they save a reporter hired to find them from the people who hired him because they want to kill BC and Starling (no explanation). One of the strike team somehow kisses BC in the middle of a battle and says that will kill her (and she’s feeling sick by the end of the issue). Babs Gordon shows up and things are tense with her and BC, but she recommends Katana. There’s an explosive finale.

 

OK, it’s a pretty nice actioner, but it’s depending on us to know who most of these characters are, although they are not the characters they used to be. If Black Canary is a former leader of the Justice League, how long could she remain an outlaw before one of the big guns came to clear her or arrest her? (And they’re in Gotham City, for Pete’s sake.) Who is Starling? No, scratch that. Let’s ask instead, if you’re going to start the show with Starling already a Bird, why not also start with Katana, and explain both of them later? Because this issue feels undermanned, and why drag out the “we’re putting the band back together” scene any longer than you have to?

 

The art is nice. The action is nice. But the writer depends too much on our affection/familiarity for these people, and not enough time getting us to like them or care about their story.

 

12134138052?profile=originalBLUE BEETLE #1

Written by TONY BEDARD

Art by IG GUARA and RUY JOSE

Cover by TYLER KIRKHAM and SAL REGLA

32 pg, FC, $2.99 US • RATED T

 

I was never a big fan of the old Jaime Reyes Blue Beetle title, but this version threatens to make me a believer.

 

Our story opens “long, long ago” on an alien planet that The Reach has seeded with a scarab. The scarab has taken over a local, and he is annihilating the planet’s population single-handedly. Afterward, one of his supervisors – for lack of a better word – shows up to congratulate Khaji-Kai (his “scarab name” – he no longer remembers his original one) and to drop a little expository dialogue on us to explain what we just saw. The Reach sends out a bunch of new scarabs to conquer more planets, one of which goes to our solar system, but is fortunately intercepted by the Green Lantern of this sector (apparently one before Abin Sur), who damages it. It escapes, lands on Earth, and goes into hibernation. The scene shifts to El Paso in the present, where we meet Jaime, Brenda and Paco, pretty much the same way we knew them before, except Paco is now a dropout and possible gangbanger. Also, we discover right away that Brenda’s aunt is a crimelord (it took us a while in the old series) and she wants the scarab, which is hijacked by three member of the Fearsome Five (Phobia, Warp and Plasmus), who are now members of the Brotherhood of Evil (The Brain and M’Sieu Mallah are mentioned, but not shown). Paco and Jaime blunder into the hijack on the way to Brenda’s birthday party, and by accident the scarab is activated and it bonds to Jaime. The first thing he says is his scarab name, Khadji-Da.

 

This set-up is pretty much like the old series, except that we meet everyone much faster, and almost everything is thought through much better. For example, all the adults know something’s up with Brenda’s tia, when in the old series some were clueless that she was AN INTERNATIONAL CRIMINAL LIVING IN A HEAVILY FORTIFIED AND GUARDED MULTI-MILLION DOLLAR FORTRESS. So I appreciate that Jaime’s parents aren’t complete morons this time. Also, we learn the relationship between the Green Lanterns and The Reach, which I always wondered about before. Also, there’s a lot more Spanish in this series, and although I don’t speak Spanish, I have lived in Texas, and I appreciate the verisimilitude (and I trust I won’t miss any truly important info). Plus, the dropout thing with Paco – some might not like it, but, again, I think it adds verisimilitude (and adds a more interesting subplot). Further, Brenda – who seemed too smart for Paco in the last series – doesn’t seem to view him romantically in this series, but both Jaime and Paco seem interested in her (which makes more sense). Also, a text piece informs us that Jaime will have a lot more trouble controlling the scarab, so he’ll be less Static and more Damage, which is good, because we already have Static. And Spider-Man. And the Teen Titans. And a jillion other smart-mouthed teen heroes.

 

Overall, thumbs up for a story that keeps all the good parts of the old Blue Beetle while upgrading the coherence and plausibility of Jaime’s world.

 

12134138292?profile=originalCAPTAIN ATOM #1

Written by J.T. KRUL

Art by FREDDIE WILLIAMS II

Cover by STANLEY “ARTGERM” LAU

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

 

This wasn’t bad, but it read like half a first issue.

 

We open with a rat in an alley, with a pretentious Captain Atom voiceover about how we’re all really animals and stuff. The rat’s eyes glow, and then we shift to the Captain himself fighting an armored villain (new character), which he defeats, but his hand starts to lose cohesion. He goes “home” and we learn he is working with a brain trust in Chicago, led by a Stephen Hawking stand-in (complete with chair and voice modulator), who informs him that he needs to stop using his power or his brain could lose cohesion. However, just then, a volcano erupts in New York City (yes, New York City), and Captain Atom has no choice but to use his powers full out. In the middle of Nate vs. the volcano, we cut to the rat, which becomes a big monster and eats a homeless guy, then we cut back to Atom, who turns red and appears to be losing cohesion.

 

All right, class, how many mysteries were introduced in this first issue? How many were solved, or even gave us a clue? The first answer isn’t important, but the second answer – zero – is. I simply don’t have enough information to know whether I care about this series or not. I sure don’t meet anyone other than Captain Atom long enough to know if I like them, and DC’s version of Captain Atom has never been a show-stopper. So I’m going to have to read a second issue to know if the story in the first one A) makes sense and B) is interesting. That’s not a very good idea for a first issue.


Still, the story’s title is “Evolution of a Species,” so I imagine Cap’n Atom will go through some changes next issue, so maybe one of them will make him more interesting.

 

12134139252?profile=originalCATWOMAN #1

Written by JUDD WINICK

Art and cover by GUILLEM MARCH

32 pg, FC, $2.99 US • RATED T+

 

Most of this issue is typical – and typically fun – Catwoman caper stuff, and the issue ends with, ahem, a bang.

 

As with most Bat-books, this issue reassures us that very little has changed. Catwoman is still a thief with a heart of gold and she loves to live on the edge. (Also, she appears to own nothing except kittens and brassieres.) We meet her fence (new character), who seems to have a little personality, which is good, since she’s the only supporting character we meet. Then a situation occurs at the end which appears to have the Internet BROKEN. IN. HALF. But I’m not sure why – it just reinforces something we’ve known since Brubaker’s run several years back, but were never shown in detail. Now we have been, and I think it’s a good idea (for its humanizing effect on another character).

 

However, I think Winick should have realized the possible implications of the phrase “It doesn’t take long” and made more clear what he meant to avoid the sniggers. Otherwise this was a swell issue that even my wife enjoyed.

 

12134139091?profile=originalDC UNIVERSE PRESENTS #1

Written by PAUL JENKINS

Art by BERNARD CHANG

Cover by RYAN SOOK

32 pg, FC, $2.99 US • RATED T

 

Deadman needs to break out of the prison of his original conception, and I’m not sure this story gets us there.

 

Everything you ever knew about Deadman? Still true. But add that he’s now working toward balancing the scales, in that he has to be a better man in death than he was in life, and when he achieves karmic balance, he can move on. Plus, shades of those he’s possessed are hanging around, and he doesn’t know why. He gets Rama Kushna’s attention to ask her about this development in a pretty dramatic way.

 

I don’t have much more to say, because not a lot happened here. Boston does try to get in touch with the psychic (“Rose”) at his old circus, but only succeeds in freaking her out. (Try Madame Xanadu, Boston. I hear she’s got a place in the Village. Or Dr. Fate. Or Zatanna. Or any one of the many legitimate wizards, psychics, sorcerers and whatnot in the DCU. A carny palm-reader? Riiiiight. So, since she’s pretty, I guess this is just a clumsy set-up to make her the love interest.) Other than that, it’s a 22-page voiceover pretty much explaining the above. Boston does “possess” a guy, as he usually does, but there’s no telling if he’s a temporary player or potential supporting cast. Maybe he and Rose will become an item.

 

So, it was OK. But given how often Deadman has failed to hold a series, it really needed to be better than OK. He is by definition a pretty limited character, so he’s definitely a writer’s challenge. I’ll need to see more before I know if Jenkins rises to that challenge or not.

 

Incidentally, there were some Carmine Infantino swipes/homage in the first couple of pages, which I guess is kinda neat. But if you’re going to swipe, why not swipe from Neal Adams? Just sayin’.

 

12134103060?profile=originalGREEN LANTERN CORPS #1

Written by PETER J. TOMASI

Art by FERNANDO PASARIN and SCOTT HANNA

Cover by DOUG MAHNKE and CHRISTIAN ALAMY

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

 

This issue felt like marking time.

 

The series opens with an invisible villain or villains literally cutting one Green Lantern in half and beheading another in the Sciencells on Oa. (Pretty graphically.) Then we shift to Earth, where both Guy Gardner and John Stewart learn that they can’t go back to their old jobs (high school gym coach and architect, respectively) because Guy would be too big a liability for a school (as a target for supervillains) and John has been changed too much by being a Lantern. They both return to Oa, learn about the first two deaths (which has now risen to four) and volunteer to take a squad of Lanterns to investigate.

 

Here’s another book where we learn that virtually nothing has changed. As to the meat of the story – Guy and John learning they can’t return to their civilian jobs – that seems so blindingly obvious on the front end that I was bored hearing all the reasons why they can’t (even though I was aware this was exposition/history for newbies). But I feel like that could have been covered in a couple word ballons and we could have skipped from Page 4 to Page 15 and not lost a thing. And that’s not good.

 

12134139680?profile=originalLEGION OF SUPER-HEROES #1

Written by PAUL LEVITZ

Art by FRANCIS PORTELA

Cover by KARL KERSCHL

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

 

It’s not often I complain about too much going on in a book, but this one feels a bit cluttered. But knowing Levitz, this will shake out to be epic.

 

Legion of Super-Heroes #1 opens with five Legionnaires (Chameleon Boy, Chemical Kid, Dragonwing, Phantom Girl and Ultra Boy) investigating a Dominator-monitoring station which has gone silent. In the course of the dialogue, we learn something terrible has happened, and that everyone believes that the Legionnaires in Legion Lost are dead.  Then we check back on other Legionnaires to discover A) Colossal Boy has resigned and joined the Science Police after the “death” of his wife, Chameleon Girl, B) Earthman is dead, C) a whole bunch of Academy recruits have been promoted to Legionnaire status, D) Mon-El is no longer a Green Lantern, E) Brainiac 5 wants his job as Legion leader, F) Glorith is a Legionnaire, G) Star Boy is a paraplegic, and maybe some more but it was a lot take in and remember. Anyway, we switch back to the original mission, which goes pear-shaped and then a Daxamite attacks.

 

I find it interesting that Levitz didn’t bother to re-introduce everybody, and I’m rather glad he didn’t – he’s probably as tired of writing introductory Legion issues as I am of reading them. Instead he jumps right in with massive repercussions from an event we don’t know about yet (unless it happened in the final Legion/Adventure issues, which I haven’t read yet), and it’s enough to make your head explode. That’s good, because with a cast that big it doesn’t make sense to pussy-foot around. On the other hand, as I said in my intro, it’s an awful lot to cram into one issue, especially since all of these plot threads seem to be pulling in different directions. Still, I’m definitely coming back for the next issue, when I imagine Levitz wills start to pull it together in ways I don't foresee.

 

12134140279?profile=originalNIGHTWING #1

Written by KYLE HIGGINS

Art and cover by EDDY BARROWS and JP MAYER

32 pg, FC, $2.99 US • RATED T

 

This is fine.

 

We follow Dick Grayson through a night patrol where we learn where he lives now (a loft in the bad part of town), that he thinks he’s better for having been Batman for a year and then he goes on a visit to Haly’s Circus (where he grew up), which just happens to be in town. Then he’s attacked by a hired killer, escapes to change into Nightwing, but the killer beats him as Nightwing anyway – and says that Grayson (he doesn’t realize Nightwing is Grayson) is a murderer. Could this be related to what’s happening over in Batman?

 

I said this is fine, and that’s what it is – and all that it is. I’ve never been a big Nightwing fan, because I think a glorified acrobat needs more going for him than a clever name. (All the other glorified acrobats -- Batman, Green Arrow, Mr. Terrific -- have some kind of gimmick to explain why they're still alive.)

 

I understand that in the first issue we’re going to have a lot of voiceovers and references to the past so newbies can learn who this guy is. (Former Batman! Former Robin! Former Circus Acrobat! Parents killed by crooks!) But I wish we didn’t have to. Or if we did, more would happen, so that it’s not just an encyclopedia entry.

 

I also find it laughable that the hired killer, who sees his prey somersault away, is then attacked by an acrobat who looks JUST LIKE DICK GRAYSON ONLY IN A TINY DOMINO MASK and doesn’t realize they’re the same guy. Must be really dark in Gotham.

 

Boring. I do like the new threads though. As I teach in my color theory class, warm colors leap out at you, while cool colors recede. So the red is jazzier.

 


12134140492?profile=originalRED HOOD AND THE OUTLAWS #1

Written by SCOTT LOBDELL

Art and cover by KENNETH ROCAFORT

32 pg, FC, $2.99 US • RATED T

 

When I read the description of this book, I thought I wouldn’t like it. Turns out I have a gift for understatement.

 

Roy Harper is in a Quraci jail (with no explanation), but is rescued by Red Hood, for whom he has been working (again, no explanation). They escape with the help of Starfire, who is hanging out because … oh, wait, no explanation. They go to Martinique, where it turns out that because Starfire is Tamaranean, she apparently has no long-term memory and can only sense us humans by smell, so she’ll sleep with either of the boys, and does. A mysterious woman called The Essence (who looks like a refugee from an Image comic) shows up and says some stuff about the All Caste that apparently she and Jason used to belong to (no explanation), only now she’s banned, and she shows Jason some magic picture of a dead girl in “The Well of the All Caste” so Jason goes to this Well to, uh … avenge her death? Not sure. (And, of course, there’s no explanation.) Anyway, turns out this Well is in the Himalayas, where he finds the dead girl (whom he used to know) and gets jumped by some bad guys.

 

So, explain again how Koraind’r can’t remember the Titans, with whom she’s spent the last 31 years? I bring this up because Lobdell did, despite this being a potential fresh start. He decided to address and dispense with Koriand'r's long association with the Titans and her sexual history with Dick Grayson, and his method was to make her a brain-damaged blow-up doll -- and play it for laughs. As Rich Lane said below, this makes it impossible for Starfire to have any character growth, and "turns her into a sex toy for anyone who wants to take advantage of that fact." Well said. The misogyny is stunning.

 

I'd be more outraged, except that I don't plan to read any more. I'm going to take Lobdell's loathsome treatment of a female character and toss it on the stack of the other stupid stuff in this book, which features a bunch of characters I don’t care about.

 

12134141073?profile=originalSUPERGIRL #1

Written by MICHAEL GREEN and MIKE JOHNSON

Art and cover by MAHMUD ASRAR

On sale SEPTEMBER 21 • 32 pg, FC, $2.99 US • RATED T

 

Nothing happens.

 

OK, Supergirl’s ship arrives on Earth (and plows through to Siberia). Unseen observers make reference to “the Kansas event” and send out a team in big armor to retrieve her and her ship, and make it clear that they can do this despite it being in Russia. Kara gets out of her spaceship, disoriented, and is surrounded by men in armor speaking a language she doesn’t know. They attack, there’s a fight, she discovers her powers and wins. She believes she might be dreaming. Superman arrives and stops the fight.

 

OK, there’s some good super-action here, but it eats up the whole book and we learn absolutely nothing. We already knew Supergirl was from Krypton, that she’s Superman’s cousin, and that she arrives here as a teen. And when I say "we" I mean new readers and old readers alike, since even non-readers know that much about a character called "Supergirl." If those three things weren't true, they'd have to call her something else -- Hypergirl, or Tip-Top Girl, or Red Hoodgirl and the In-Laws.

 

So all readers coming to this book already know those three things. Which is all that this book tells us. (Actually less – we don’t actually learn that Supergirl is Superman’s cousin, since they won’t interact until next issue.) Man, that’s not much for my $2.99.

 

Oh, and Supergirl’s outfit is one of the lamest I’ve ever seen – and Supergirl’s had some pretty lame outfits.

 

12134141500?profile=originalWONDER WOMAN #1

Written by BRIAN AZZARELLO

Art and cover by CLIFF CHIANG

32 pg, FC, $2.99 US • RATED T

 

With apologies to George Perez fans, this is the best Wonder Woman I have ever read.

 

A Greek god does something terrible to three girls. A girl named Zola is on the run from mythological creatures. A woman named Diana rises to her defense in a brutal, bloody battle. A god is impaled. A golden key proves to be key. Warnings and implied threats abound. Someone is pregnant with Zeus’s child, and many divine eyes are turning to notice. The god at the beginning closes the book with dire, cryptic muttering. Everything has a price, and the gods are only too eager for others to pay.

 

This. Is. GREAT! Brian Azzarello calls the Greco-Roman gods the “original crime family,” and we know from 100 Bullets that we’re in for a treat.  Wonder Woman as crime noir? With centaurs? Sign me up!

Read more…

By Andrew A. Smith

Scripps Howard News Service

 

Oct. 18, 2011 -- Batman: Year One is one of the most critically acclaimed and fan-revered stories about the Dark Knight. Wisely, Warner Bros. has hewed closely to the original for its animated adaptation.

 

12134139454?profile=originalOriginally published as a four-issue miniseries in 1987, BYO was actually two stories: One dealt with how Bruce Wayne began his Bat-career; the other was the story of a young Lt. James Gordon rising through the ranks as he tackled corruption in the Gotham City PD. The latter answers the long-standing question of how a by-the-book, family-man cop comes to trust a masked vigilante.

 

Weaving in and through these parallel tales are a (possible) origin for Catwoman, a scene with assistant district attorney Harvey Dent (a Bat-ally, before he becomes Two-Face) and the introduction of Carmine “The Roman” Falcone’s crime family, an element that has become a staple of the Bat-books, cartoons and movies. All of these characters clash in a huge Shakespearean drama involving murder, infidelity, blackmail and lies.

 

BYO was penned by writer/artist Frank Miller (300, Sin City) at the top of his game, after he had written and drawn the game-changing Dark Knight Returns a year before. It was drawn by David Mazzucchelli, a brilliant delineator of gritty, atmospheric, street-level crime noir. Together they created a plausible, unforgettable origin not just for Batman, but for his entire milieu, most of which has been adopted by DC Comics as the official story. (The Catwoman origin, which posits Selina Kyle as a dominatrix and prostitute before becoming a cat burglar, is still held at arm’s length by the DC powers-that-be.)

 

12134139878?profile=originalThe animated adaptation, released Oct. 18, was also created by an all-star team. Bruce Timm (Justice League Unlimited) brings his clear-eyed vision of the DC universe as executive producer. Veteran directors Lauren Montgomery (Superman/Batman: Apocalypse) and Sam Liu (All-Star Superman) are on board, as is Apocalypse screenwriter Tab Murphy. Andrea Romano does her usual amazing job casting voices, with Bryan Cranston (Breaking Bad) as Gordon, Ben McKenzie (Southland) as Batman, Eliza Dushku (Dollhouse) as Catwoman,  Alex Rocco (The Godfather) as Falcone and Katee Sackhoff (Battlestar Galactica) as Det. Sarah Essen.

 

This talent pool is necessary, because bringing Batman: Year One to the screen successfully is no ordinary job. As noted above, there is a huge amount of story to pack into 64 minutes. Some elements (Dent, for example) get such short shrift that they depend on the audience’s knowledge of the Bat-universe to fill in the blanks. The story’s structure is a little shaky. And at times you’re being whisked along too quickly, as the film really could have used another 30 minutes to let this sprawling story breathe.

 

But Montgomery and Liu do slow down enough for some scenes to shine through. Batman vs. the Gotham SWAT team is epic. Gordon’s hunt for the man behind the mask lingers on Bruce Wayne long enough to become an instant classic. Every scene with the outraged Catwoman – whom the press initially characterizes as Batman’s “assistant” – is a keeper.

 

As to the animation, BYO is only ordinary, typical of what you see on Saturday morning TV. But it does seem to utilize Timm’s “dark deco” style that he developed for Batman: The Animated Series, and – despite the lack of detail – manages to capture the spirit of Mazzucchelli’s brooding original. Many scenes clearly used the print version as a storyboard, resulting in a thrilling shock of recognition for long-time comics fans.

 

12134140459?profile=original

In short, Batman: Year One is far too truncated, and some (especially newbies) might find it boring or hard to follow. But Warner Bros. has puts its best vets on a task Bat-fans have anticipated for years, and you can’t ask for better than that.

 

Batman: Year One is available as a Blu-Ray Combo Pack ($24.98) and DVD ($19.98), On Demand and for download through iTunes, Xbox Live, Zune, VUDU HD Movies and Video Unlimited on the PlayStation network & Sony Entertainment Network.

 

BYO is PG-13, for violence and sexual suggestion, especially in the Catwoman short included on the two-disc packages. One scene takes place in a strip club, which I’m beginning to think is mandatory in modern entertainment. But, as I’ve argued about Catwoman the comic book, she’s the one character I’ll give a pass to for being depicted in what I’d normally call a sexually objectified manner, because she does it on purpose – she’s the original femme fatale in comics, using her looks as a weapon going back to 1940.

 

12134140871?profile=original

 

Photos:

1. Warner Home Video's animated adaptation of Batman: Year One was released Oct.18. Courtesy Warner Home Video

2. Batman: Year One was first collected as a graphic novel in 1988. A new deluxe hardcover is due in 2012. Courtesy DC Entertainment

3. The BYO Batman will be familiar to fans of Batman: The Animated Series. Courtesy Warner Home Video

4. Catwoman goes undercover in a strip club in her solo adventure on the BYO two-disc sets, distracting the bad guys with her charms before taking them out. Courtesy Warner Home Video

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

Read more…

By Andrew A. Smith

Scripps Howard News Service

 

Sept. 20, 2011 -- DC Comics is in the third week of re-launching all 52 of its superhero titles in a single month, and it’s reportedly going big guns. But DC editor-in-chief Bob Harras is already thinking long term.

 

12134134893?profile=original“I think the [52] first issues really are setting the groundwork but we’re building from there with every issue,” Harras said in an interview. “The goal is definitely to keep readers excited and really kind of getting back to that sense of ‘What’s gonna happen next?’ … We’re really just building the base of excitement.”

 

Not that he’s got his eye so fixed on the big picture that he hasn’t noticed how big September has been.

 

“Am I happy that the numbers are good?” he said. “Yes, of course. But I really, really – again, not to sound corny – I’m excited more about the sense of excitement about what [the creators] are doing.”

 

Initial sales reports on The New 52 are huge, with Action Comics #1 alone already hovering around 200,000 before re-orders and foreign sales have come in. Bob Wayne, DC Comics Senior Vice President of Sales, told ICv2.com Sept. 12 “we have sold out of everything that has gone on sale so far, and everything that is going to go on sale next week.” And major titles like Batman #1, Superman #1 and Wonder Woman #1 are still in the pipeline.

 

Meanwhile, DC’s efforts to reach new readers have Harras excited as well.

 

 “Readers anywhere interested in comics … can have access to our product on their iPads, on their phones,” he said. Some potential readers don’t live near comic shops, so “that they have the ability to get a comic in their home in the middle of the night is just incredibly important. It’s offering a wider audience the chance to come aboard and read our material and see our characters.”

 

12134135491?profile=originalAnd when that potential new reader buys that first comic book, online or in print, he won’t have to have a degree in comics already. “We’re looking at our books and making sure as best as we can that when a reader does read it the first time, there’s enough information there they won’t be confused,” Harras said.

 

Something else Harras thinks is important is bringing long-running character back to what made them popular in the first place – a back-to-basics approach that dovetails with what the general populace knows about them.

 


One such instance is Batgirl, a surprise hit written by fan favorite Gail Simone. The original Barbara Gordon (the Gotham Police commissioner’s daughter) is back under the cowl, after having been sidelined by an injury since 1988. Since then, at least two other women have served as Batgirl, whose fates have not yet been revealed.

 

 “It’s going back to the core of who Batgirl should be,” Harras said. “I think people are reacting to that … I think Gail reacted to that, you get something really great out of that. … It’s part of the mythos. It’s part of our job to keep that mythos fresh.”

 

12134135887?profile=originalAnother restoration work is Superman, whose early days are being re-told in Action by Scottish writer Grant Morrison – whose recent book Supergods shows he has probably thought harder and deeper about American pop culture than most Americans. 

 

I think Grant always wanted to go back to a sense of what Superman was initially,” Harras said. “He was a little bit of a scrapper back in the day. …  I kinda like what Grant has done, where you get this sense of, you know, Clark has rough edges. Clark is a little angry. He’s … finding his way in the world.  … Clark’s in his early 20s, and in your early 20s you’re going through a lot, and if you’re Clark Kent and you have these powers, you’re going through even more than normal, and what would your reaction be?”

 

But as editor-in-chief, Harras’s brief is the big picture. Where does he want to be in six months?

 

“Aruba,” he laughs. “Where I want us to be, I still want to still have that sense of excitement out there. I want fans and readers in general to be coming back every month saying, ‘Tell me another story about these characters.’ We want to actually show people out there that DC Comics and the characters here are amazing characters and we will be telling you compelling and amazing stories about them. It’s all about excitement and entertainment, and that’s what we want to be doing, and that’s what we are going to be doing.” 

 

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

 

 

Read more…

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

Lori Lemaris

 

 

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

12134131663?profile=original 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

 

 

Lyla Lerrol

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

But, as with Lori, fate has other plans.

 

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

 

Lyla can only watch in horror.

 

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

 

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

 

 

 

Luma Lynai

 

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

She can never live on Earth.

 

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

 

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

 

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

 

 

 

Sally Selwyn

 

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

12134147256?profile=original

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

12134153694?profile=original

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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Read more…

12134027688?profile=originalClose your eyes---well, no, don’t close your eyes, because then you won’t be able to read this---but imagine that it’s almost exactly forty-six years ago.  It’s mid-January of 1966 and you’re a contestant on NBC’s quiz show, Jeopardy!

 

After you and your fellow players are introduced by Don Pardo and greeted by the genial Art Fleming, the game gets down to business.  You’re doing O.K., too.  You bombed out in the dreaded “Opera” category, but you made it back with “Famous Landmarks” and “Potent Potables”.  When it’s your turn to select the next clue, you look at the categories and decide, “’Fictional Journalists’ for $30.”

 

“And the answer is . . . ,” says Art.

 

12134131064?profile=original 

 

 Smiling, you instantly ring in.  Confidently, you respond, “Who is Perry White?”  Of course.

 

Now, the clue-writers on Jeopardy! were really good and did their homework, and you’re stunned when that annoying “double buzz” signals that you’re wrong.  Art says, “Oh, sorry,” and your winnings drop by $30.  Neither of the other two contestants takes a shot at it, and while you’re standing there, open mouthed, Fleming states the correct response.

 

“Who is Van Benson?”

 

 

 

 

Bet you forgot about him, didn’t you?

 

For those of you who missed the Silver Age, you’re probably sitting there echoing Art Fleming, only with a different inflexion---“Who is Van Benson?”  Well, aren’t you glad that’s what I’m here to tell you.

 

12134131471?profile=originalIt all began with Superman’s Girl Friend, Lois Lane # 62 (Jan., 1966).  Traditionally, comics are post-dated by a couple of months; that issue actually hit the stands in the second week of November, 1965.  At first glance, the only thing unusual about Lois Lane # 62 was that, instead of the usual three unrelated stories of Lois Lane, the readers were given one long tale, advertised on the cover as “a 3-part novel, complete in this issue!”

 

The story is titled “Lois Lane’s Anti-Superman Campaign”, and the first indication of what’s to come occurs on page one, when Perry White collapses at his desk from overwork.  At the hospital, his doctor orders him to take a month’s vacation.  During his absence, Perry White appoints Clark Kent to serve as acting editor of the Daily Planet.

 

It’s actually a nice moment.  Kent didn’t wrangle for the job, nor did he try to avoid it, which is what he usually does in similar circumstances, for reasons related to his Superman identity.   This time around, that had nothing to do with it.  White put Kent in the big chair because, while Lois Lane and Jimmy Olsen spent the day at the hospital fretting over Perry’s condition, Clark went back to the office and wrote up the story about the editor’s collapse.  It’s a rare Silver-Age occasion to see Clark Kent legitimately acting as a newsman.

 

Not much is made of Clark’s promotion, however, except for an early scene of Lois sucking up to the new boss by sending him a congratulatory wreath and purchasing a new nameplate for his desk.  The chief purpose is to get Perry White off-stage for most of the story.

 

The plot quickly shifts to its main thread.  One of the state’s U.S. senatorial seats is up in the current election, and the incumbent, Barton Schlumm, has a reputation as a do-nothing, “thumb-twiddling loafer”. Clark assigns Lois to cover a press conference held by Schlumm’s opposing party, which she writes off as a boring assignment---until the party spokesman announces that it has accepted Superman as a candidate for the Senate seat.  Lois pooh-poohs it as a publicity stunt, and then chokes on it when the Man of Steel swoops in and makes a rousing speech for his candidacy.

 

12134131897?profile=originalIf Lois had been a veteran reader of DC mags, she would have immediately suspected that there was probably a sneaky-albeit-noble reason behind Superman running for office.  But since she wasn’t, the pretty newshen is indignant at the Man of Steel using his super-hero image to win the senator’s seat.  And she becomes outraged when, over the next few days, he blatantly uses every super-feat as a campaign opportunity.  In fact, she’s so put out that she decides to toss her hat into the ring, as well.

 

Lois campaigns hard, but when you’re running against the most popular hero in the world, the result is pretty much what you’d guess.  In the primary election for the party nomination, Lois gets only one vote.  The rest go to Superman.  So overwhelming is the Action Ace’s victory that even his eventual opponent, Senator Schlumm, withdraws from the race.

 

 

 

Just as Lois’ dreams of “Miss Lane Goes to Washington” go poof, who should turn up but that mischievous fifth-dimensional imp, Mr. Mxyzptlk.  Seeing it as a great way to get Supie’s goat, Mr. M offers to be Lois’ campaign manager.  She agrees, and Mxy goes to work, using his magic to increase Lois’ favour with the public.  As the election draws near, she’s a strong write-in candidate.  In fact, she’s running dead even with Superman in the polls.

 

Don’t bother wondering who wins, though.  On the day of the election, the unthinkable happens.  (Unthinkable, mainly because it would have been discovered long before this in real-world politics.)  Both Superman and Lois are disqualified from running by Constitutional requirements.  The Man of Steel is out because of residency issues.  (The cited technicality is shaky and wouldn’t hold up, but, hey, go with it; you didn’t really think Superman was going to be a senator.)  And Lois is under the age of thirty, the minimum age required for U.S. senators.

 

12134133482?profile=originalThat’s just fine with the Man of Steel.  His candidacy was only a ploy to keep Mxyzptlk preöccupied until he could figure out a way to send the imp back to the fifth dimension.  As it turns out, Lois takes care of that by tricking him into saying “Kltpzyxm” from a coded message.

 

Since both candidates in the race are ineligible to win, the state governor declares the election invalid.  In the meantime, he will appoint someone to fill the vacant seat interim, until a special election can be held.  The governor’s choice---Perry White, well rested and back from his vacation!

 

Perry has some appointing to do of his own.  At the office farewell party, he introduces Lois, Jimmy, Clark, and the rest of the staff to Van Benson, the new acting editor of the Daily Planet.  Again, Lois is a little peeved that she doesn’t get the job, but she can’t argue with Benson’s credentials---he’s the former head of a national news service and a Pulitzer Prize winner, to boot.  The tale ends with her wondering how her life will change with Benson running things.

 

 

 

Now, DC fans of the day could be forgiven for presuming that Benson’s time with the Planet wouldn’t last beyond the next issue of Lois Lane, and then he’d be gone as quickly as he came.  The editor of the Superman family of magazines, Mort Weisinger, typically ensured that the details of the Superman mythos were consistent.  If something was established in the Man of Steel’s life within the pages of his own comic, then it was the same in Action Comics or World’s Finest Comics.

 

But Lois Lane had always been something of a bastard child.  It was a second-tier title in Weisinger’s stable, and outside of sharing the some of the same cast with the headliners, very little that took place in Lois’s magazine carried over into the others.  Even Jimmy Olsen, another second-stringer, was more tied into the Superman mainstream, thanks to Jimmy’s involvement with the Legion of Super-Heroes and Robin, the Boy Wonder.  Lois, however, seemed to exist in a private world inside her own title.

 

But Mort must have been paying particular attention to Lois Lane # 62.

 

 

 

 

12134135083?profile=originalThe Lois Lane title did not publish in December, so the next issue---# 63 (Feb., 1966)---went on sale in the first week of January, 1966.  Though not advertised on the cover this time, the story within, “The Satanic Schemes of S.K.U.L.”, was also a “3-part novel”, and it took up right where the previous issue left off.

 

At newly appointed Senator White’s farewell party, Van Benson makes the rounds, glad-handing the Planet employees.  On the surface, he appears to be quite a bit different than Perry.  Benson is urbane, personable, and handsome (although he apparently ducked into the men’s room in between issues to rub a little Grecian Formula into his hair).  Where Perry has a bit of a middle-age spread, the youthful Benson is fit and trim, and he prefers a pipe to White’s smelly stogies.  Lois, in particular, is taken with him. 

 

“It might be fun,” she thinks, “taking orders from a dream-boat like that!”

 

After Superman arrives and flies Perry to Washington, Benson shows that he has one trait very much in common with his predecessor.  The “dream-boat” turns into Simon Legree’s meaner brother.  He shuts down the party and starts cracking the whip while the window curtains are still flapping from Superman’s slipstream.

 

Throughout the day, Benson finds fault with virtually everything that crosses his desk, raising standards and beating excellence over his reporters' heads.  Lois and Jimmy Olsen begin to miss their old slave-driver, Perry White.  Some of the other staffers are probably sticking pins in their Van Benson voodoo dolls.

 

12134135698?profile=originalQuitting time finally arrives, and because this was back in the “good old days” of American business, when the boss could hit on a female employee without fear of being slapped with a sexual harassment suit, Benson asks Lois Lane out to dinner.  And Lois, who despite claiming to be in love with Superman, always seemed to tilt her cap toward any good-looking guy who came her way, says “Sure!”

 

Out on the town, we learn a little more about Van Benson.  He squires Lois to the Kitten Club, Earth-One’s version of the Playboy Club, and she discovers that Van is on a smooch-and-tickle basis with every waitress and hat-check girl in the place.

 

Nevertheless, her jealousy fades away when Benson turns on the charm.  Despite her being smitten, though, Lois’s reporter instincts aren’t completely shut down.  A chance occurrence triggers a passing suspicion in her mind that Van Benson may not be what he seems to be.

 

Hold that thought for a moment.

 

 

 

This is where the intricacies of publishing several monthly books, under different writers, sometimes make a timeline a tricky thing.  Mort Weisinger knew that introducing Van Benson as the new editor of the Daily Planet was too significant a change to not be addressed in his other Superman titles.  That, and he probably didn’t want to deal with a bunch of letters from pesky fans wanting to know why Perry White was still editing the paper in this month’s issue of Superman.

 

12134136889?profile=originalThat meant that Benson would have to show up in his other titles.  The problem was later developments, near the end of the story in Lois Lane # 63, would put too much of a twist on Benson’s rôle as the Planet editor.  For the readers caught up in such things, though, there was a way to square it.

 

Following Lois’ night out at the Kitten Club, several days, perhaps as much as a week, elapse before the big climax at the end of the issue.  Presumably, it is during this time that the other stories in which Van Benson appeared took place.  Mort probably didn’t plan it that way, but it’s the only way it fits.

 

Benson’s first appearance outside of Lois Lane occurred in Jimmy Olsen # 91 (Mar., 1966), on sale the second week of January, 1966.  In “The Dragon Delinquent”, Jimmy infiltrates a teen-age biker gang.  In the opening pages,  Benson has even less tolerance for the cub reporter’s antics than Perry White did and refuses to let him handle anything more significant than covering azalea festivals and society weddings.  Jimmy determines to cover the biker-gang story on his own time, and when he fakes an injury to his hand so he can get away from the office, Benson replies, “Bah!  You’re useless around here anyway, Olsen!  Take a week’s sick leave.  You won’t be missed!”

 

Naturally, he winds up eating those words, after Jimmy breaks up the biker gang and shuts down a foreign spy ring as a bonus.

 

In the last week of January, 1966, the pipe-smoking editor crossed over to Action Comics # 335 (Mar., 1966) for a two-panel cameo in which he rounds up Clark Kent and Lois and Jimmy at the request of Senator White, so they can answer a call from the President of the United States.

 

It wasn’t much, just those two appearances, but it was enough make Van Benson a legitimate, if minor, character in the Superman universe, rather than just being confined to the vacuum of the Lois Lane title.

 

12134138097?profile=original 

 

  

Back to Lois Lane # 63 . . . .

 

As her history of trying to ferret out Superman’s secret identity had proven, Lois Lane never let affection stand in the way of her nosiness.  Despite her infatuation with her new boss, Lois’ flicker of suspicion takes flame.  The next day at work, she snoops around Benson’s office and finds evidence that the newsman is somehow connected to a criminal organisation calling itself S.K.U.L.

 

Even though Benson continues to be a really swell guy to her and seems to be on the ball as an editor, Lois keeps digging.  While Benson is attending a meeting of the Editors’ Association, she breaks into his upscale apartment.  There, she finds and plays a hidden video recording revealing a meeting of the S.K.U.L. inner circle.  She discovers the outfit’s headquarters is on a secret floor above the Kitten Club when the recording shows Benson donning a hooded robe and attending the meeting.

 

And she learns what S.K.U.L. stands for---the Superman Killers’ Underground League.  Its goal is to assassinate Superman and all of his closest friends.

 

 

 

12134139261?profile=originalShowing a rare moment of common sense, Lois decides to tell Superman what she has learnt and let him deal with it.  However, when she asks Clark Kent to get in touch with the Man of Steel for her, he tells her that Superman is away on a space mission.  (Yes, I know---why would Clark tell her that Superman is away when he is, secretly, Superman?  It’s actually a big clue to what’s going on, but it was so played down that many readers probably missed it.)

 

Now, Lois could have sought out Supergirl, or Batman, or told the police or the F.B.I. what was going on, but Lois, being Lois, decides to handle the problem herself.  With a clever stratagem, the plucky girl inserts herself into the next S.K.U. L. meeting, posing as one of its hooded members.  She becomes convinced that Van Benson is actually the head of the evil organisation.

 

Once safely away, Lois turns to Lana Lang for help.  She tells the whole story to her red-headed rival, including her suspicion that the acting editor of the Daily Planet moonlights as an arch criminal.  They decide to go public with the information, hoping that, somehow, somewhere, Superman will hear about it.

 

Before they can do so, however, Superman appears, and Lois blurts out to him everything she knows.  The Man of Steel angrily berates the gals, telling them how they nearly fouled up things up royally.  He does that just before revealing himself to be Van Benson, in disguise.

 

Dum de dum dum!

 

Surprise number two:  before Lois’ and Lana’s sphincters pucker so tight that they cut off the blood flow to their brains, Benson reveals that he is secretly working for the F.B.I., in an undercover effort to bring down the S.K.U.L. organisation.  He tells them that Lois’ snooping has put her in too deep, and the only way out is for her to help him destroy S.K.U.L.

 

The issue ends with Lois and Lana agreeing to help, but the readers are kept wondering if Van Benson is really a newsman or an F.B.I. agent---or a killer!

 

 

 

 

You see what I mean, now, about Benson’s appearances in Jimmy Olsen and Action Comics having to take place before the end of Lois Lane # 63.

 

12134139879?profile=originalAfter all of that build-up, though, the conclusion is disappointingly ænemic, coming in at a mere eight pages stuck in the back of Lois Lane # 64 (Apr., 1966), which showed up on the spinner racks in the second week of February, 1966.  “The Prisoner of S.K.U.L.” was clearly rushed, to get it out of the way of the two-part "Lexo and Lola" Imaginary Story (which was actually quite good, as far as those kinds of tales go).

 

Benson explains to Lois Lane and Lana Lang that two key pieces of information are needed before S.K.U.L. can be destroyed.  While the undercover newsman has posed as the chief lieutenant in the criminal cabal, he has yet to identify the hidden mastermind behind the organisation.  It’s also urgent that they learn the nature of “Weapon X”, the device with which it intends to accomplish its goal of murdering Superman.

 

When Lois asks why the Man of Steel himself isn’t handling the matter, Benson explains, “Because both Superman and the F.B.I. are using the S.K.U.L. threat as a pilot-program for developing techniques whereby F.B.I. men will be able to carry on without Superman’s aid in the event Superman is ever destroyed!”

 

The whole “Superman is away on a space mission” bit was a cover story designed to allay any S.K.U.L. fears of being detected by the Man of Steel and going to ground before Benson could learn the evil group’s secrets.

 

12134141296?profile=originalBenson reveals the time and place of the next S.K.U.L. meeting and instructs Lois to again attend as one of the members.  At the meeting, Benson, once more posing as the S.K.U.L. lieutenant, assigns Lois to assassinate Superman when he appears a couple of days later at a Metropolis Women’s Charity League function.  Afterward, Benson tells Lois when and where she’ll receive the mysterious Weapon X.  She’s to show up at the charity event and use the device on Superman.  And don't worry about it harming the Man of Steel, says Van.  He's got everything under control.

 

Weapon X is handed off to Lois without a hitch, and when Superman appears on stage at the charity function, the gal reporter zaps him with it.  To her horror, the weapon overcomes the Man of Steel and weakens him to the point that he’s easily defeated by concealed S.K.U.L. agents.  As the hooded thugs carry the unconscious hero away to be executed, the real mastermind of S.K.U.L. emerges and gloats over Superman’s impending death.

 

Van Benson appears, taking a place at the mastermind’s side, and a grief-stricken Lois concludes that the double-crossing editor had pretended to be a good guy in order to dupe her into setting Superman up for murder.

 

She’s still kicking herself from guilt when “Benson” reveals himself to be Superman in disguise and captures the villain.  The Man of Steel explains that he had been keeping an eye on Lois all along, and once she had possession of Weapon X, he had used his heat vision to disable it.  He had only pretended to be overcome by it when Lois used it on him.

 

12134143090?profile=originalIt was all part of Benson’s plan to smoke out S.K.U.L.’s big boss.

 

 

 

Later, back in Benson’s office, he and Lois are tying up some loose ends when Perry White walks through the door.  Congress has just recessed, the grizzled newsman explains, so, he’s here to take back his old job.  Just like that, ace pipe-smoker Van Benson's tenure as editor of the Daily Planet was over.

 

“I hope he’ll return here, someday,” wishes Lois.  But he never did.  There hasn’t been so much as a mention of his name in any DC story in the forty-five years since.

 

But I understand that if you drop by the Metropolis Kitten Club, you’ll find a distinguished-looking old man sitting at a corner table.  He’ll be puffing on his pipe, pinching cigarette girls on the derrière, and regaling the patrons with stories about a screwball dame who used to work for him and how she had this whacky idea that Clark Kent was Superman.

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