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Comics for 21 November 2012

ADVENTURES OF AUGUSTA WIND #1
AHISTORY: AN UNAUTHORIZED HISTORY OF THE DOCTOR WHO UNIVERSE
ALPHA FLIGHT CLASSIC TP VOL 03
AMAZING SPIDER-MAN #698
ANGEL & FAITH TP VOL 02 DADDY ISSUES
ASTONISHING X-MEN #56
AVENGERS #34
AVENGERS BY BRIAN MICHAEL BENDIS TP VOL 03

BACK ISSUE #61
BATMAN JUDGE DREDD COLLECTION HC
BATWOMAN #14
BIRDS OF PREY #14
BLACKHAWKS TP VOL 01 THE GREAT LEAP FORWARD (N52)
BLEEDING COOL MAGAZINE #1 (MR)
BLUE BEETLE #14
BPRD 1948 #2 (OF 5)
BRAVEST WARRIORS #2 (OF 6)
BUFFY THE VAMPIRE SLAYER SPIKE #4 (OF 5)

CAPTAIN AMERICA #1 NOW
CAPTAIN MARVEL #7
CASTLE WAITING VOL II #18
CATWOMAN #14 (DOTF)
CLONE #1
COMEBACK #1 (OF 5)

DANGEROUS CURVES COMICS SEXIEST BAD GIRLS SC
DAREDEVIL #20
DARK AVENGERS #183
DARK HORSE PRESENTS #18
DARK SHADOWS #10
DARKNESS #108 (MR)
DC UNIVERSE PRESENTS #14
DEADPOOL #2 NOW
DUNGEONS & DRAGONS FORGOTTEN REALMS #5

EDGAR ALLAN POE CONQUEROR WORM ONE SHOT
ESSENTIAL WOLVERINE TP VOL 06

FABLES #123 (MR)
FAIREST TP VOL 01 WIDE AWAKE (MR)
FATHOM KIANI VOL 2 #4
FEAR ITSELF TP DEADPOOL FEARSOME FOUR
FRANKENSTEIN ALIVE ALIVE #2

GAME OF THRONES #11 (MR)
GFT BAD GIRLS #4 (OF 5) (MR)
GLORY #30
GODSTORM #2 (OF 5) (MR)
GOON #43
GREEN LANTERN NEW GUARDIANS #14 (RISE)
GRIMM FAIRY TALES #79 (MR)

HARBINGER (ONGOING) #6
HAWKEN TP
HAWKEYE #4
HELLBLAZER #297 (MR)
HELLRAISER #20 (MR)

INDESTRUCTIBLE HULK #1 NOW
INTERVIEW W/T VAMPIRE GN VOL 01 CLAUDIAS STORY
IRON MAN #2 NOW
IT GIRL & THE ATOMICS #4

JOURNEY INTO MYSTERY #646 NOW
JUDGE DREDD #1
JUSTICE LEAGUE #14

KEVIN SMITH BIONIC MAN #14
KISS #6

LEGEND OF OZ THE WICKED WEST ONGOING #2
LEGEND OF OZ WICKED WEST TP
LEGION OF SUPER HEROES #14
LOAC ESSENTIALS HC VOL 01 BARON BEAN
LOU SCHEIMER CREATING FILMATION GENERATION SC

MAD ARCHIVES HC VOL 04
MANARA EROTICA HC VOL 02
MARKED MAN HC
MIND THE GAP #6
MINIMUM CARNAGE OMEGA #1

NEXUS OMNIBUS TP VOL 01
NIGHTWING #14
NUMBER 13 #0

OVERSTREET GUIDE TO COLLECTING COMICS SC VOL 01
OZ TP MARVELOUS LAND OF OZ

PETER CANNON THUNDERBOLT #3
PRINCELESS STORIES WARRIOR WOMEN ONE SHOT #1 (OF 2)

RACHEL RISING TP VOL 02 FEAR NO MALUS
RED HOOD AND THE OUTLAWS #14
REVIVAL #5
ROCKETEER CARGO OF DOOM #4 (OF 4)

SAUCER COUNTRY TP VOL 01 RUN (MR)
SAVAGE DRAGON #183
SHADOW #8
SHOWCASE PRESENTS WORLDS FINEST TP VOL 04
SIMPSONS COMICS #196
SNAKE EYES & STORM SHADOW #19
SONIC SUPER SPECIAL MAGAZINE #5
SONIC THE HEDGEHOG LEGACY VOL 02
SONIC UNIVERSE #46
SPAWN #225 OBAMA
SPAWN #225 ROMNEY
STAR TREK ONGOING #15
STAR WARS AGENT O/T EMPIRE HARD TARGETS #2 (OF 5)
STEED AND MRS PEEL ONGOING #3
STITCHED TP VOL 01 (MR)
SUPERGIRL #14
SUPURBIA ONGOING #1
SWORD OF SORCERY #2

TERRY MOORE HOW TO DRAW SC
THE SPIDER #6
TRANSFORMERS MORE THAN MEETS EYE ONGOING #11
TRANSFORMERS ROBOTS IN DISGUISE ONGOING #11

ULTIMATE COMICS SPIDER-MAN #17
ULTIMATE COMICS X-MEN #18.1
UNCANNY X-FORCE #34
UNCANNY X-FORCE TP VOL 05 OTHERWORLD
UNWRITTEN #43 (MR)

VOLTRON #9

WALKING DEAD TP VOL 17 SOMETHING TO FEAR (MR)
WITCHBLADE REBIRTH TP VOL 02
WOLVERINE #316
WOLVERINE AND X-MEN #21
WONDER WOMAN #14

X-FACTOR #247
X-O MANOWAR (ONGOING) #7

YOUNG JUSTICE #22
YOUNG MISS HOLMES COLL TP VOL 02 CASEBOOK 3-4

Comics & Collectibles of Memphis posted this list on Facebook. Arrivals at your LCS may vary.

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Andrew A. Smith

Scripps Howard News Service

It’s Scott Snyder’s world, and we’re just reading about it.

 

Snyder is a published author (Voodoo Heart) and has an MFA from Columbia University, where he also teaches writing. He’s in this column for writing comics, of course – a lot of comics, where everything he’s touched has turned to gold.

 

Two of those treasures were released this week in hardback compilations: Batman Volume 1: The Court of Owls (DC Comics, $24.99) and Severed (Image Comics, $24.99). While unrelated, the books share one element in particular: horror – which makes sense, coming from Snyder, the author of the horror anthology mentioned above, and Vertigo’s American Vampire. Oh, and they share one other thing: They’re both riveting.

 

12134220483?profile=originalIt may seem strange that the Batman book is subtitled Volume One, given that the character has been around since 1939. But DC Comics re-launched its 52-title superhero line in September as “The New 52,” all beginning again with first issues. In that sense, this is a new Batman, one who has only been around for about five years.

 

But in most senses, he’s the same Dark Knight we saw in “The Old 52.” Of all DC characters, Batman was affected least by the re-launch, even keeping most of his pre-New 52 creators – among them Snyder, who has under his utility belt a highly acclaimed run on Detective Comics and an important miniseries titled Batman: Gates of Gotham.

 

That latter explored Gotham City in the Gilded Age, its richest founding families and the architecture they were responsible for. Those families were the Waynes (which later gave us Batman), the Cobblepotts (Penguin), the Elliots (Hush) and the Kanes (Batwomans I & II, Betty “Flamebird” Kane and – interestingly – Bruce Wayne’s mother). With Court of Owls, Snyder is going back even farther into Gotham’s past, establishing an evil organization that has always controlled Gotham from its founding almost 400 years ago, and is so deeply hidden that it’s only known to Gotham’s citizens as the subject of a creepy nursery rhyme.

 

My first thought on hearing this plot was: “Ridiculous. There’s no way such a thing could exist in Gotham City for hundreds of years without Batman knowing about it.” To my delight, that was the Caped Crusader’s reaction too. And when the Court sends the Talons, their undead and almost unstoppable assassins, to erase this arrogant Bat-upstart, Batman’s overconfidence is almost his undoing. That’s clever writing, and shows Snyder has a deep insight into Bruce Wayne – a character he tweeted April 18 was “the coolest” character in comics, one he was “honored to write.” He followed seconds later with “And by coolest, I mean best.”

 

And what the Court puts Batman through – well, the word “horror” pops up again, and it probably would have destroyed anyone without the mental toughness of Bruce Wayne. Meanwhile, Snyder has also dropped hints about the backgrounds of the Grayson family (which gave us the first Robin, now Nightwing) and the Pennyworths (Alfred). And could there be some Waynes, Graysons or Pennyworths behind the masks of the current Owls? That answer could profoundly change Batman, and not in a good way.

 

The Court of Owls story doesn’t actually end with this book, which reprints Batman #1-7. A second volume will reprint Batman #8-11, which finishes the tale. But I didn’t feel short-changed by Court of Owls, and neither will you.

 

That doesn’t leave me much room to discuss Severed — which deserves a column on its own — that Scott Snyder co-wrote with Scott Tuft, a screenwriter. In it, a one-armed man in the present flashes back to his boyhood during World War I, and his encounter with a cannibal drifter who passes himself off as a traveling salesman. The drifter attaches himself to the boy, who is riding the rails in search of his mysterious father – a search which isn’t what it seems, and imperils everyone the boy cares about. Like with Court of Owls, Snyder mixes mystery with horror for maximum chills.

 

Given that Severed is set in 1916, and relies on emotional nuance for much of its terror, a lot rides on artist Attila Futari. Fortunately, his paint-and-wash technique captures both subtle moments and terrifying ones with equal facility, while his 100-year-old setting is completely convincing.

 

This book can be read as a metaphor for pedophilia, or as a straight horror tale (with a hint of the supernatural). Either way, Severed covers the horror gamut from nerve-wracking suspense to electric shocks of blinding terror.

 

So welcome to Scott Snyder’s world. You may never sleep again.

 

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

 

ART

1. Batman Volume 1: The Court of Owls reprints the first seven issues of the new Batman title.

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Andrew A. Smith

Scripps Howard News Service

Nay 8, 2012 -- When DC Comics re-launched its entire superhero line last September as “The New 52,” it put its best foot forward with Justice League #1. Now they’re doing it again with the first “New 52” collections, beginning with Justice League Vol. 1: The Origin ($24.99).

 

Origin collects the first six issues of Justice League, set five years ago and depicting how Aquaman, Batman, Cyborg, Flash, Green Lantern, Superman and Wonder Woman first met. That alone makes Origin a landmark event in comics, but what launches Origin into the stratosphere is its legendary creative team: Chief Creative Officer Geoff Johns, who wrote it, and Co-Publisher Jim Lee, who drew it.

 

12134219678?profile=originalOf course, the Justice League isn’t new – it’s existed since 1960. So when DC re-launched its superhero universe, Johns had to decide what parts of the “old 52” Justice League he would keep, and what to scrape away.

 

“The core is obviously the big characters – Superman, Batman, Wonder Woman – that core roster of the most well-known superheroes that DC has,” Johns said in an interview. “That, of course, was going to stay. And then I read the original origins of the League, and Jim and I spoke, and we said that if there’s a villain the League is going to fight for the very first time, that brings them together, it’s going to be Darkseid.”

 

That would be the mad god of Apokolips, an enormously powerful entity who invades Earth to enslave its population. The brand-new superheroes of Earth rise to meet him, although they haven’t yet met each other, and don’t really get along when they do.

 

The League’s various earlier origins have usually involved invasions, too, one one of them by a gigantic, one-eyed, alien starfish named Starro the Conqueror. But don’t worry, Johns said, those League adventures still happened.

 

“They still fought Starro,” Johns laughed, “but we wanted someone [for Origin] with two eyes.”


Another change is the replacement of Martian Manhunter as a founding member with Cyborg (of the Teen Titans in the “old 52”). That gives the team a bit more diversity – Cyborg is a black teenager – but Johns says it’s more than that.

 

Cyborg’s high-tech aspect “really helps the team feel more modern,” and makes the character “integral to the team.” Plus, thanks to the Teen Titans cartoon, Cyborg is “pretty well-known [to the] general public.” And finally, Johns said, adding Cyborg makes this Justice League origin story unique. “One of the things we didn’t want to do was tell the same story.”

 

One element of Cyborg will thrill older fans: His new origin involves a lot of the weird science from old DC comics. In The New 52, a lot of DC’s mad scientists have a common origin, working with found technology from Apokolips and elsewhere, which we’ll learn more about as early as Free Comic Book Day on May 5.

 

“That’s a big part of where the book’s going,” Johns said enthusiastically. “I think there’s a lot of cool things that grow out of this, like mentioning Professor Ivo [who created Amazo], Will Magnus [Metal Men], having S.T.A.R. Labs be this place where a lot of these people once worked when all this stuff was going on, and crazy technology was being discovered and found and recovered and analyzed and used and tapped, [and] that this invasion of Darkseid really started this whole movement of high-tech stuff.”

 

But perhaps the biggest change is that the Justice League will be more human than ever before.

 

“One of themes of our books is that they’re not gods,” Johns said. “They’re the Justice League, and that although there’s a perception they’re gods, they’re really people. Although you could equate them that way, we’ll see we’ll be dealing more with their humanity than their god-like status. … They have problems and personality quirks and issues and strengths and weaknesses just like us and so that’ll be explored, that’ll be the core of the book.”

 

So Origin is different from its predecessors in a lot of important ways. But one thing that hasn’t changed is that Justice League remains a big-concept book where the action is turned up to 11. It’s “an action-driven book with a lot of character and heart and humor and [big] stakes,” Johns said. “A comic-book comic book, embracing all the superhero stuff that I think makes superheroes great, and trying to do it on as big a scale as you can with Jim Lee.”

 

Which makes Justice League: Origin not just important if you like comics, but essential.

 

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

 

ART

1. "Justice League: Origin" is a hardback collection of the first six issues of the "Justice League" by superstar creators Geoff Johns and Jim Lee. Copyright DC Entertainment.

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By Andrew A. Smith

Scripps Howard News Service

 

Oct. 23, 2012: The third season premiere of The Walking Dead Oct. 14 on AMC scored record-breaking ratings, with almost 11 million people tuning in.

 

And that’s deserved, because TWD is a terrific show. But it started as a terrific comic book, and if you’re not reading it, you should be. If you think the comics would spoil the TV show, or that the TV show makes the comics redundant, that’s not the case: AMC has made the canny decision to follow the general outline of the comic book, but not the specifics.  

 

12134218475?profile=originalWith this season, the gang on the show is just now moving into a Georgia prison for safety, which happened in the comics back in 2004. But already stark differences between the two formats are in evidence. In the comics, for example, Dale Horvath was alive when they reached the prison, but Hershel Greene wasn’t – but on the TV show, that’s reversed. Also, in the comics Rick’s gang was larger, and the composition was different, with a lot more children. And finally, in the comics Rick allowed the surviving convicts to join the group, whereas on the TV show he isolates them in a different cell block.

 

Those are just the obvious contrasts a fan of one format would notice when sampling the other. But there are plenty of subtler differences as well, many an inevitable result of a story playing out in two different media with different strengths and weaknesses. For example, the characters’ internal struggles are much more evident on an actor’s face than in a pen-and-ink drawings – but in a comic book, you can know what characters are thinking. So there are pluses and minuses in each approach.

 

Which is why I heartily recommend that non-readers give themselves a Halloween treat and catch up on The Walking Dead in print. Image Comics has made that as easy as buying soft drinks: You can buy any size you like. There’s the $3.99 monthly comic book (now up to issue #103); the $14.99 trade paperbacks, which collect six issues each; the $34.99 “Book” format, which collects 12 issues in hardback; the $35.99 “Compendia,” which collect 24 issues in massive trade paperbacks, and the $59.97 “Omnibus” format, which collects 24 issues per volume in hardback with a slipcase.

 

But lock the door before you start reading, and leave all the lights on. You’ve been warned.

 

12134218501?profile=originalIn other spooky stuff this month, Hotel Transylvania premiered, which I have not seen. But I have seen The Art and Making of Hotel Transylvania ($34.95, Titan Books), which I quite enjoyed.

 

Art takes us through the process of creating each character, each background, each plot point of the movie. As a frustrated cartoonist myself, I found it fascinating to see all the variations on the main character alone. There’s a page of fat Draculas, old Draculas, imperious Draculas, modern Draculas, old-school Draculas, you name it – until creator Genndy Tartakovsky (Star Wars: The Clone Wars) settled on a version that played to the strengths of the voice actor, Adam Sandler.

 

“One of the challenges of new versions of classic characters such as Dracula and Frankenstein is finding the balance between the expected and the unexpected,” writes author Tracey Miller-Zarneke. And with more than 400 pages of concept art, character designs and digital art, along with interviews with creators, filmmakers and crew, the reader gets to go along for the ride.

 

Meanwhile, the latest American Vampire collection is out from DC/Vertigo, and I have to say it’s the first one that hasn’t completely blown me away.

 

American Vampire Volume Four ($24.99) is the first that doesn’t star the usual group of characters we follow, the current representatives of the Book and Cash families, whose history forms the spine of the American Vampire narrative. That may explain my tepid interest.

 

12134219301?profile=originalBut it may also be that the three, almost-unrelated stories in this collection didn’t grab me.

 

The first is set in the old West, starring Skinner Sweet in his pre-vampire days and his half-brother and later nemesis Jim Book. While Skinner has been believed to this point to be the first American vampire, this story – “The Beast in the Cave” – reveals an earlier one, from around the 16th century. But there is no doubt by the end of the story that the title refers metaphorically to Skinner as much as it does literally to the ancient bloodsucker – which comes as no surprise at all to regular readers.

 

The second, "Death Race,” is set in the 1950s with every cliché from that decade. Our hero is a vampire killer who steps right out of The Wild One (or Grease), with James Dean hair, a cigarette perpetually hanging from pouted lip, black leather jacket, white T-shirt and rolled-up blue jeans. I’m half-surprised he wasn’t named Elvis, and the ending was telegraphed pretty early.

 

The third story promised to be the most interesting, with the first African-American vampire starring in a two-part story set during the Jim Crow South. But it failed to tackle these issues directly, instead essentially serving as a set-up for the next adventure, which will take place in the next volume.

 

But, while I’ve been a bit critical of this book, it is still head and shoulders above most comics fare. This book is a solid double, and is only a disappointment in that we’re used to home runs.

 

ART

1. The Walking Dead Book 8 is the latest in the hardback collection, with The Walking Dead #85-96. Copyright Image Comics

2. The Art and Making of Hotel Transylvania pulls the curtain back on the creative process. Copyright Titan Books.

3. American Vampire Volume 4 includes one story set in the old West, and two in the 1950s. Copyright DC Entertainment

 

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

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Comics for 23 May 2012

27 TP VOL 02 SECOND SET

ABSOLUTE BATMAN DARK VICTORY HC
ADVENTURES INTO THE UNKNOWN ARCHIVES HC V1
ADVENTURES OF DOG MENDONCA PIZZABOY TP
ALL STAR WESTERN #9 (NIGHT OF THE OWLS)
AMAZING SPIDER-MAN #686 ENDS
ANDREW LOOMIS SUCCESFUL DRAWING HC
AQUAMAN #9
ARCHIE #633
ARTIFACTS ORIGINS FIRST BORN TP
ASTONISHING X-MEN #50
AVENGERS CONTEST TP

BART SIMPSON COMICS #71
BATMAN INCORPORATED #1
BATMAN KNIGHTFALL TP NEW ED V2 KNIGHTQUEST
BATMAN THE DARK KNIGHT #9 (NIGHT OF THE OWLS)
BTVS SEASON 8 LIBRARY HC VOL 01 LONG WAY HOME
BUCK ROGERS 25TH CENTURY DAILIES HC V6 1936

CAPTAIN AMERICA #12
CAPTAIN AMERICA AND HAWKEYE #631
CAVEWOMAN MUTATION #2
CHEW #26 (MR)
COBRA ONGOING #13
COMIC BOOK HISTORY OF COMICS GN

DAKEN DARK WOLVERINE HC NO MORE HEROES
DARK HORSE PRESENTS #12
DEADPOOL #55
DEADPOOL MAX TP INVOLUNTARY ARMAGEDDON
DOCTOR SOLAR MAN OF THE ATOM TP V2 REVELATION
DOMINIQUE LAVEAU VOODOO CHILD #3 (MR)
DOROTHY AND WIZARD IN OZ #7 (OF 8)

ELEPHANTMEN #39 (MR)

FABLES #117 (MR)
FANTASTIC FOUR #606
FATHOM KIANI VOL 2 #2
FLASH #9
FLASH GORDON INVASION O/T RED SWORD TP
FLASH GORDON VENGENCE OF MING GN
FLASH SYMBOL I T/S
FOOT SOLDIERS TP VOL 01
FURY OF FIRESTORM THE NUCLEAR MEN #9

GFT PRESENTS NEVERLAND HOOK #5
GI JOE A REAL AMERICAN HERO TP VOL 04
GODZILLA ONGOING #1
GOLDEN AGE WESTERN COMICS HC
GREEN HORNET #25
GREEN LANTERN NEW GUARDIANS #9
GUILD FAWKES #1

HAUNT TP VOL 03
HELLRAISER #14 (MR)
HERO COMICS 2012
HONEY WEST FILES SC VOL 01
HULK #52
HULK SMASH AVENGERS #4 (OF 5)

ILLUSTRATION MAGAZINE #37
IRREDEEMABLE #37

JOE HILL THE CAPE HC
JOURNEY INTO MYSTERY #638 EXILED
JUSTICE LEAGUE DARK #9

KEVIN SMITH BIONIC MAN #9
KING CITY TP (MR)
KNIGHTS OF THE DINNER TABLE #186

LEES TOY REVIEW #220 SPRING ISSUE
LORD OF THE JUNGLE ANNUAL #1 (MR)

MAD ARCHIVES HC VOL 03
MAGIC THE GATHERING #4
MARVEL UNIVERSE ULTIMATE SPIDER-MAN #2
MARVEL ZOMBIES DESTROY #2 (OF 5)
MIGHTY THOR #14
MIGHTY THOR BY MATT FRACTION TP VOL 01
MIND MGMT #1
MMW AMAZING SPIDER-MAN TP VOL 07
MMW ATLAS ERA JOURNEY INTO MYSTERY HC VOL 04

NEAR DEATH #8
NETHERWORLD TP
NO PLACE LIKE HOME #4 (MR)

ORCHID #7 (MR)

PROPHET #25

QUEEN SONJA TP VOL 03 COMING OF AGE

RAGEMOOR #3
REBEL BLOOD #3 (OF 4) (MR)
RESIDENT ALIEN #1
REVERSE FLASH SYMBOL T/S
ROBERT JORDAN WHEEL OF TIME EYE WORLD #25

SAVAGE HAWKMAN #9
SECRET AVENGERS #27 AVX
SHOWCASE PRESENTS SEA DEVILS TP VOL 01
SMOKE AND MIRRORS #3 (OF 5)
SOULFIRE VOL 3 #8
STAN LEES MIGHTY 7 #2
STAR WARS DARTH VADER GHOST PRISON #1 (OF 5)
STEVE DITKO ARCHIVES HC V3 MYSTERIOUS TRAVEL
STORMWATCH TP VOL 01 THE DARK SIDE
STRAWBERRY SHORTCAKE TP VOL 01 BERRY FUN
SUPERMAN #9

TEEN TITANS #9 (THE CULLING)
TRANSFORMERS MORE THAN MEETS EYE ONGOING #5
TRUE BLOOD ONGOING #1

ULTIMATE COMICS SPIDER-MAN DOSM FALLOUT TP
ULTIMATE COMICS X-MEN #12
UNCANNY X-FORCE OTHERWORLD HC
UNCANNY X-FORCE TP VOL 03 DARK ANGEL SAGA BK 1
UNWRITTEN #37 (MR)

VAMPIRELLA #17
VOODOO #9

WARLORD OF MARS DEJAH THORIS #12 (MR)
WITCHBLADE #156
WOLVERINE AND BLACK CAT CLAWS 2 TP

XENOHOLICS TP VOL 01 (MR)

YOUNGBLOOD #71

ZORRO RIDES AGAIN TP VOL 01

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

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Things That Would Have Shocked My 12-Year-Old Self

Oct. 26, 2012: As I may have mentioned a few thousand times, science fiction (and fantasy and horror) were nearly non-existent in American pop culture in the 1960s when I was growing up. The conventional wisdom in Hollywood was that "science fiction doesn't sell," perhaps because all the SF movies in the 1950s were dopey B-movies about giant radioactive insects with really cheap budgets and lousy special effects. Regardless, Hollywood was convinced SF was a loser, and that idea pretty much permeated media across the board.

There were occasionally SF TV shows, but none of them were success stories. Lost in Space and Voyage to the Bottom of the Sea became jokes. Star Trek failed after two seasons, and was only extended for an extra year by a coordinated letter-writing campaign. The Time Tunnel only lasted a year. Batman was deliberately silly. 

So for kids like the young Captain, who loved extra-normal stuff, the only good material available was early Universal horror movies (Dracula, Frankenstein, The Mummy, etc.) and comic books. Both areas were pretty seriously marginalized, so my friends and I were pretty resigned to being on the periphery of pop culture (and avoided mentioning our passions at school). 

Then along came this thing called Star Wars in the 1970s. And suddenly SF, fantasy and horror were cool. This would have shocked my 12-year-old self. Moreover, Star Wars kicked open a door that hasn't ever closed, and more wonderful stuff has poured through that door so that even now, more than 30 years later, my inner 12-year-old remains giddy with disbelief through each revelation. Here are just a few of my favorite things:

* There is an Element Lad action figure. If comic books were a marginal hobby in the 1960s, Legion of Super-Heroes fandom was a subculture within a subculture. While even our parents could name Superman and Batman, most comic-book fans could be stumped at naming any member of the LSH outside of Superboy. And yet, not only did DC Direct release a series of Silver Age Legion of Super-Heroes action figures, they released the figures in the order the characters joined the team. If that doesn't tickle your fanboy heart, your heart comes from Stone Boy's planet.

* There are superhero movies, and they don't suck. When the Captain was 12, the only breakthroughs superheroes made into broader media were bad cartoons, the aforementioned Batman and reruns of the Adventures of Superman TV show. The Marvel Super-Heroes cartoons of 1965 were simply gawdawful, and the initially respectful Superman, Batman and Aquaman cartoons quickly devolved into Super Friends. The Superman show was wonderful, but it was OLD -- often B&W -- and, let's face it, the special effects were nearly non-existent. The fact that Hollywood pours millions into X-Men, Batman, Spider-Man and Avengers movies is astonishing to my inner 12-year-old, and even better, they're popular. I feel a weird sense of affirmation. Speaking of which:

* My mother knows who Wolverine is. My parents -- and most of their generation -- thought of comics as juvenile pap, and knew nothing about superheroes beyond vague ideas about who Superman and Batman were. But thanks to the movies, even my mother has heard of Wolverine. Wolverine! He didn't even exist until 1975!

* I have a Captain America shield. In the 1960s, I could fantasize about a decent Superman, Batman or Spider-Man TV show or movie because I could imagine -- just barely -- those characters being popular/familiar enough that maybe somebody would put up money for such a movie, and maybe enough people would go so that it wouldn't bomb. But Captain America? He was a back-up series in Tales of Suspense, and during the Vietnam War kids and young adults were turning against pro-war jingoism and deeply suspicious of mindless patriotism. I was a big Cap fan, so much so that I made a shield out of a garbage can lid and tempera paint. But a store-bought shield? My 12-year-old self could not imagine such a thing.

* Iron Man is an A-list character. I loved Marvel Comics in the 1960s, but they were the new kids on the block and virtually unknown to non-comics-readers. And, just like DC, where Superman and Batman were the top dogs, there was an hierarchy at Marvel: Spider-Man, Fantastic Four and maybe the Hulk were A-listers, and everyone else was B-list or below. (And even the FF were a bit sketchy; kids at school and church would generally refer to them as "rock guy," "stretchy guy," "fire guy" and the like.) So the idea that Iron Man might someday be A-list was an alien concept to me; that he would headline an Avengers movie unthinkable. And yet, here we are. God bless Robert Downey Jr.

I could go on in this vein, but Gen Xers are probably yawning and younger readers have probably drifted off. I hope not, though, because the whole point of a forum is to share experiences and perspectives. I am always fascinated, for example, how fellow Legionnaire Chris Fluit views Uncanny X-Men, since it was the best-selling comic book of his youth, while it sold so poorly when I was a boy it was canceled when I was 12. So we are both big X-fans, but in my case it's my love for the underdog, while his experience is almost diametrically opposite! 

So I hope some of you find this amusing, despite the age/experience gap. Because, honestly, I couldn't be more tickled by today's options, and I hope that rubs off!

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12134027688?profile=originalCentral to the origin of the Legion of Super-Heroes was the premise that the inspiration for the thirtieth-century teen-age super-hero club came from the twentieth-century exploits of Superboy.  Regarded as “the greatest super-hero of all”, the Boy of Steel was inducted into the Legion in Adventure Comics # 247 (Apr., 1958).  Four years later, the Legion graduated to a regular feature in Adventure, eventually taking over the lead and then the entire magazine.  Adventure Comics would be the Legion’s home through the end of the Silver Age, and Superboy stayed for the whole ride, participating in nearly all of those adventures in the far-flung future.

 

The presence of the Boy of Steel, though, was a subtle reminder of a question never addressed or even mentioned throughout the series:  what did fate hold for his adult self, beyond the present-day adventures we read about in Superman and Action Comics?  Implicit in the thirtieth-century setting of the Legion was the fact that the full events of Superman’s life had already been recorded.  From the Legion’s standpoint, it was ancient history. 

 

12134214069?profile=originalRare and tantalising hints were dropped from time to time.  For example, we knew, thanks to Adventure Comics # 369 (Jun., 1968), that Superman would eventually marry.  But to whom, Legion fans were never told, nor if his marriage would produce children.

 

Furthermore, the Legion tales curiously ignored the big question---why was there no Superman operating in the thirtieth century? The original Man of Steel may not have survived for a millennium, but he would have had descendants, wouldn’t he?  What happened to them?  Why was there no Caped Kryptonian protecting the Earth of the future? 

 

Superman editor Mort Weisinger probably got a lot of letters asking these questions.  Followers of the Legion in Adventure Comics tended to be quite vocal.  And Weisinger was responsive to this.  The Legion of Super-Heroes was more fan-interactive, perhaps, than any other series produced by DC.

 

So, if the readers wanted to know about a Superman in the thirtieth century, then, by gum, Mort was going to tell them.

 

 

 

12134214682?profile=originalTo make sure they didn’t miss it, Weisinger made it the cover feature of Superman # 181 (Nov., 1965), introducing the Superman of 2965. This version was so different from the original man from Krypton, assured the cover blurb, that we “wouldn’t believe our eyes!”

 

As far as what had happened between the time of our Superman and that of his distant descendant, writer Edmond Hamilton zipped through all of that on the splash page:

 

Though Superman is the mightiest man on Earth, even he cannot live forever!  Someday he will marry and have a son, Superman II, who will replace him and carry on as mankind’s foremost crusader for good.  And so the torch of justice will be passed on through the ages, from father to son!  But how will the Superman of 1,000 years from now differ from his great ancestor?

 

The Superman of 2965 is the twentieth in the Superman line, each of his nineteen predecessors having served his turn as the Man of Steel (much in the same way that Lee Falk's the Phantom was a hereditary calling). Physically, he resembles the original, but, as drawn by Swan and Klein, is not an exact double for the 1965 Superman. Actually, he looks more like the adult Mon-El we will see in Adventure Comics # 354 (Mar., 1967).

Superman XX possesses all of the original's powers, undiminished over the centuries. The difference is in his weakness. This Superman is immune to all forms of kryptonite; however, a chemical fall-out from an inter-galactic war a century earlier had settled in the seas of all of the planets. The now-tainted sea water is deadly to him. Even a simple splashing of sea water makes him stagger. A complete immersion immediately paralyses him and will kill him within minutes.

12134215464?profile=originalHis secret identity is Klar Ken T5477, a reporter for the Daily Interplanetary News.  By the time of the thirtieth century, printed news is obsolete.  To keep up on current events, folks watch the ultra-news, beamed into their homes via holograph.  As part of his disguise, Klar wears “telescopic spectacles”, routinely used by reporters of the day to aid in locating news.

 

His circle of friends includes colleague Lyra 3916.  Lyra, a pretty brunette, is the Future Superman’s “Lois Lane”.  However---in one of those “dramatic differences” from the 20th-century format---she despises Superman as a conceited oaf but carries a torch for Klar. A not-so-dramatic difference is Jay L3388, an eager cub reporter for the ultra-news service and Jimmy Olsen-analogue.

 

The reporters take their assignments from a computer editor called PW-5598. This computer was designed by Per Wye T7357, a descendant of Perry White.

 

 


This first story opens with the Superman XX being deputised by the Federation of Planets to act as a lawman with unlimited powers on all member worlds.  This ceremony is a traditional one for each Superman in succession, no doubt extending from the similar twentieth-century event when the original Superman was made an honorary citizen of all member countries by the United Nations.

 

Though clearly, from other elements already in place, the twentieth Man of Steel has been operating as a super-hero for some time before this, the deputising ceremony marks the official start of his career.  It symbolises the moment when he officially assumes the mantle of “Superman, champion of the universe”.

 

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(For the record, his first mission as the Universe’s Hero is to stop a rogue planet from colliding with Earth and Mars.  It takes him all of two panels.)

Shortly thereafter, we learn that the 30th-century Superman's Fortress of Solitude is a satellite in orbit around the Earth, shielded from prying eyes by a cloak of invisibility. However, a page or two later, two criminals find a way to penetrate that shield and evade most of the snares set for intruders, before being nabbed by the Man of Steel. After that, Superman XX moves his citadel into the centre of Earth's sun.

 

This eight-page tale simply sets the stage, and no doubt, Mort was hoping it would whet the readers’ appetites.  Apparently it did, since the Future Superman’s first real adventure appeared the following year, in Action Comics # 338 (Jun., 1966).  For those who came in late, the Superman of 2966 (moved up a year to maintain the thousand-year separation) was introduced thusly:

 

12134217672?profile=originalHopping heroes!  What kind of Superman story is this?  Can this future-age city be Metropolis?  And that flying guy doesn’t look like our Man of Steel!  Well, no wonder!  He’s the Superman of 2966---a direct descendant of the Caped Kryptonian!  And the villain?  Just turn the page and meet . . . “Muto---Monarch of Menace!”

 

The original Man of Steel fought Lex Luthor.  Superman V’s greatest foe was Vyldan.  The Superman of 2966 had for his arch-enemy---Muto, a dwarfish, yellow-skinned mutant.  Muto possessed an oversized cranium which held an enlarged brain, capable of various mental powers.

 

Despite his freakish appearance, Muto was an Earthman. Two decades earlier, the current Man of Tomorrow’s father, Superman XIX, intercepted a comet with a small, solid nucleus.  The comet was on a collision course with an inhabited world, and in order to save those lives, the nineteenth Action Ace smashed the nucleus to atoms.  However, the tremendous energy released opened a space-warp to another dimension, a warp which sucked a space-cruiser into it.  On board the trapped ship was a pregnant Earth woman who gave birth while in that alien dimension.  As a result, the baby was born with an inhuman appearance and incredible mental abilities.

 

The infant, now grown into the adult Muto, blames his hideous mutation on the earlier Man of Steel.  But he’ll settle for killing the son.

 

12134218701?profile=originalSurrounding himself with a band of alien lieutenants, Muto lands on the Weapons World, where the Federation of Planets confines devices too dangerous for the universe’s safety.  Superman XX tracks Muto to the Weapons World, but the villain’s mental powers, combined with his access to the deadly weaponry, results in a pitched battle.  As the combat sways back and forth, it becomes clear that Muto is a much more formidable foe for the 30th-century Superman than Luthor or Brainiac ever was for his ancestor.

 

It also quickly becomes obvious that sea water is a much more constraining weakness than kryptonite ever was.  Unlike kryptonite, sea water exists in some form almost everywhere, and with his mental powers, Muto has little trouble finding some to use against Superman.  He can even condense the moisture in clouds into a paralysing sea spray.

 

Their battle rages on, jumping from planet to planet, until finally, on a civilised world, Muto uses his mind-over-matter power to create a tidal wave of sea water.  While trying to save lives, Superman is engulfed by the wave and submerged, immobile and dying.

 

 

 

12134221858?profile=originalFans were left biting their nails, since the story ended here, to pick up the next month, in “Muto Versus the Man of Tomorrow”, in Action Comics # 339 (Jul., 1966).

 

In a clever trick of turning Muto’s own trap to his own benefit, the Superman of 2966 frees himself from his watery would-be grave and takes off after his foe.  Muto has used the respite to return to Earth where he savages the populace with the devices he stole from the Weapons World.

 

Once again, the battle is joined, but, this time, the various sea-water traps prepared by Muto are less effective.  Superman has taken the precaution of outfitting his belt with flying jets that trigger automatically whenever they are dampened by water.  The jets fly the Man of Tomorrow clear of Muto’s water tricks. 

 

After fighting across the breadth of the Earth, Superman XX and Muto come to a showdown on a polar ice cap.  Before Muto’s mental powers can melt the entire cap, deluging the Man of Steel in so much sea water even his jets could not save him, the hero springs a trap of his own.  With his super-powers, he recreates the circumstances that opened the original space-warp to the dimension in which Muto was born.  A new warp opens, and the villain is irresistibly drawn back into the alien dimension.

 

 


Over the course of the series, the readership was given fascinating glimpses into the history of Superman. On the splash page of the first story from Superman # 181, is displayed a pavilion of statuary honouring the Supermen of past generations. Interestingly, the statue commemorating the original Man of Steel lists the years of his birth and death as "1920-197_", with the last digit of the year of death obscured. That means that the original Superman was, at most, a mere fifty-nine years of age when he died.

12134222266?profile=originalOther aspects of the Superman dynasty were revealed:

• Dave Kent was exposed as Superman IV when he had to go into action in his civilian identity to save a jet-train from crashing, an incident he could have avoided had he noticed the weak point in the railing. 

• Superman VII had his identity as Kanton K-73 revealed by his own son, when the toddler tore open his father's shirt with his own super-strength, revealing the super-suit underneath to house guests.

 

• The costume worn by Superman XX is the original one woven by Ma Kent out of Kal-El’s baby blankets.  Indestructible and immune to wear, it has been passed down from generation to generation.

 

 

 

The Superman of Tomorrow made one final appearance, in “The Danger of the Deadly Duo”, from World’s Finest Comics # 166 (May, 1967).

 

12134224658?profile=originalThis story revealed that another of the Future Superman's foes was that era's Joker, who, like many in the series, was descended from the original, twentieth-century version.

Readers found out that there had been a dynasty of Batmen too, and for centuries---at least through the fifteenth generation---a Superman-Batman team had fought evil throughout the galaxy. But Superman XX has no Caped Crusader for a partner. The father of the current Joker had killed the nineteenth Batman at a public ceremony by gimmicking the dais to explode.

The blast had also killed several spectators, including Batman XIX's wife and the rest of his family.

A few pages later, we learn that the slain Masked Manhunter had a son.  An infant at the time, he had been too young to attend the ceremony.  And with his parents dead, there was no-one to tell him of his crime-fighting heritage.

After the boy---Bron Wayn E7705---grows into a man, he makes a pilgrimage to Wayn Manor, situated on his family’s private asteroid.  There, he accidentally discovers the entrance to the Batcave and learns of his lineage. Swearing vengeance on the nineteenth Joker, Wayn E7705 undertakes a period of intense training to become the next Batman.

In addition to his physical and mental development, the new Batman has a utility belt crammed full of futuristic devices to help him in his vendetta. The belt is outfitted with powerful mini-jets which enable him to fly; a molecular diffuser which allows him to pass through solid objects; an invisibility beam; a brain-wave tracer; a feature-adjustor capable of altering his appearance; and "all sorts of scientific detective equipment".

Instead of a Batmobile, Batman XX travels in "the Batship", a sleek, swift spacecraft adorned with a sweeping bat-silhouette on the nose.

12134224895?profile=originalRealising that the route to finding the killer of his parents is through his son, the current Joker, the Batman of 2967 seeks out and teams up with the Superman of 2967.  Complicating matters is the fact that Superman XX’s arch-foe, Muto, has escaped from the other dimension and has partnered with the Murderous Mountebank.

 

“The Danger of the Deadly Duo” is primarily a 30th-century Batman showcase.  The Caped Crusader easily deduces where the Muto-Joker team will strike next, and the new World’s Finest Team has them on the run from the get-go, primarily due to the presence of Batman and the gimmicks in his futuristic utility belt.  After forcing the fleeing crooks down on a planetoid bombarded by constant electrical storms, Superman XX makes quick work of Muto, even though the big-brained villain flees into a cavern dripping with sea water.  The Man of Tomorrow simply slams repeatedly into the rocky ground overhead, forcing Muto to escape the cave before it collapses and crushes him.  As Muto emerges, Superman places an encephalo-helmet on his noggin, deadening the mutant’s super-powerful brain waves.

 

Meanwhile, Batman XX has it out with the son of his parents’ killer.  An awesome figure of vengeance, the Future Masked Manhunter determinedly shrugs off every weapon the Joker brings to bear.  Once he gets his hands on his prey, the Batman of 2967 beats him savagely, demanding to know where the Joker’s father is.  With one last trick, the Joker stuns the Batman and makes a desperate attempt to kill him.

 

It backfires.  Perhaps the father has escaped the Batman’s justice, but not the son.

 

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In creating a thirtieth-century Superman, Mort Weisinger raised as many questions as he answered.  It is difficult to reconcile the existence of a Man of Steel in the same era, down to the year, as the Legion.  There are the minor discrepancies between the two series, such as the 30th-century Superman’s “Federation of Planets”, as opposed to the Legion’s “United Planets”.  But the biggest problem is the inability to account for the presence of the other during times of crisis.

 

Especially in the Legion series over in Adventure, where there were plenty of occasions when Metropolis or the entire Earth faced overwhelmingly dire threats---the approach of the Sun-Eater, the onslaughts of Mordru and of Computo the Conqueror, the invasions of the Khunds and of the Dark Circle.  It stretches credibility to explain the 30th-century Superman’s failure to show up in each case by saying he was away on a space mission each time.

 

Curiously, after examining the fans’ comments on the Future Superman stories,  I found no-one addressed this or asked other obvious questions---where was the Legion when Muto was wreaking havoc on the Earth?  Or, why didn’t Superman XX help out the Legion on such-and-such a case?   At least, not in the letters that Mort allowed to see print.

 

The failure to tie the 30th-century Superman with the 30th-century Legion was a remarkable lack of attention to continuity for Weisinger, especially this far along in his reign as editor of the Superman mythos. 

 

For several months in 1971-2, DC expanded its comics to forty-eight pages and filled out the extra pages with reprints.  During this time, the first three Future Superman stories were reprinted, but not before Weisinger’s relief, Julius Schwartz, inserted a convenient change.  He backed up all future time references by five hundred years.  Thus, the Superman of 2965 became the Superman of 2465, a good five centuries before the birth of the Legion of Super-Heroes.

 

It wasn’t a perfect solution, but it provided Julie with some wiggle room, in case somebody asked. 

 

As far as I could find, nobody ever did.

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Super Summer Reviews

12134215055?profile=originalAs I read my new comics the other week, I was struck by how many of them were really good.  Some amused me.  Some left me awestruck.  But they all made me happy, as comic after comic was great.  So here’s my surprisingly sunny set of summer reviews. 

 

Avengers Academy 34: The best Avengers book has been on autopilot lately with guest-stars and event tie-ins but Christos Gage has decided that it’s time to kick in the afterburners again.  Jeremy Briggs and Veil invite the current team to meet with them in a quick series of vignettes.  Jeremy then shares his plan to cure their powers and save the world.  But the offer goes awry when half of the team expresses interest while the other half rejects.  The team is torn in two.  And Briggs shows that even a supposedly benevolent dictator is still a dictator when someone disagrees with him.  I love the quick pace, the emotional choices and the balanced use of a big cast.

 

12134215463?profile=originalDaredevil 16: This is a very different Daredevil book, but it’s still great.  Daredevil has been having trouble with his powers lately so he gets Tony Stark, Ant-Man and Dr. Strange to take a look.  The downtime allows Mark Waid to retell Daredevil’s origin and catch the reader up to speed on current events.  Chris Samnee does a great job of keeping the flashbacks both distinctive and interesting.  Samnee isn’t quite Paolo Rivera but their styles are similar enough that he makes a wonderful replacement to the departed Rivera.  Finally, the closing scene in which Foggy confronts Matt about his erratic behavior is a great set-up for future issues. 

 

12134215672?profile=originaliZombie 28: Chris Roberson’s zombie book has had its ups and downs but it ends on a high note.  I lost interest in the book when Roberson’s attention strayed from his main character and he spent too much time with less engrossing sub-plots.  But in this final issue, Roberson returns attention to the star of the series, Gwen the zombie.  This story is about her choices- what she’s willing to do to save the world and how she would do it differently than her mentors.  The supporting cast is used well here too.  I actually thought this was an extra-sized finale because so much happens but it’s not.  Roberson simply squeezes every last bit of entertainment out of this book before he says good-bye. 

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X-Factor 241: This was one of the few disappointing books I read this past week.  It was alright but it wasn’t as great as I’ve come to expect from X-Factor.  I enjoyed some of the scenes of character interaction, such as Madrox and Havok teasing each other about leadership and Polaris offering romantic advice to M.  I also appreciated Peter David’s attempt to set up the alternate universe trio as a new threat but I’m not convinced yet.  That’s also part of the problem.  This issue was mostly set-up for something else.  It’s a decent middle issue but it’s not a great start to a new story. 

 

12134216692?profile=originalAmazing Spider-Man 690: This was my favorite issue so far of “No Turning Back.”  I don’t find Morbius to be all that interesting and the Lizard hasn’t been much better in this particular story.  However, I was fascinated by the most recent twist in the Lizard’s status quo.  He’s been forcibly changed back into Curt Connors but the Lizard is still in control.  It was a lot of fun to see the Lizard struggling with mammalian features and even starting to enjoy them.  I also liked the visits with the other employees of Horizon.  Dan Slott has been doing a good job lately of building them into interesting individual supporting characters, rather than a nameless band of co-workers. 12134217667?profile=original

 

American Vampire 29: Is it too early to call this the best story of the year?  The Blacklist has been one of the best arcs in one of the comics’ best series.  The two stars, Skinner Sweet and Pearl Jones, are working in an uneasy alliance against a coven of Hollywood vampires.  There’s power and ambition, passion and hate, intrigue and surprises, betrayal and brutality.  And it all features characters that we simultaneously fear and love. 

 

12134218070?profile=originalAngel & Faith 12: Compared to American Vampire, Angel & Faith is like comfort food.  But that’s still pretty yummy.  I’ve especially enjoyed the current story, Family Reunion.  It’s been great to see the two leads, Angel and Faith, hang out with old pals Willow, Connor and Gunn.  In this issue, the crew (minus Gunn) has traveled to Quor’toth, the demon dimension where Connor grew up.  It’s a well-told tale that gives us insight into Connor, highlights Angel’s guilt for being an absent father, and contrasts Willow’s sunny disposition with Faith’s surly attitude. 12134218665?profile=original

 

Aquaman 11: I have to say that I enjoyed the first Aquaman arc a lot more than this second one.  Black Manta should be one of Aquaman’s most compelling villains but he’s spent too much time “off-stage.”  Furthermore, they haven’t done a good job of differentiating the flashbacks from the current story.  They could have used a different artistic style or color scheme so that we would immediately recognize if we were in the present or the past.  Without that, the story has been unnecessarily confusing at times.  At least in this issue, they share the origin stories for a couple of Aquaman’s former teammates.  It’s nice to see them fleshed out, even if it’s two or three issues too late. 

 

12134218881?profile=originalAstonishing X-Men 52: This is a big change of pace story for the Astonishing team.  The past four issues have focused on a big battle with the Marauders and with Northstar’s upcoming nuptials.  This issue turns the spotlight on Karma.  Unlike Aquaman, it bounces around in time without being confusing or disruptive.  We learn why Karma rejoined the X-Men and discover how she was infected by one of their villains.  It’s a great time-out and transition from the first to second story arcs.

 
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Green Lantern 11: Hal Jordan and Sinestro make for a great odd couple.  Their dialogue is awesome.  Sinestro is perennially and insufferably arrogant, even when Hal rescues him from imprisonment.  And Hal has perfected the put-upon partner from his days of dealing Green Arrow’s diatribes.  I also admire the way that Johns continually sets up the next threat even as Hal and Sinestro deal with the current one.  In this issue, they finish reestablishing the Indigo tribe but they lose the Black Hand in the process.  It’s a great way of keeping each issue interesting while also providing a hook to the next one. 

 

12134219857?profile=originalGreen Lantern: New Guardians 11: This is the big one.  Kyle Rayner and the New Guardians attack Larfleeze’s home of Okaara.  It’s a huge battle with all-out Lantern action.  Tony Bedard works some nice beats into the story as well.  There’s a great sequence where Munk, the Indigo Lantern, tries out everyone else’s powers to see which would work best against the orange constructs.  There’s an emotional reveal when Kyle discovers Glomulus’ connection to Larfleeze.  And there’s a great twist when the New Guardians discover who actually stole their rings.  New Guardians has been giving us wonderfully colorful action and this issue is no exception. 12134220284?profile=original

 

Near Death 10: Jay Faerber’s noir series has specialized in done-in-one adventures but with this issue he proved that he can write a great cliffhanger too.  I don’t want to say more than that.  Trust me.  This is a really good series and it’s worth picking up before it’s prematurely canceled. 

 

12134220090?profile=originalStar Wars: Darth Maul: Death Sentence 1: I was excited about the return of Darth Maul.  He’s a great villain and I was sad that he was killed so quickly in the prequel trilogy.  But it’s possible my expectations worked against me as I wasn’t impressed by this story.  I don’t know enough about Darth Maul’s brother to care about him as a character and the conversations between them didn’t tell me enough to make me interested.  I’m also ambivalent about Maul’s new body.  His physical presence was part of his appeal and that seems to be diminished by new robotic legs.  At least the last panel was great.  Darth Maul’s hatred for Jedi is intense.  That bodes for more exciting action in the future and means I might not give up on this series quite yet.   

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Wolverine and the X-Men 14: I’m skipping the huge Avengers vs. X-Men event but that doesn’t mean I’ve been entirely successful avoiding it as it keeps popping up in books I read regularly.  In some cases, it’s an annoying digression.  In other cases, it can be an amusing interlude.  Count this one among the latter.  Jason Aaron presents a date between the Phoenix-empowered Colossus and regular ol’ Kitty Pryde.  Colossus tries to impress her with his otherworldly powers, resulting in some great visuals and awkward moments.  Meanwhile, we see the havoc that this ongoing battle has brought to the community as Kitty tries to hold the school’s staff together with guest instructors Doop and Deathlok.  Aaron uses a light touch to show us- and his key characters- the corrupting influence of absolute power. 

 

12134221866?profile=originalWinter Soldier 8: Ed Brubaker’s Bucky is a cool spy thriller.  It owes more to James Bond and Jason Bourne than it does to Superman or Spider-Man.  It’s dark and moody, with great twists and surprises.  The Black Widow makes a great co-star.  And I really like the way they’ve used Jasper Sitwell as the SHIELD contact and supervisor.  I also like the post-cold war feel.  Bucky and Natasha are former Soviet agents who are now free agents in a wide-open world.  It sets up all kinds of old animosities and new possibilities.   12134222301?profile=original

 

X-Men Legacy 270: Not a lot happens in this issue.  At least nothing that important.  Magik has imprisoned a number of Avengers in limbo.  Rogue is invited to tour the new super-prison but decides to rescue the Avengers instead.  She focuses on Miss Marvel and they set aside their past differences in a show of friendship.  That’s it.  Despite what could have been a strong emotional hook- the final reconciliation between Miss Marvel and Rogue- this issue felt like it was marking time until the crossover finished with a lot of superfluous fight scenes. 

 

12134223058?profile=originalHawkeye 1: It’s hard to come up with new ways to say, “this was great” all the time.  The new Hawkeye is awesome.  It’s excellent.  It’s cool.  It’s even a little humorous. I enjoy this street-level view of Hawkeye (we barely see him in costume).  I love the stripped down approach and the human-interest angle (the big story is that Hawkeye adopts a dog).  I love the juxtaposition between action and boredom- fighting bad guys in one panel, falling asleep in the vet’s waiting room in another.  I hope that we see Kate Bishop (aka Hawkeye II) soon but that’s a relatively minor complaint for a comic this much fun.  Did I mention it’s great?

 

12134223088?profile=originalBloodshot 1: The new Valiant is taking an inspired approach to storytelling.  They’re reviving their classic characters from the ‘90s but they’re stripping them of most of their superhero connections.  Yet they haven’t made the mistake of throwing the baby out with the bathwater.  These are still exciting comics.  They’re straight science fiction or action-adventure tales that are both familiar and refreshingly new.  Bloodshot is a former warrior whose body has been resurrected like a Frankenstein monster to become an immortal super-soldier.  But reviving someone and controlling them are not the same thing.  Bloodshot rebels against his new masters only to be killed and resurrected again and again and again.  It’s not a nice comic.  But it’s definitely an interesting one- one that has something to say and one that doesn’t feel like anything else on the stands today. 

 

12134223854?profile=originalBefore Watchmen: Nite Owl 2 and Comedian 2: It’s hard to separate the discussion about Before Watchmen the project from Before Watchmen the stories.  Personally, I always thought that the proof would be in pudding.   Are the stories interesting?  Are they inventive?  Do they approach superheroes from a slightly different angle?  If the answer is “Yes,” then these stories and comics were worth doing.  So far, I’ve been suitably impressed.  The series have been markedly different from one another but they’ve each been excellent in their own way.  The Nite Owl series is about Nite Owl’s partner Rorschach as much as it is about the title character.  We watch their current adventures.  But more importantly, we’re treated to scenes from their childhood.  We learn that these two masked men have more in common than we ever realized though they’ve reacted it to in different ways.  It’s a strong story and I’m certainly enjoying the trip so far.  The Comedian series is even better.  Comedian, who was one of the least-developed characters in the original Watchmen, is given surprising depth here.  We see inner turmoil that we hadn’t expected.  And Brian Azzarello does a great job of weaving the Comedian into historical situations in surprising ways.  These are worthy comics, and I’m glad I get to read them. 

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The X-Men Reading Project Final Revue

12134216052?profile=originalIt was Labor Day weekend 2009, when I embarked on an ambitious project that would eat up more than 3 years of my life. I decided to read every X-Men comic. All of them. In order.


I’d read most of them before. In fact, I’d read most of them more than once. But this was the first time that I would start in 1963 with X-Men #1 and systematically read right up through the present day. Actually, I started before X-Men #1 by reading the origin story Children of the Atom published in 1999 first. This was also the first time that I would include every one-shot and mini-series associated with the X-Men. However, I opted against reading ongoing spin-off titles except for the issues that were directly involved in a crossover. If I had done that, it probably would have taken a dozen years. But who knows? I may get to that next.


This week, I finally finished. I intentionally saved Claremont’s future-set story X-Men The End for the end. That way I’d have a specific end point rather than having the project peter out when I caught up to the present day. I finished the final Avengers vs. X-Men tie-ins last week and blazed through The End over the weekend.
With the exposition out of the way, let’s get to your questions…


George Poague: Any reactions? Have your eyes stopped bleeding? ;) Did you just read issues of Uncanny X-Men, or did you also read the spin-offs (from New Mutants on)? And the guest shots and miniseries?

12134216071?profile=originalYes. I feel a strange sense of accomplishment. It took an unexpected amount of dedication. When I did reading projects like this in the past, it would usually take a couple of months, no more than a year. This was the biggest project that I’d ever attempted and I had no idea that it would take this long.

I was never tempted to give up but I did set the project aside a couple of times. In each case, I had binged at some sale or another- a trade paperback blowout or back issue bargain hunt- and I took a break from the X-Men while I read new comics. That’s probably what prevented bleeding eyeballs or insanity (though the latter diagnosis is debated).


At the same time, it was a lot of fun. I wouldn’t have done this if I didn’t love the X-Men. I enjoyed it and I’m glad I did it.


As I answered earlier, I didn’t read the ongoing spin-off titles like New Mutants and Excalibur except for issues that were directly a part of a crossover like the Morlock Mutant Massacre. I did read the guest shots and mini-series. I even picked up the other half of shorter crossovers like Ghost Rider #26-27 and guest appearances in other titles like Spider-Woman #38 (though I eventually had to abandon that angle as well).

John Dunbar: What held up? What didn't? Did anything surprise you, as in "I think I liked this better the first time" or "I don't remember this being this good before"?

12134216879?profile=originalIn most cases, the answer is what you would expect it to be. There are a lot of great X-Men runs and they remain great whether you read them for the first time or the fifth: Roy Thomas & Neal Adams, Chris Claremont & Dave Cockrum & John Byrne & Paul Smith & John Romita Jr. & Marc Silvestri & Jim Lee… [takes a deep breath], Scott Lobdell & Joe Madureira, Grant Morrison & Frank Quitely, Joss Whedon & John Cassaday and so on.

There were also some rough patches. One of the things that I discovered is that I had less patience for those rough patches this time ‘round. For example, I couldn’t tolerate Claremont’s heavy-handed narration during his return to the X-Men in 2000. I was willing to read every word the first time because I didn’t know what was going to happen. But I found myself skimming a few narrator speeches this time. I also didn’t bother reading The Arena story in X-Treme X-Men as I hated it the first time. As far as I’m concerned, it doesn’t count. Plus, I didn’t bother buying two issues of X-Men Legacy I had originally skipped.

Even so, there were a few surprises. I enjoyed the Arnold Drake issues more than I remembered. A big part of that is the early Jim Steranko and Barry Windsor-Smith art. Partly, the first Roy Thomas run that preceded those issues was so bad anything would look good in comparison. Yet Drake deserves some credit for mixing things up a little with the introduction of Polaris and Erik the Red.


12134217484?profile=originalSome of the recent runs held up really well. I loved Ed Brubaker’s epic Rise and Fall of the Shi’ar Empire when I first read it but it was even better when I was able to read the entire story again in one sitting. Second Coming was better than I remembered. The crossover had a very strong narrative progression through different stages of the battle and a deep emotional core with the deaths of Cable and Nightcrawler. It was a story I enjoyed at the time- I even wrote a eulogy for Nightcrawler- but I admired the story-craft that much more now. I also appreciated the way that it subtly set up future storylines- this is where the rivalry between Cyclops and Wolverine really begins to turn into animosity, and where Cyclops starts to reject Captain America and the rest of the “outside” world.


I was disappointed in a few things. Warren Ellis’ run on Astonishing X-Men wasn’t as good as I remembered it. It was all flash, no substance and the stories didn’t really move forward. The X-Men/Micronauts mini-series didn’t live up to the hype. I hadn’t read it before but it came across as a typical team-up. It’s probably not something I’ll bother to read again. And there’s one other…

Jeff of Earth-J: Chris, I know you said you didn't read any of the spin-off series, but I'm wondering if you made an exception for X-Men: The Hidden Years...?The title knocked Avengers out of my personal "#1 favorite Marvel" spot at the time, but I've never gone back and re-read the entire series. I have a feeling that it might not hold up in a marathon reading session and that it might not fit very well following directly on the heels of [having read] X-Men #66.

You guessed right, Jeff. I read The Hidden Years between the first X-Men series and the All-New revival and it did not hold up well. I loved the series when it came out. I appreciated the way that John Byrne imitated Neal Adams’ art style. And it was a lot of fun to spend time with the original X-Men plus Havok and Polaris. But, on reflection, it wasn’t as good as I thought at the time.

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Comics for 31 October 2012

30 DAYS OF NIGHT ONGOING #11

A PLUS X #1 NOW
ABSOLUTE FINAL CRISIS HC
ACTION COMICS ANNUAL #1
ALL STAR WESTERN TP VOL 01 GUNS AND GOTHAM (N52)
AMERICAN VAMPIRE #32 (MR)
ANGEL & FAITH #15
AQUAMAN #13
ARCHIE #638
ARCHIE ARCHIVES HC VOL 07
ARMY OF DARKNESS ONGOING #6
AVENGING SPIDER-MAN ANNUAL #1
AVX CONSEQUENCES #4 (OF 5)

BATGIRL ANNUAL #1
BATMAN BEYOND UNLIMITED #9
BATMAN EYE OF THE BEHOLDER TP
BEDLAM #1 (MR)
BLOODSTRIKE #32
BPRD HELL ON EARTH #100 RETURN O/T MASTER #3 (OF 5
BUCKAROO BANZAI #2 (RES)

CALL OF WONDERLAND TP (MR)
CAPTAIN MARVEL #6
CBLDF LIBERTY ANNUAL 2012 #5
CHARISMAGIC DEATH PRINCESS #1
CHARLES BURNS HIVE BOOKPLATE ED
COLONY TP

DAN THE UNHARMABLE #7 (MR)
DARK SHADOWS #9
DARK TOWER GUNSLINGER TP JOURNEY BEGINS
DEADPOOL KILLS MARVEL UNIVERSE TP
DISNEY PRINCESS MAGAZINE #9
DOCTOR WHO VOL 3 #2

EC KURTZMAN CORPSE O/T IMJIN AND OTHER STORIES HC
EC WALLY WOOD CAME THE DAWN AND OTHER STORIES HC
EPOCH TP (MR)

FASHION BEAST #3 (MR)
FATALE #9 (MR)
FAUST LOVE OF DAMNED ACT 14
FEAR ITSELF TP HOME FRONT
FEAR ITSELF TP UNCANNY X-FORCE DEEP
FERALS #10 (MR)

GFT MYTHS & LEGENDS #22 (MR)
GHOSTBUSTERS ONGOING #14
GHOSTS #1 (MR)
GODZILLA ONGOING #6
GREEN HORNET #30
GREEN HORNET STRIKES #10

HAPPY #2 (OF 4)
HAUNT #27
HEAVY METAL RELOAD SC
HIGHER EARTH #6
HIGHER EARTH TP VOL 01
HIT-GIRL #4 (OF 5) (MR)

IDOLIZED #3
ITS TOKYO CHARLIE BROWN GN

JOE KUBERT PRESENTS #1 (OF 6)
JUSTICE LEAGUE DARK ANNUAL #1

KISS GREATEST HITS TP VOL 02
KNIGHTS OF THE DINNER TABLE #189

LADY DEATH (ONGOING) #23 (MR)
LEGEND OF OZ THE WICKED WEST ONGOING #1
LOONEY TUNES #209
LORD OF THE JUNGLE TP VOL 01 (MR)
LOT 13 #1 (OF 5) (MR)

MARS ATTACKS HOLIDAYS ONE SHOT
MASTERS OF THE UNIVERSE THE ORIGIN OF SKELETOR #1
METABARONS ULTIMATE COLL ED (MR)
MIGHTY THOR #22 BURNS

NANCY DREW & CLUE CREW GN VOL 01 SMALL VOLCANOES
NEW DEADWARDIANS #8 (OF 8) (MR)
NEW MUTANTS #50

PHANTOM LADY #3 (OF 4)
PREVIEWS #290 NOV 2012

RACHEL RISING #12
REAL GHOSTBUSTERS OMNIBUS TP VOL 01
RED HULK TP MAYAN RULE
RED SONJA ATLANTIS RISES #3
RISE O/T GUARDIANS HIDDEN TRUTH & OTHER GN
ROBYN HOOD #2 (OF 5) (MR)
ROCKETEER CARGO OF DOOM #3 (OF 4)

SECRET AVENGERS TP RUN MISSION SAVE WORLD
SHATTERED ASIAN AMER COMICS ANTHOLOGY TP
SONIC THE HEDGEHOG #242
STAR TREK ONGOING #14
STAR WARS DARTH MAUL DEATH SENTENCE #4 (OF 4)
STEED AND MRS PEEL ONGOING #2
SUPERMAN EARTH ONE HC VOL 02
SUPERMAN FAMILY ADVENTURES #6
SWAMP THING ANNUAL #1
SWEET TOOTH TP VOL 05 UNNATURAL HABITAT (MR)

TEENAGE MUTANT NINJA TURTLES ANNUAL 2012
TEENAGE MUTANT NINJA TURTLES ONGOING #15
TICK #101 TICK MEETS MADMAN
TRANSFORMERS CLASSICS TP VOL 04
TRANSFORMERS MORE THAN MEETS EYE ONGOING #10
TRUE BLOOD ONGOING #6

ULTIMATE COMICS SPIDER-MAN #16.1
ULTIMATE COMICS X-MEN #18 UWS
UNCANNY X-FORCE PREM HC BOOK 01 FINAL EXECUTION

VAMPIRELLA #24
VAMPIRELLA VS FLUFFY ONE SHOT

WARRIORS OF MARS TP
WHISPERS #4 (MR)
WINTER SOLDIER #12
WITCHBLADE #161
WOLVERINE AND X-MEN #19
WONDERLAND #4 (MR)

X-MEN HIDDEN YEARS TP VOL 02
X-MEN LEGACY #275

Comics and Collectibles of Memphis posted this list on Facebook. Arrivals at your local comics store may vary.

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Andrew A. Smith

Scripps Howard News Service

If Dark Knight Rises gives you a hankering for some more terrific Bat-stories, you’re in luck.

 

The much-anticipated Batman: Earth One is out ($25.99), and it lives up to the hype. Written by DC’s Chief Creative Officer Geoff Johns, it re-imagines the Dark Knight’s origin in the modern day, just as Superman: Earth One did for the Man of Steel last year. And it’s a corker.

 

12134211890?profile=originalYes, we all know the outlines of the story: Bruce Wayne’s parents were murdered in an alley before his eyes, and he vowed to protect others from the same fate by becoming a masked vigilante. But this updating makes a few changes that not only make the story more plausible, but rams home the emotional punch of the story.

 

One thing artist Gary Frank does is eliminate the whited-out eyes look on  Batman’s cowl and allow Wayne’s blue peepers to show through. As any actor will tell you, allowing the audience to see your eyes heightens the emotional connection. The whited-out eyes – which has been with Batman since the beginning – is cool looking, but this book is going for emotional impact, not a coolness factor.

 

Another change, obvious in retrospect, is to imbed a great many Bat-elements that accrued over the decades right at the beginning. Bruce Wayne and Commissioner Gordon were there from the first story in 1939, but Alfred Pennyworth, Det. Harvey Bullock, Oswald “Penguin” Cobblepot, Lucius Fox and Arkham Asylum were added piecemeal over the decades. They’re integrated here into the origin story, fleshing out Batman’s world immediately in an organic and convincing tapestry. Also, it all rings true, in that Alfred is a former Royal Marine, Arkham is Martha Wayne’s maiden name and Bullock’s fall into nihilistic cynicism is horrifically foreshadowed. 

 

Further, this Batman is a genuine amateur – and out for revenge. For Batman to be heroic, and to believably survive, he must become the consummate professional and protector of the innocent we know him to be today. That is, in fact, his story arc – and it is played for maximum drama, rather than anti-heroism or pratfalls.

 

I make no secret that I was greatly disappointed by Superman: Earth One. But this take on Batman is so powerful I sure wouldn’t mind reading more.

 

Meanwhile:

 

12134213064?profile=original* Batman and Robin Volume 1: Born to Kill ($24.99) does something I never expected: It allows Batman to grow. The premise of the series is that Batman’s 10-year-old biological son, via Ra’s al Ghul’s daughter and raised by the League of Assassins, is the new Robin. The friction between the Bat and Bird is palpable, as Batman struggles to rein in Robin’s homicidal training and recklessness without alienating him completely.

 

That’s pretty interesting, but what I found amazing is that writer Peter Tomasi shows Bruce Wayne becoming something he never was with the other Robins: a father. His new perspective allows him to bury some old ghosts and re-connect with his softer instincts, making for a kinder, gentler Dark Knight. I don’t know how often that particular card can be played, but it sure made Born to Kill an eye-opener for me.

 

12134213277?profile=original* The controversy over the first lesbian character to headline a comic book sometimes overshadows just how good that book is. I heartily recommend Batwoman Volume 1: Hydrology for the sheer skill of writer/artist J.H. Williams III. Not only is he an excellent craftsman and storyteller, but his ingenious use of panel shape and structure, which can be irritating in the wrong hands, adds another layer to his story.

 

Which itself is pretty cool. Batwoman is a unique Bat-character, and not just for her sexual orientation. Her hypercharged relationships – from her estranged father to a wannabe sidekick to an aloof Batman who is reserving judgment – keep the book tense even when there’s no fighting going on. But don’t worry, there’s plenty of that, too.

 

12134214455?profile=original* I absolutely love everything writer Gail Simone has ever done, so maybe I set the bar too high anticipating Batgirl Volume 1: The Darkest Reflection ($22.99). Don’t get me wrong: It’s a good book, with a likeable lead character who seems very close to Simone’s heart. But it doesn’t include the delightful, sometimes shocking, weirdness of Simone efforts like Birds of Prey and Secret Six.

 

It’s no secret that Batgirl returns Commissioner Gordon’s daughter Barbara to the role, after 24 real-life years (but three in the comic book) of being confined to a wheelchair after being shot in the spine by The Joker. How and why she’s on her feet again is only hinted at, but the net effect is that this collection works more or less as an origin story, as the lead character re-establishes her life in both identities.

 

It’s not as Simone-y as I would like, but it’s still a decent, mid-level Bat-book.

 

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

 

ART

1. Batman: Earth One re-imagines Batman's origin as if it took place in the modern day. Copyright DC Entertainment Inc.

2. Batman and Robin Volume 1: Born to Kill collects the first eight issues of the new Batman and Robin. Copyright DC Entertainment Inc.

3. Batwoman Volume 1: Hydrology collects issue #0 and the first five issues of the new Batwoman. Copyright DC Entertainment Inc.

4. Batgirl Volume 1: The Darkest Reflection collects the first six issues of the new Batgirl. Copyright DC Entertainment Inc.

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Lost Diamonds: Sword, Exiles and MI: 13

12134210864?profile=originalThe X-Men line is often accused of being too extensive and bloated. And, honestly, sometimes it is. Yet, especially in the last five years, the X-Men line has also been the source of some surprising gems that for one reason or another went overlooked by the comic book audience. These excellent titles flew under the radar and were soon canceled- too soon, if you ask me. But they’re worth discussing. More than that, they’re worth checking out if you happen to run across the back issues or a trade paperback.

Captain Britain & MI: 13 (2008)
By Paul Cornell and Leonard Kirk
15 issues plus an Annual (available in trade as Captain Britain & MI: 13: Secret Invasion, Hell Comes to Birmingham and Vampire State)

Captain Britain was one of my favorite titles at the time. It had a wonderful mix of personalities- Excalibur staple Captain Britain and relative newcomer Pete Wisdom, former Avenger Black Knight and Golden Age legacy Spitfire, plus new characters like John the Skrull and Dr. Faisa Hussain. By issue 5, they added vampire hunter and sometime solo star Blade.


Even better than the cast, Captain Britain & MI: 13 had a wonderful fix of epic action and strong characterization. The team had the mandate of defending the British Isles against external threats can couldn’t be handled by conventional military. In the three story arcs, they squared off against an alien Skrull invasion, an uprising by the denizens of the underworld and a massive infiltration of vampires. The stories had a definite weight to them. The fate of the nation, if not the world, depended on the success of the team. As a reader, you were caught up the action and concerned about the outcome. Personally, I couldn’t wait for the next issue to come out. Even though the three arcs all had an invasion theme in common, the source and nature of those threats were varied enough to sustain interest. Paul Cornell combined science fiction, fantasy and horror elements to craft an engaging superhero series.

12134211473?profile=original
At the same time, Cornell remembered to put a human face on the series. The relationships were as engaging and as varied as the epic invasions. The strongest relationship was the blossoming romance between the Black Night and Dr. Hussain. Hussain was a very naturalistic portrayal of a Muslim immigrant to England. She was cool and charming and it was interesting to meet her family through the eyes of the Black Knight. The other chief relationship was the quiet rivalry between Captain Britain and Pete Wisdom. Both were used to being leaders in the past and both had leadership roles on the current team- Captain Britain as the public face and Pete Wisdom as the power behind the scenes. Cornell crafted a complicated relationship, in which they worked together but occasionally resented the other. As the series progressed, we were introduced to a third relationship that had both romantic potential and a complicated rivalry: Spitfire and Blade. They had a strange detente as Spitfire was a vampire and Blade a vampire hunter. You were never quite sure if the sparks between them would ignite into passion or explode into conflict. It was fascinating to follow the progress between them.

Leonard Kirk was a great choice as the artist for this series. He had a strong handle on facial expressions and body language. The wide variety of characters were easily distinguished and never caricaturized. And he knew how to pull out the big guns for the big invasion scenes. I particularly remember the vivid scene of the vampires descending from the sky. Kirk was masterful in combining the characterization and the action that the series demanded.
I’m not sure why Captain Britain & MI: 13 didn’t catch on. It seemed like Marvel did everything right in launching the new series. They started with a preliminary mini-series starring Pete Wisdom, a strategy that was successful in turning a Madrox mini-series into an X-Factor ongoing. Perhaps the launch would have been more successful if they had used a familiar name like Excalibur. Then again, the Excalibur name was slightly damaged from a couple of recent failures. Marvel also tied the opening arc into the Secret Invasion crossover, which should have brought in additional readers. The same strategy worked for a Deadpool series that was launched at the same time. Then again, it’s possible that M1: 13 was swallowed up by the crossover hype and unable to survive on its own. Whatever the reason for its too-soon demise, Captain Britain & MI: 13 was a great series and deserves to be remembered.

12134211867?profile=originalExiles (2009)
By Jeff Parker and Salvador Espin
6 issues (available in trade as Exiles: Point of No Return)

Jeff Parker’s Exiles was a fun romp while it lasted. The title blended wild action, solid characterization and a healthy dose of humor. Parker also utilized a back-to-the-basics approach that was reminiscent of Judd Winick’s original run and Tony Bedard’s early stories.


The team centered on Blink, the most popular character in the series’ history and one of the central triumvirate along with Mimic and Morph. But while Winick drew extensively from the Age of Apocalypse (see his use of Blink and Mimic) and Bedard raided the entire multiverse for characters (see the inclusion of Longshot and Spider-Man 2099), Parker found inspiration in another alternate world scenario. He drafted Polaris and the Scarlet Witch, whose sisterly camaraderie and occasional rivalry (or should that be sisterly rivalry and occasional camaraderie?) had been a potent combination in several Magneto mini-series set in Genosha as well as the House of M crossover. Along with Blink, the two half-sisters provided an emotional core for the series.


12134212259?profile=originalWhile the female characters were reassuringly familiar, the male characters were refreshingly unexpected and mysterious. Parker playfully went against type with both the Black Panther and the Beast. In most scenarios, the Black Panther is the calm, wise leader figure. And, early on, the other characters looked for the Black Panther to fill that role based on their past experiences. But this Black Panther was a youthful replacement, unsure of himself and uncomfortable with the expectations of leadership. It was delightful depiction that surprised the characters and the audience. The Beast was drawn like the Dark Beast from the Age of Apocalypse but he had the kind-hearted soul that we know from the regular Marvel Universe. Once again, our expectations ran counter to the reality in a pleasant surprise. Given time, I’m sure we would have discovered a hidden depth to Forge as well. However, with only 6 issues in the can, he remained mostly a cipher.

Artist Salvador Espin employed a highly stylized approach that was a perfect fit for this quirky title. His expressive faces conveyed the requisite shock and surprise. Yet he still managed enough subtlety to keep us guessing about a character’s motivations when it was necessary to maintain the mystery.


This installment of Exiles was also wonderfully fast-paced. The first story covered all of three issues, a refreshing change from the standard six. It was followed by an excellent two-parter and then a one-shot. The quick turnover of alternate worlds and interesting stories should have kept the reader’s attention. It certainly captivated mine.
Once again, I’m not sure why this series didn’t catch on. I suspect that it was too soon to launch another Exiles series considering that the Chris Claremont-helmed New Exiles had only been canceled two months earlier. Then again, that didn’t seem to be a problem with Uncanny X-Force the following year. On the bright side, Parker employed a similar approach on Thunderbolts and was much more successful the second time around. Parker’s T-Bolts lasted 2 and ½ years before being rebranded as Dark Avengers. Fans of Parker’s work on T-Bolts and Agents of Atlas should give his Exiles a look. It may not have lasted long, but it was a treat in its brief time.

12134212672?profile=originalS.W.O.R.D. (2010)
By Kieron Gillen and Steven Sanders
5 issues (available in trade as X-Men S.W.O.R.D.: No Time to Breathe)

S.W.O.R.D. was a very similar title to Exiles, which maybe wasn’t the best idea considering that Exiles had just been canceled. It was quirky and fun. It paired wild action with humor. It was fast-paced, almost breath-taking in its sprint from one incident to another- as reflected in the title of the trade paperback.


Kieron Gillen did a good job of evoking famous X-Men stories. SWORD owed a clear debt to Joss Whedon’s Astonishing X-Men, using Agent Abigail Brand as a central character and even referencing Kitty’s situation as part of world-size bullet. The connection was strengthened by the presence of Astonishing X-Men’s John Cassaday as a cover artist and by the inclusion of Kitty’s dragon Lockheed as a member of the cast. Even so, the classic references weren’t restricted to X-Men lore. Later cover art evoked Jim Steranko’s amazing ‘60s run on SHIELD. And the inclusion of Henry Gyrich as a government busybody evoked John Byrne’s excellent tenure on The Avengers.


12134213870?profile=originalAt the same time, Gillen did a good job of setting SWORD apart from the current Marvel continuity. There were brief references to the X-Men relocating to Utopia, which provoked a falling out between Beast and Cyclops and led to the Beast leaving the X-Men for SWORD. But that was mostly background information and had no real bearing on the current series. There were also slight connections to Dark Reign, as Brand tried to solve a recent alien incursion before Norman Osborn and his Avengers could interfere. But it was a tangential connection that didn’t upset the plot or run counter to the tone of the series.


Perhaps the greatest strength of the series was the way it juggled several storylines at once. There was the story of an intergalactic bounty hunter tracking Brand’s half-brother. There was the story of alien representatives threatening to invade earth if they weren’t given North Carolina as tribute. There was the story of an accidental invasion by rock aliens who thought they were liberating prisoners from Mt. Rushmore. There was the story of the robot prisoner who manipulated events from behind the scenes. And there was the story of Henry Gyrich’s purge of all aliens and half-breeds from Earth. These stories eventually wove together in ways that provided surprising complications and enjoyable outcomes.


Steven Sanders was a good complement as series artist. His exaggerated style accentuated the frenetic pace of the stories. It also leant itself well to depicting crazy space vehicles, unusual life forms and especially intergalactic android bounty hunters.


For the third time, I find it hard to explain why such an excellent series had a hard time catching on. Perhaps other fans don’t appreciate quirky humor the way I do. Perhaps the intentional divorce from current X-Men continuity was a deterrent rather than a draw. I’ve heard it suggested that the cast had a limited appeal- Lockheed and Brand don’t exactly have large fan followings and Beast has had trouble selling eponymous mini-series let alone starring in an ongoing that doesn’t have his name in the title. Perhaps it was simply the wrong time to try something new. In any case, SWORD was an excellent comic book. It was as much fun to read the second time as the first and it’s worth checking out if you get the chance.

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12134211061?profile=originalHonorable Mentions:

Angel: Revelations, 2008: I missed this mini-series when it first came out. I was intrigued by the stylish Adam Pollina art but I was skeptical about an Angel origin story. My first impression was wrong. Roberto Aguirre-Sacasa pens a compelling tale of Angel’s prep school days before he becomes an X-Man. Angel is an intriguing character. He’s the rich kid who has every excuse in the world to be a snob. But he has a good heart and soon finds himself siding with outcasts against the people who should be his peers. The X-Men have often served as a metaphor for teenage angst- the feeling that you don’t really belong in this world and Aguirre-Sacasa does a great job of bringing that to the fore. And, yes, the stylish Adam Pollina art is a lot of fun, though it may not work for everyone.

12134211296?profile=originalDark X-Men: The Beginning, 2009: I’m not a fan of the Dark Avengers/Uncanny X-Men crossover Utopia. For one thing, I didn’t like the long-lasting story in which Norman Osborn was in charge of American superhero affairs. For another thing, I didn’t like the idea of having the X-Men retreat from their new headquarters on the Marin Headlands to an island off the U.S. coast. It hadn’t been that long since they’d destroyed Cable’s own island of Providence. Plus, it further isolated them from both humanity and Xavier’s dream of peaceful coexistence. Yet, despite my antipathy for the general concept, the crossover yielded a couple of surprisingly good stories. The first comes in this prequel anthology, Dark X-Men: The Beginning. It’s a very simple premise. Norman Osborn recruits a new team of X-Men to help him against the real thing. In each story, Osborn approaches a different character- Mimic, Dark Beast, Cloak & Dagger, etc.- and offers them a place on the team. I admired the way Osborn used a different approach for each character. He tried bribes, coercion, threats and promises. Plus, there was a great story at the end with Aurora called “The One that Got Away.” This mini-series is an excellent example of a putting-the-team-together tale and I admire the craftsmanship even though it’s part of an otherwise unlikable scenario.

12134212252?profile=originalUtopia Tie-In, X-Men Legacy 226-227, 2009: This is the other Dark Avengers/Uncanny X-Men story. However, this particular piece took place on the periphery of the main crossover. Rogue and Gambit have recently intervened in a conflict between Professor Xavier and Danger and now they’re returning to the X-Men. Unfortunately, they arrive right in the middle of a big fight with Norman Osborn’s Dark Avengers. The two heroes quickly focus on protecting the students, such as Indra and Trance. That leads them into conflict with the Dark Avengers and each issue features a classic fight- first Rogue vs. the current Ms. Marvel (actually Moonstone in disguise), then Rogue vs. Ares. Mike Carey does a great job of showcasing Rogue’s powers. He also provides a strong emotional hook. Fighting someone in a Ms. Marvel costume reminds Rogue of her old days as a super-villain. This is just a great fight with a strong premise- save the kids from the bad guys.

12134212661?profile=originalPixie Strikes Back, 2010: Pixie has been one of my favorite characters since she starred in the 2008 Free Comic Book Day one-shot. Kathryn Immonen and Sara Pichelli bring us a fun and inventive mini-series that’s more of a gal-pal tale than it is a solo story. Pixie is joined by fellow teenagers Armor, Blindfold, Mercury and X-23. They’re caught in some sort of dreamscape where they’re normal high school kids, albeit in a high school populated with demons. Anole and Rockslide discover that the girls are missing and call the X-Men in to help. Meanwhile, Pixie’s mom launches a rescue of her own with the Mastermind sisters as allies. There are some fun mind twists as the characters try to figure out what is real and what is not. There are some surprising revelations as Pixie learns about her origins, her connection to this demon dimension and the Masterminds. Yet, best of all, there are some great character moments between the teenage “besties.”

12134213473?profile=originalTo Serve & Protect, X-Men 7-10, 2011: I didn’t realize it at first but the new X-Men series was designed as an X-Men team-up title. This second tale features a classic team-up with none other than Spider-Man. The X-Men discover a rash of disappearances in New York City and decide to investigate. Spider-Man is working the case as well and they decide to join forces. The initial clues point to the Lizard but there’s a good twist halfway through the story in which we learn that the Dark Beast has actually imprisoned the Lizard as well. Author Victor Gischler plays with timeless X-Men themes like social ostracism and teenage angst. And he does a great job with the wordplay between Spidey and the X-Men. The good-natured insults between Spidey and Wolverine are especially fun and show how those two characters have really meshed since joining the Avengers together. Of course, the real highlight is the Chris Bachalo art. Bachalo is a classic X-Men artist who had recently drawn a Spidey-Wolverine team-up and a Lizard story for Amazing Spider-Man. This story, with its wacky setting and fun set-up is right in Bachalo’s wheelhouse.

You might think I’ve written about every good X-Men story from the past four years. You’d be wrong. I have a few more honorable mentions to go in the last installment of this series. Join me again (please!) for one more (I promise!).

The Best X-Men Stories of the Past 4 Years Part I

The Best X-Men Stories of the Past 4 Years Part I

" target="_self">The Best X-Men Stories of the Past 4 Years Part II

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Comics for 15 August 2012

68 SCARS #2 (OF 4)

ADVENTURES OF A COMIC CON GIRL #1 (OF 3) (MR)
ALABASTER WOLVES #5 (OF 5)
AMAZING SPIDER-MAN #691
AVENGERS #29 AVX
AVENGERS ACADEMY #35
AVENGERS VS X-MEN #10 (OF 12) AVX

BAD MEDICINE #4
BATMAN STREETS OF GOTHAM TP VOL 03 HOUSE OF HUSH
BATTLE BEASTS #2 (OF 4)
BATWOMAN #12
BEFORE WATCHMEN RORSCHACH #1 (OF 4) (MR)
BETRAYAL O/T PLANET O/T APES TP
BIRDS OF PREY #12
BLOODSHOT (ONGOING) #2
BLUE BEETLE #12
BODY SHOTS ART OF TC COR SC (MR)
BOOTY SC PIRATE QUEENS (O/A) (MR)
BPRD HELL ON EARTH TP VOL 03 RUSSIA
BUTCHER BAKER RIGHTEOUS MAKER #8 (MR)

CALL OF WONDERLAND #3 (OF 4) (MR)
CAPTAIN AMERICA BY ED BRUBAKER TP VOL 01
CAPTAIN AMERICA TEE CAPS NAVY T/S
CAPTAIN ATOM #12
CAPTAIN MARVEL #2
CATWOMAN #12
CLASSIC POPEYE ONGOING #1
CONAN DAUGHTERS OF MIDORA & OTHER STORIES TP
CREATIVITY OF STEVE DITKO HC
CROSSED BADLANDS #11 (MR)
CROW #2

DAREDEVIL #17
DARK AVENGERS #179
DARK TOWER GUNSLINGER MAN IN BLACK #3 (OF 5)
DC UNIVERSE PRESENTS #12
DEADPOOL #59
DEADPOOL KILLS MARVEL UNIVERSE #3 (OF 4)
DEADWORLD WAR O/T DEAD #3 (OF 5)
DEFINITIVE FLASH GORDON & JUNGLE JIM HC VOL 02
DOCTOR WHO DAVE GIBBONS TREASURY ED #1

ELEKTRA ASSASSIN TP
ELEPHANTMEN #42 (MR)
EMPOWERED DELUXE ED HC VOL 02
ESSENTIAL WARLOCK TP VOL 01
EVERYBODY LOVES TANK GIRL #2 (OF 3) (MR)
EXTERMINATION #3

FAKK 2 MOVIE SPECIAL SIMON BISLEY ARTBOOK HC (MR)
FATALE #7 (MR)
FERALS #7 (MR)
FLASH ARCHIVES HC VOL 06
FOUR HORSEMEN O/T APOCALYPSE SC VOL 02 (OF 3) (MR)

GARTH ENNIS JENNIFER BLOOD #15 (MR)
GI JOE DISAVOWED TP VOL 06
GI JOE VOL 2 ONGOING #16
GREEN LANTERN #12
GREEN LANTERN CORPS #12
GREEN LANTERN GREEN ARROW TP
GREEN LANTERN THE ANIMATED SERIES #5

HARBINGER (ONGOING) #3
HAWK AND DOVE TP VOL 01 FIRST STRIKES
HELLBLAZER #294 (MR)
HOMECOMING #1
HULK #56
HULK SEASON ONE PREM HC

ILLUSTRATION MAGAZINE #38

JERICHO SEASON 4 #1 (OF 5)

KILL AUDIO TP

LADY DEATH (ONGOING) #20 (MR)
LEGION OF SUPER HEROES #12
LIFE WITH ARCHIE #22

MANARA LIBRARY HC VOL 03 (MR)
MARVEL SUPER HEROES #3
MICHAEL AVON OEMINGS THE VICTORIES #1 (OF 5)

NEW MUTANTS #47
NIGHTWING #12

PATHFINDER #1
PEANUTS VOL 2 #1 (OF 4)
PIGS #8 (MR)

RED DIARY RE(A)D DIARY FLIPBOOK HC
RED HOOD AND THE OUTLAWS #12
REVIVAL #2
ROBERT E HOWARDS SAVAGE SWORD #5
ROGER LANGRIDGES SNARKED #11

SAGA #6 (MR)
SAUCER COUNTRY #6 (MR)
SCARLET SPIDER PREM HC V1 LIFE AFTER DEATH
SENSATIONAL SPIDER-MAN #33.2
SHADE #11 (OF 12)
SIMPSONS COMICS #193
SONIC UNIVERSE #43
STAR TREK 100 PAGE SPECTACULAR SUMMER 2012
STAR WARS THE CLONE WARS SITH HUNTERS TP
SUPERGIRL #12
SUPREME #66

TEENAGE MUTANT NINJA TURTLES CLASSICS TP VOL 01
TREASURY 20TH CENTURY MURDER HC V5 LOVERS LANE

UNCANNY X-FORCE #29
UNCANNY X-FORCE TP VOL 04 DARK ANGEL SAGA BOOK 2

VAMPIRELLA VS DRACULA #6
VOLTRON #7

WALKING DEAD #101 (MR)
WONDER WOMAN #12

X-FACTOR #242
X-MEN #34

ZORRO RIDES AGAIN #11 (OF 12)

Comics & Collectibles posted this list on Facebook. Arrivals at your LCS may vary.

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Andrew A. Smith

Scripps Howard News Service

 

Clinical psychologist 'examines' Bruce Wayne in new book

 

Is Batman crazy?

12134210664?profile=originalThat’s the central issue in a new book by clinical psychologist, psychotherapist, textbook writer, book author, lecturer and certified hypnotist Robin S. Rosenberg, PhD. What’s the Matter with Batman? An Unauthorized Look Under the Mask of the Caped Crusader applies professional criteria to the questions that have always swirled around the sanity of a man whose response to tragedy has been to dress up like a flying rodent.

And Rosenberg is precisely the person best suited to do it. In addition to the curricula vitae listed above, she is also series editor of the “Superheroes” line at Oxford University Press, and editor of the anthologies The Psychology of Superheroes and The Psychology of the Girl with the Dragon Tattoo.

She is also a major Bat-fan, given that she is conversational with terms like “the Dick Grayson era” of Robin, and can explain in depth the differences between Batman’s 1939 origin in Detective Comics #33 vs. his origin in the 2005 film Batman Begins.

So, back to the book: Is Batman crazy?

Well, first, Rosenberg was quick to tell me in a phone interview that psychologists “don’t actually use the term ‘crazy,’” preferring phrases like “diagnosable disorder.” (I assume “nutso,” “bonkers” and “taking the cray-cray train to Koo-Koo Town” are equally off limits, but was afraid to ask.)

Secondly, we have to establish which Batman we’re talking about. There have been a lot of versions of Batman, from Adam West’s campy TV turn to Frank Miller’s aging, ultra-violent Dark Knight Returns. It turns out Rosenberg examines more than one version of Batman at once.

“I focus on an amalgam,” she says. “Basically what I was trying to do was find, in any version, enough symptoms of various disorders.”

Those disorders include Dissociative Identity Disorder, clinical depression, Obsessive-Compulsive Disorder, Posttraumatic Stress Disorder and Antisocial Personality Disorder. She also discusses Batman’s guilt, workaholism and occasional poor judgment (hint: Robins).

So is Batman crazy? Well, you’ve probably figured out by now that I’m not going to spoil the book by telling you what Rosenberg concludes. Instead, I’ll regale you with a few of Rosenberg’s Bat-impressions from our interview:

Is Batman messianic, thinking he is so necessary for Gotham? 

“In the film Batman Begins," Rosenberg said, “Gotham City … is basically a mess, and the Gotham police [have] not been able to fix it. So if [Bruce Wayne] can fix it, then he’s justified in his messianic beliefs. … it’s an accurate self-assessment.”

Isn’t his anger a problem?

“Anger can be a very powerful motivator,” she said. “Anger in and of itself isn’t a bad thing. When people who end up becoming doctors or cancer researchers have been motivated because that they were angry that a loved one died of cancer, does that make anger bad? No. … It’s OK to be angry. It’s really important being in control of it … to make it work for you, versus working against you.”

12134211072?profile=original

In Batman Begins, it’s implied the Bat-mask is a totem of sorts. Is it?

“I think partly it just depends on the wearer,” Rosenberg said. “[Bruce Wayne] chose the bat, it’s not simply a mask that he’s putting on. It’s a meaningful mask, so it may be when he puts it on there is a totemic-like aspect wishing to imbue himself certain bat-like characteristics. I mean, if he were wearing a princess mask, he might feel a little differently!”

What’s your opinion of the Christopher Nolan films, from a professional psychologist’s perspective?

“Christopher Nolan, Jonathan Nolan and David Goyer … are really good lay psychologists. In Batman Begins … I thought it was absolutely brilliant to have Bruce Wayne as a young child be an anxious and fearful kid, temperamentally. We know a lot about anxious and fearful temperament and here … he fell into a cave of bats and was traumatized by that, and then he goes to the opera [which] has people dressed as bats going up the walls of the stage, and he has a panic attack. And having that … was absolutely brilliant, because that’s the part about his guilt. … He understands that if he hadn’t had the panic attack his parents wouldn’t have ended up in the alley with Joe Chill.

“And they had him master his fear by the technique called exposure, where you expose yourself to what you’re afraid of in a controlled way. And that’s the totem of him taking on the bat as his animal costume. It added a whole other veneer to the Batman mythos, the meaning of his becoming Batman. I thought that was absolutely psychologically brilliant.”

Finally, I had to ask her about a recent Playboy interview, where long-time Bat-writer Grant Morrison made the startling claim that “gayness is built into Batman. I’m not using gay in the pejorative sense, but Batman is very, very gay. There’s just no denying it. Obviously as a fictional character he’s intended to be heterosexual, but the basis of the whole concept is utterly gay.”

I’m not sure exactly what Morrison meant by that, since he also wrote Batman as a heterosexual. And my own opinion is that when people see gay dog whistles in Batman comics it says more about them than it does Batman, whose adventures were originally aimed at pre-adolescents.

As it happens, Rosenberg seems to agree with me. She dismissed the homosexual charge in her book, saying “writers of Batman stories have stated they wrote Wayne as a heterosexual character.” So what did she make of Morrison’s remarks?

“Here’s the great thing about superheroes or fictional characters in general,” she said. “They’re like Rorschach ink blots. There’s a form to the inkblot, but you infuse a meaning into it. … People bring their own perspectives to the characters, and they fill in the blanks, if you will. Like with comic panels, we fill in what happens from one panel to another. We fill in the back story or the elements of the character that aren’t provided for us. So someone who wants to see certain elements, will see those elements. And there’s not a way to refute it, because that whole point is that the information isn’t there. You’re … filling in the blanks of a structure. I think even Grant Morrison would say that, because from the lens that he is wearing that is what he sees in the blank spots. It’s what he brings [to the table]. You and I don’t see that, we see something else, because of what we bring. … That’s one of the neat things about humans, right? We’re all different!”

And some of us are crazy. But is Batman? Buy the book, and find out. And if you have any suggestions for Bat-stories that can add to the discussion, send them to Rosenberg, and she’ll include them in a second edition.

 

Art

1. What's the Matter with Batman? examines the Dark Knight's mental state. Copyright 2012 Robin S. Rosenberg

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

 

Contact Andrew A. Smith of the Memphis Commercial Appeal at capncomics@aol.com. For the full interview, see Comics Buyer's Guide #1694-95.

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Comics for 4 July 2012

ACTION COMICS #11
AGE OF APOCALYPSE #5
ALIEN FACEHUGGER PLUSH
AMAZING SPIDER-MAN #689
ANIMAL MAN #11
ART OF BARON VON LIND SC VOL 02
ARTIFACTS #19
AVENGERS VS X-MEN #7 (OF 12) AVX

BATMAN & ROBIN HC VOL 01 BORN TO KILL
BATMAN EARTH ONE HC
BATWING #11
BEFORE WATCHMEN OZYMANDIAS #1 (OF 6) (MR)
BOYS #68 (MR)
BTVS SEASON 9 TP FREEFALL

CAPE 1969 #1 (OF 4)
CASTLE WAITING VOL II #17
CREATOR OWNED HEROES #2 (MR)
CRIME DOES NOT PAY ARCHIVES HC VOL 02

DAN THE UNHARMABLE #3 (MR)
DANGER CLUB #3
DEADPOOL #57
DETECTIVE COMICS #11
DIAL H #3
DICKS COLOR ED #6 (MR)
DOCTOR WHO CLASSICS SERIES IV #6 (OF 6)
DOROTHY OF OZ PREQUEL #3 (OF 4)
DREADSTAR OMNIBUS TP

EARTH 2 #3
EPIC KILL #3
EXECUTIVE ASSISTANT ASSASSINS #1

FABLES TP VOL 17 INHERIT THE WIND (MR)
FAIREST #5 (MR)
FANBOYS VS ZOMBIES #4
FATHOM KIANI VOL 2 #3
FERALS #6 (MR)
FURY MAX #4 (MR)

GARFIELD #3
GI COMBAT #3
GI JOE A REAL AMERICAN HERO #180
GI JOE V2 COBRA COMMAND TP VOL 02
GREEN ARROW #11
GREEN HORNET #26
GREEN LANTERN EMERALD WARRIORS TP VOL 01

HACK SLASH #17 (MR)
HAUNT #24
HE MAN & THE MASTERS OF THE UNIVERSE #1 (OF 6)
HELLRAISER #15 (MR)
HERO WORSHIP #1 (OF 6)
HULK #55

INCORRUPTIBLE TP VOL 07
INFERNAL MAN-THING #1 (OF 3)
INVINCIBLE #93
INVINCIBLE IRON MAN #520
INVINCIBLE TP VOL 16 FAMILY TIES
IZOMBIE #27 (MR)

JUSTICE LEAGUE INTERNATIONAL #11

KIRBY GENESIS CAPTAIN VICTORY #6
KNIGHTS OF THE DINNER TABLE #188

LADY DEATH (ONGOING) #19 (MR)

MIKE NORTONS BATTLEPUG HC VOL 01
MIND MGMT #2
MORNING GLORIES #20 (MR)
MUPPETS #1 (OF 4)

NIGHT FORCE #5 (OF 7)
NINJETTES #5 (MR)

ORCHID #8 (MR)
OTHER SIDES OF HOWARD CRUSE HC (MR)

PEANUTS TP VOL 01
POPEYE #3
POWER RANGERS SUPER SAMURAI GN V1 MEMORY
PUNISHER #13
PUNISHER BY RICK REMENDER OMNIBUS HC
PUNISHER OFFICIAL INDEX TO MARVEL UNIVERSE GN

RED LANTERNS #11
ROBERT JORDAN WHEEL OF TIME EYE WORLD #27
ROCKETEER ADVENTURES 2 #4 (OF 4)
ROSARIO VAMPIRE SEASON II TP VOL 09

SALEMS DAUGHTER HAUNTING TP (MR)
SCOOBY DOO WHERE ARE YOU #23
SECRET WARRIORS OMNIBUS HC
SHOWCASE PRESENTS SHOWCASE TP VOL 01
SKETCHBOOK ADVENTURES PETER POPLASKI HC (MR)
SMALLVILLE SEASON 11 #3
SONIC THE HEDGEHOG #238
SOULFIRE DESPAIR #1
SPAWN #221
STORMWATCH #11
SUICIDE SQUAD TP VOL 01 KICKED IN THE TEETH
SUPER DINOSAUR TP VOL 02
SUPERGODS VIGILANTES MUTANTS SUN GODS TEACH
SWEET TOOTH #35 (MR)

THE LONE RANGER #7
THIEF OF THIEVES #6
TRANSFORMERS ROBOTS IN DISGUISE ONGOING #7

ULTIMATE COMICS SPIDER-MAN #12
UNCANNY X-MEN #15 AVX

VAMPIRELLA RED ROOM #2

WARLORD OF MARS #19 (MR)
WOLVERINE #310
WONDER WOMAN THE TWELVE LABORS TP
WORLDS FINEST #3

ZOMBIES THAT ATE THE WORLD HC VOL 02 (MR)

This list is a copy of the list that Comics & Collectibles posted on Facebook. Arrivals at your LCS may vary.

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Comics for 27 June 2012

ALL STAR WESTERN #10
ALTER EGO #110
AMAZING FANTASY 15 SPIDER-MAN
AMAZING SPIDER-MAN #688
AMERICAN VAMPIRE #28 (MR)
ANGEL & FAITH #11
AQUAMAN #10
ARCHIE #634
ARKHAM CITY KILLER CROC DLX 4 PIECE CASE
ARKHAM CITY MR FREEZE DLX 4 PIECE CAS
ATOMIC ROBO FLYING SHE DEVILS PACIFIC #1 (OF 5)
ATOMIC ROBO REAL SCIENCE ADV #3

BACK ISSUE #57
BARRY SONNENFELDS DINOSAURS VS ALIENS HC
BART SIMPSON COMICS #72
BATMAN 52 SYMBOL T/S
BATMAN ILLUSTRATED BY NEAL ADAMS TP V1
BATMAN INCORPORATED #2
BATMAN THE DARK KNIGHT #10
BEFORE WATCHMEN NITE OWL #1 (OF 4) (MR)
BERKELEY BREATHED OUTLAND COMP COLL HC
BETTY & VERONICA #260
BILL BOY WONDER SECRET CO-CREATOR OF BATMAN
BPRD HELL ON EARTH EXORCISM #1 (OF 2)

CAPTAIN AMERICA AND IRON MAN #633
CHRONICLES CONAN TP V22 REAVERS BORDERLAND
CONAN TP VOL 11 ROAD OF KINGS
COURTNEY CRUMRIN ONGOING #3

DAVID MAZZUCCHELLI DAREDEVIL BORN AGAIN ARTIST
DEFENDERS BY MATT FRACTION TP VOL 01
DOCTOR WHO TRUST ME IM THE DOCTOR BLUE T/S
DOCTOR WHO VOTE NO DALEK RED T/S
DOROTHY AND WIZARD IN OZ #8 (OF 8)
DUNGEONS & DRAGONS FORGOTTEN REALMS #2

FATALE #6 (MR)
FATALE TP VOL 01 DEATH CHASES ME (MR)
FATIMA THE BLOOD SPINNERS #1 (OF 4)
FF #19
FF BY JONATHAN HICKMAN PREM HC
FLASH #10
FOUR HORSEMEN O/T APOCALYPSE SC VOL 01 (OF 3)
FURY OF FIRESTORM THE NUCLEAR MEN #10

GAME OF THRONES GN VOL 01 (MR)
GEARS OF WAR #24
GET JIRO HC (MR)
GOON TP VOL 11 DEFORMED BODY & DEVIOUS MIND
GOTHAM CITY SIRENS TP VOL 03 STRANGE FRUIT
GREEN LANTERN NEW GUARDIANS #10
GUILD TP VOL 02

HELL YEAH #4
HIT-GIRL #1 (OF 5) (MR)

I VAMPIRE #10
IDOLIZED #0
INCREDIBLE HULK #10
INFINITE CRISIS OMNIBUS HC
INVINCIBLE IRON MAN PREM HC VOL 09 DEMON

JOHN CARTER GODS OF MARS #4 (OF 5)
JOURNALISM HC
JUSTICE LEAGUE #10
JUSTICE LEAGUE DARK #10

KIRBY GENESIS SILVER STAR #6

LEGION SUPER HEROES TP VOL 01 HOSTILE WORLD
LOCKE & KEY CARD GAME
LOEG III CENTURY #3 2009 (MR)
LORD OF THE JUNGLE #5 (MR)

MAGDALENA TP VOL 02
MAGIC THE GATHERING SPELL THIEF #1
MANHATTAN PROJECTS #4
MARVEL SELECT AVENGERS MOVIE HAWKEYE AF
MARVEL UNIVERSE ULTIMATE SPIDER-MAN #3
MARVEL ZOMBIES DESTROY #4 (OF 5)
MIGHTY THOR #16
MIND THE GAP #2
MMW UNCANNY X-MEN TP VOL 05
MORNING GLORIES TP VOL 03 P.E.
MYSTERY MEN TP

NEW DEADWARDIANS #4 (OF 8) (MR)

PREVIEWS #286 JULY 2012
PROPHET #26

RESET #3 (OF 4)
RESIDENT ALIEN #2
R. MEAD VAMPIRE ACADEMY GN V2 FROSTBITE

SAVAGE DRAGON #180
SAVAGE HAWKMAN #10
SCALPED #59 (MR)
SONIC UNIVERSE #41
SOULFIRE HOPE #1
SPACEMAN #7 (OF 9) (MR)
SPANDEX HC (MR)
SPIDER-MEN #2 (OF 5)
STAR TREK LEGION OF SUPER-HEROES HC
STAR TREK ONGOING #10
STAR TREK TNG DOCTOR WHO ASSIMILATION #2
STAR WARS BLOOD TIES BOBA FETT IS DEAD #3 of 4
SUPERMAN #10
SUPERMAN FAMILY ADVENTURES #2
SUPREME #65

TAROT WITCH OF THE BLACK ROSE TP VOL 10 (MR)
TEEN TITANS #10
TEENAGE MUTANT NINJA TURTLES ONGOING #11
TRANSFORMERS MORE THAN MEETS EYE ONGOING #6

ULTIMATE COMICS ULTIMATES #12
USAGI YOJIMBO TP VOL 26 TRAITORS O/T EARTH

VOLTRON #6
VOODOO #10

WAKING DREAM END #2
WHISPERS #3 (MR)
WITCHBLADE #157
WOLVERINE AND X-MEN #12 AVX
WOLVERINE BEST THERE IS BROKEN QUARANTINE TP

X-MEN #31
X-MEN LEGACY #269 AVX
X-MEN LEGACY BACK TO SCHOOL PREM HC
X-MEN SCHISM TP
X-MEN X-CLUB TP

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

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The Best X-Men Stories of the Past 4 Years, Part II

12134207661?profile=originalAge of X, X-Men Legacy 245-247 and New Mutants 22-23, 2011: I’m a sucker for good alternate universe stories and Age of X is one of the best. Mike Carey takes the Utopia setting to its dystopian, violent extreme. The island is an armed fortress from which the X-Men repel an invasion day after day every day for a thousand days. They’re living in a warzone; they’re mentally and emotionally exhausted. But there’s something sinister under the surface. There are hidden rooms deep in the heart of the fortress and prisoners that no one is allowed to see. The situation begins to unravel when Katherine Pryde returns from the outside world with a roll of blank film. Rogue, Gambit and Magneto delve into the mystery while Cannonball and Moonstar try to stop them. Is it an illusion? A dream? Or something worse? Age of X is an intense, compelling story featuring unusual and unique takes on many of our favorite X-Men.


Monstrous/Meanwhile, Astonishing X-Men 36-42, 2011:
Daniel Way and Christos Gage present these alternating stories in Astonishing X-Men. While they may not have the big names of Joss Whedon or Warren Ellis, they understand that Astonishing X-Men is supposed to feature big-scre12134207900?profile=originalen stories. Way takes half of the team to Japan where they end up fighting escapees from Monster Island. This fun tale includes amusing nods to classic monster movies like Godzilla as well as cameos by classic Marvel monsters like Fin Fang Foom. There’s also a strong emotional heart as Armor is torn between her loyalty to her biological family and the X-Men. Gage takes the other half of the team into outer space where they encounter yet another invasion from the Brood. But, this time, there’s a twist. Instead of killing the Brood, they have to save them from extinction. There’s some great internal conflict as the X-Men debate whether the Brood are worth saving. Plus, this story introduces the “deformed” Broodling born with undesirable traits like compassion. Broo, who winds up in Wolverine & the X-Men, is a fun little addition complicating both the mission and the moral confidence of the X-Men.

12134208874?profile=originalPoint One, Uncanny X-Men 534.1, 2011: It’s a lost art form but I’m glad to see that there’s still a place for an excellent done-in-one story. Penciler Carlos Pacheco joins Kieron Gillen for this instant classic. Magneto has been a member of the X-Men before and he rejoined the team when they relocated to Utopia. But the world didn’t know about this development until now. With the secret out, the X-Men have to deal with the fall-out. More importantly, Magneto has to decide what kind of a person he wants to be. Is he willing to eschew the morally ambiguous methods he employed in the past? Is he ready to become a hero? Why would he even want to? This point one story is a wonderful character examination that includes some huge ramifications for the entire team without resorting to pat answers.

12134209467?profile=originalWelcome to the Jean Grey School for Higher Learning, Wolverine & the X-Men 1-3, 2011: Do you know what I love about this series? It’s fun! Jason Aaron wasn’t exactly known for his sense of humor on Wolverine or Scalped but he brings the funny to his new X-Men ongoing. In this opening arc, Wolverine has rebuilt the Xavier Institute and renamed it the Jean Grey School. However, before he can officially reopen the school, he has to pass the New York Board of Education inspection. Of course, this being the X-Men, the inspection isn’t going to go smoothly. Before the day is out, they’re attacked by the new Hellfire Club and Krakoa, “the island that walks like a man.” Iceman, Beast and Wolverine take turns dishing the one-liners and Jason Aaron takes no time in dialing up the ridiculous situations. It’s like a mad farce with miniature Nightcrawlers. Chris Bachalo is the perfect artist for this series. His stylized approach adds to the mayhem yet he’s strong enough with the details to capture the necessary facial expressions. I also love the quick pace. Jason Aaron eschews the now outdated six-issue arc and runs through the opening story in double time, which only increases the frenetic energy.

12134210071?profile=originalTabula Rasa, Uncanny X-Men 5-8, 2012: This is arguably Kieron Gillen’s best arc on Uncanny X-Men and ironically it’s more like a Fantastic Four story than something you’d associate with the X-Men. A rural part of Montana has been cut off from the rest of the world by a giant dome and the X-Men have been invited to investigate. Despite his recent isolationism, Cyclops agrees to intervene- partly at Psylocke’s urging. The X-Men penetrate the dome and discover a world that’s been on evolutionary fast-forward. Gillen toys with evolutionary themes, holding a fun-house mirror up to the X-Men and their own ongoing conflict with humanity. In grand comic book tradition, he also splits the team into smaller squads. The unusual pairings (Sub-Mariner and Hope!?!) and the insightful character interaction highlight this excellent arc.

12134210465?profile=originalTo Love and Die in New York, Astonishing X-Men 48-51, 2012: For some reason, Marvel stopped assigning story titles to some of its, um, stories and titles. That’s okay- it means I get to come up with my own (as I did for Wolverine & the X-Men). In this case, I chose a title that captures the essence of Marjorie Liu’s opening arc. Wolverine has put together a new action team of X-Men in New York City. Gambit, Iceman, Karma, Northstar and the new Warbird join him in a battle with a new team of Marauders. There’s a lot of fast-paced action and collateral destruction. However, there’s a lot more going on than yet another superhero fight. The X-Men pick up on clues that the Marauders aren’t acting of their own volition so there’s a mystery to unravel. Yet, more than that, there’s a second interconnected story. Northstar’s boyfriend Kyle has moved to New York as well. He tries to be a bigger part of Northstar’s life and is nearly caught in the crossfire. Northstar tells Kyle that it’s too dangerous which Kyle takes as a dismissal but Northstar’s apology turns into a wedding proposal. The story made a lot of headlines but I was more impressed by its emotional complexity and depth. Northstar’s profession of love for Kyle is wonderfully well written, especially the part where he tells Kyle that Kyle helps him feel normal.

Well, that’s my top twelve X-Men stories of the past 4 years. But that doesn’t mean I’m done. Come on back next time for my honorable mentions- enjoyable stories that, for one reason or another, didn’t quite make the cut.

The Best X-Men Stories of the Past 4 Years Part I

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Andrew A. Smith

Scripps Howard News Service

There’s nothing an ink-stained wretch like this reviewer can add to the poignancy and lyrical beauty of Oscar Wilde’s stories. Fortunately, there’s plenty legendary artist P. Craig Russell can add, as he does in The Fairy Tales of Oscar Wilde Volume 5: The Happy Prince (NBM, $16.99).

 

12134208279?profile=originalThe award-winning Russell is famed for his beautiful, Raphael-esque artwork, on display in his stunning adaptations of Wagner’s Das Ring die Nibelungen, Mozart’s The Magic Flute and Strauss’s Salome. Russell has even managed a superhero or two, including Marvel’s Killraven and Dr. Strange.

 

The downside to Russell’s classical style is that it takes a lot of time. As he explains on his text and video blog (nbmpub.com/blog/author/craig-russell), “The Magic Prince” has been staring at him accusingly from beside his art table for eight years, while other projects have taken precedence – and because Russell’s perfectionism wasn’t happy with his initial efforts.

 

It was well worth the wait. As usual, Russell’s art is transcendent, transporting the reader to a world where even trash dumps have their own textured, fine-lined beauty. And those things that are supposed to be beautiful fairly glow, as if painted in layers of oil like the Old Masters Russell resembles, and not merely ink and watercolor on paper.

 

Then there’s the story itself, a classic of long standing. Wilde’s tale is that of a “Happy Prince” who was a royal lad who led a life of ease and indolence before dying young. The prince’s spirit now resides in his own gold- leafed and gem-embroidered statue on a tall steeple, where he can see the wretched poverty of his people for the first time. He cajoles a barn swallow into denuding him of his riches and distributing them to the needy, with dire consequences for them both. I won’t spoil everything here, but I will note that this story of heroic altruism and the gap between rich and poor is of special relevance today, where it’s reflected in the Occupy Wall Street movement and presidential politics.

 

12134209298?profile=originalRussell’s work speaks for itself, but there is one thing I can add: Go look for yourself, and see if The Happy Prince doesn’t convince you to take him home, where his message can enrich all who hear it.

 

Elsewhere:

 

Ever hear about something all your life, but not understand it until you experience it firsthand? Such was the case of Modesty Blaise for me, a comic-strip character from England whose appeal I didn’t understand until I read a collected volume.

 


Modesty Blaise: Live Bait
 ($19.95) is the 21st and latest volume in the reprint series by Titan Books of England, with a 22nd due in August. Prior to reading it, the times I’d run across Modesty (a few reprints by Eclipse in the ‘80s, a couple of movies) had not impressed me. After reading it, I gained a newfound appreciation – and an understanding of why this character has lasted since 1963.

 

The premise is fairly simple: Modesty was a war orphan who survived (and prospered) as a criminal, until marrying (and divorcing) an English lord. (If this seems familiar, writer Chris Claremont lifted parts of Modesty’s story for the origin of the X-Men’s Storm.) Once legitimatized, she retired from the criminal life and now uses her hard-won skills and connections (with the criminal organization she used to head, “The Network”) for the English crown (on occasion) and to help out old friends (more often) and those in need (most often). She is always assisted by Willie Garvin, another ex-crook with whom she has a platonic relationship based on mutual respect.

 

12134209877?profile=originalIt’s a nice set-up for adventure, but nothing obviously special – until you read the actual stories. I was intrigued by Live Bait (which includes two other stories, “Samantha and the Cherub” and “Milord”), because of the verisimilitude provided by writer Peter O’Donnell. Modesty’s world is a harsh one, despite it being a comic strip, which deals frankly with subjects like child-kidnap, snuff films and sexual slavery, while utilizing a wide array of real-world (albeit often exotic) weapons, techniques and spycraft.

 

Naturally, Modesty is sexy and gorgeous. But artist Enric Badia Romero doesn’t exaggerate her charms; like her adventures, Modesty is exciting but believably proportioned.

 

It is that patina of plausibility that makes Modesty Blaise so much fun. Her adventures seem genuinely dangerous, and rarely have a completely happy ending. Modesty may win the day, but there are always consequences for playing rough.

 

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

 

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Recent Disappointments and New Favorites

12134205892?profile=originalI’m usually on the lookout for interesting new comics and this past spring seemed especially promising with a number of new projects by familiar creative teams. Indeed, some series exceeded my expectations and are quickly becoming new favorites. However, others didn’t click right. They’re not horrible comics; they’re even well crafted to some extent but, for one reason or another, they weren’t what I was looking for.

The first and probably biggest disappointment is Fairest. I’m a huge fan of Fables and I loved the idea of a spin-off that would focus on that series’ rich mix of female characters. But that’s not exactly what we got from Bill Willingham and Phil Jimenez.


I was surprised that the preview issue didn’t include any female characters. It told the story of the young thief Ali Baba and his genie guide as they broke into a goblin camp to free a princess from a deep slumber. It was a well-crafted tale but I thought it was a poor story-telling choice. It may have worked as an installment of Fables but it didn’t fit with the mission statement of Fairest. I was further disappointed when that preview turned out to be an accurate reflection of the first issue. Yet I was still willing to give the series a chance based on my prior appreciation for Fables.12134206486?profile=original


The second issue, however, confirmed my poor impression. In this issue, Briar Rose is at least fully awake and on the run with Ali Baba. The scenario has potential and the arguments between the two characters have a nice Moonlighting element to them. However, that characterization is undercut by Jonah the genie’s diatribe about wo

m

en. Briar had argued that she could keep up with Ali, an argument that is patently false based on their relative fitness. B

ut rather than noting that a pampered princess can’t outrun a trained thief, Jonah 


launches into a rant about how 

women aren’t as good as men. As he says, “That’s why marathons give out two awards, one to the real champion and another to the first female finisher.” I was dumbfounded. I thought Billie Jean King had settled this issue in 1973 when she defeated Bobby Riggs. Ali Baba is faster and has more endurance because he’s in good physical shape and Briar Rose is not.

One might defend Fairest by noting that a character makes this statement and not necessarily the writer. However, I’m not sure that defense holds in this case. The genie is generally deferred to as a knowledgeable, almost omniscient character. Plus, Bill Willingham didn’t have to include the diatribe at all. It speaks poorly of him that he chose to write it when it has little to do with either the story or the main characters. Instead, it reads like an anti-feminist statement in a series that’s supposed to appeal to those who are interested in rich female characters.

12134206689?profile=originalThe other unexpected disappointment was Manhattan Projects by Jonathan Hickman and Nick Pitarra. Hickman and Pitarra were responsible for last year’s excellent mini-series The Red Wing and this new series was specifically promoted as coming from the same creative team.


Manhattan Projects does provide some of the same crazy science based adventure as The Red Wing. There are parallel dimensions and teleportation tubes and all kinds of interesting objects. Unfortunately, The Red Wing had one thing that Manhattan Projects does not: characters that we can care about.
The premise is that Manhattan Projects takes place in an alternate dimension where Robert Oppenheimer’s team of scientists invented a lot more than an atomic bomb. However, in this dimension, Oppenheimer has been replaced by his evil twin. We’re not talking about your garden variety bad seed here; we’re talking about a Jeffrey-Dahmer type of sociopath. This is also a different version of Albert Einstein. It’s not the lovable, slightly wacky version we’re used to from most depictions. This Einstein is surly and cruel. There’s also a German scientist who is recruited into the project after the defeat of the Nazis. I don’t think he has an exact historical counterpart but he’s presented as a version of Joseph Mengele, willing to experiment on live humans in the name of science. As I said, there aren’t a lot of likable characters to care about.
There are a few nice moments. In the second issue, I enjoyed a humorous scene in which a young scientist sent to Germany surrenders before he realizes with relief that he actually arrived at an American military camp. Yet those joyful moments don’t outweigh the ugly ones. Other readers may enjoy Manhattan Projects more than I did. But for me, the balance between the ugly and the beautiful was off-kilter and it’s not something I want to read on a regular basis.

12134207654?profile=originalThat’s not to say that everything new has been disappointing or underwhelming. A few new series have turned out to be quite excellent. The first is Saga by Brian K. Vaughan and Fiona Staples. Vaughan is the creative mind behind earlier hits like Ex Machine and Y: The Last Man. Staples demonstrated her artistic flair on the recent mini-series The Mystery Society. So I was definitely looking forward to their new sci-fi epic. My biggest concern was that it wouldn’t be able to live up to my anticipation.
I needn’t have worried. Though it’s very early, Saga has been everything I could have hoped for. A galaxy at war. A central romance. A parade of bounty hunters. Interesting new species, including one that’s a television/human hybrid.
Saga was promoted as Brian K. Vaughan meets Star Wars. That’s a pretty hefty billing to live up to. But Saga is no Star Wars rip-off. There are superficial similarities but Saga draws from classic literature like Romeo & Juliet and modern communication theory as much as it does from popular science fiction.
Perhaps the best thing about Saga is the way in which it keeps the focus on its central couple while using the entire galaxy as a backdrop. This isn’t the story of a galaxy at war. Rather, it’s the story of two young people who are trying to survive and start a family. The galactic conflict provides an epic feel and numerous moments of awe. Yet the personal element is what draws us into the story.

12134208059?profile=originalThe other pleasant surprise has been X-O Manowar. X-O Manowar is not a new concept. It’s one of the characters from the original Valiant line and it debuted 20 years ago. This version is brought to us by Robert Venditti, who I didn’t know before this, and Cary Nord, an artist who impressed me years ago with his work on Conan.
X-O Manowar is Aric, a barbarian who fought against the Romans before being abducted by aliens. He eventually gained control of one of their exo-suits, escaped and returned to Earth. In the original series, Aric was a fish out of water. As a barbarian who had survived to the present day, he was occasionally disgusted by modern conventions. But he also had control of a technologically superior suit and a major corporation.
In the new series, Venditti and Nord have decided to explore Aric’s origins in much greater depth. The origin isn’t simply a backstory for a modern superhero. Instead, it’s the central narrative of the comic book. The comic provides historical background and reference for the battles between the Romans and the “barbarian” Visigoths. The Romans have superior wealth, arms and tactics but the Visigoths are indefatigable foes. Aric is part of this ancient conflict, the underdog fighting against the superior enemy.
This becomes the setting for an alien incursion. Venditti does a great job of getting into Aric’s head. He isn’t a modern comic book fan who has watched X-Files and read War of the Worlds. He has no concept of aliens from another world. He originally mistakes the aliens for Romans and then for magical creatures. The series explores concepts like technology and military strength. It also deals with human themes like captivity and freedom. It has a rich texture and a unique setting. I can’t wait to see what happens next.

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