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'Sidekicks': A book about young adult superheroes
that young adult readers will enjoy

 

Andrew A. Smith

Scripps Howard News Service

 

Sept. 6, 2011 -- Falling vaguely in this column’s bailiwick is Sidekicks (Abrams, $16.95), an entertaining young adult novel set in a superhero milieu, written by Emmy-award-winning writer Jack Ferraiolo (Wordgirl.)

 

12134115883?profile=originalThe star is 13-year-old Scott “Bright Boy” Hutchinson, sidekick of the world’s premier (and Batman-esque) superhero, Phantom Justice. Bright Boy is coming of age, and unexpected hormonal surges are causing some predictable problems in his too-tight, and bright yellow, tights. His public embarrassments are compounded when he discovers that his chief foe, Monkeywrench, sidekick of the world’s worst super-villain, Dr. Chaotic, is secretly a girl. A girl who attends his school. A popular girl at said school, whereas he is a dweeby loner, in order to protect his secret identity. Talk about injustice! Now the arch-foes must work together to protect each other’s secret, as well as their own, despite the almost inevitable result of two very healthy, very attractive, very athletic teenagers being forced to spend a lot of time alone together.


What do Phantom Justice and Dr. Chaotic think of the situation? It turns out they have secrets of their own, which complicate matters even further. That is actually unfortunate, in that the plot shares a number of elements with a comic-book miniseries titled Brat Pack, published by King Hell in 1990. But there are only so many ideas in the world, and Sidekicks develops this familiar premise in a unique way that is sure to amuse its target market, young adults. Aside from some stiff expository dialogue on occasion – not the deliberately pompous superhero speeches, but the “real” conversations – Sidekicks is a joy ride in tights, using the conventions of superhero comics to tell a story we can all relate to, regardless of age.

 

REPRINT ROUNDUP

 

12134116453?profile=original* Nobody does a better job of collected editions than Dark Horse, and the latest evidence is Hellboy Library Volume 4 ($49.99). I’ve already bragged on the first three volumes, part of a series collecting all Hellboy stories chronologically in beautiful oversize (roughly 9 ¼ x 12 ½ inches) hardbacks.

 

This is the first volume to contain Hellboy stories not drawn by the series writer and creator, Mike Mignola, but as both he and editor Scott Allie assert in forewords, they chose Mignola’s replacements carefully and successfully. The 72-page “The Crooked Man” is an incredibly creepy story adapted from Southern U.S. folklore and drawn by the legendary Richard Corben. A 19-page vampire story set in Prague is limned by the extraordinary P. Craig Russell. No complaints there! Plus, there’s plenty of Mignola himself – not only Hellboy tales, but also some obscure but gorgeous stories he crafted for various Dark Horse projects that have never been reprinted before. That, plus sketches and commentary, are some of the advantages a book like this has over the original issues.

 

12134116297?profile=original* Irishman Garth Ennis has proved himself a master at telling World War II stories, which he does for Dynamite Entertainment as standalone miniseries under the umbrella title “Battlefields,” which are then collected in groups of three in hardback. My wife and I both devoured the first collection, and Battlefields Volume Two ($29.99) may be even better.

 

This volume includes “Motherland,” a sequel to “The Night Witches,” about a Soviet combat aviatrix; “Happy Valley,” concerning the short lives and camaraderie of British bomber pilots; and “The Firefly and Her Majesty,” featuring a cat-and-mouse match between a Prussian commander of a King Tiger tank and Ennis’s British Sgt. Stiles, equipped in this story with a modified “Firefly” tank instead of a Churchill – but still just as irritable (and his Northumberland accent is still just as impenetrable to friend and foe alike).

 

12134117463?profile=originalAs usual, Ennis’s stories shed light on little-known corners of that enormous conflict, and are more about people, emotions and consequences, rather than the patriotic jingoism and invincible, wisecracking Allied soldiers one usually finds in war comics. If it can be said that stories can make you cheer through your tears, it is these.

 

* Dark Horse has another winner with Flash Gordon Comic Book Archives Volume 4 ($49.99), if only in comparison to previous volumes, which were pretty mediocre. This one collects the Gordon comic books published by Gold Key (1978-80), and are the best so far. One reason is continuity; events have consequences issue to issue. Another reason is girlfriend Dale Arden finally throwing a few punches and occasionally coming to Gordon’s rescue, instead of her usual, tiresome role as Helpless Hostage.

 

1. "Sidekicks" is a young adult novel starring young aides to superheroes. Courtesy Abrams.


2. "Hellboy Library Volume 4" includes some of the first stories not drawn by Hellboy creator Mike Mignola. Courtesy Dark Horse.


3. "Battlefields Volume Two" continues writer Garth Ennis's evocative series of stories set in World War II. Courtesy Dynamite Entertainment


4. "Flash Gordon Comic Book Archives Volume 4" reprints stories about the character published by Gold Key, which are a level above those published earlier by Dell, King Features and Charlton, which were reprinted in volumes 1-3. Courtesy Dark Horse

 

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

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12134027688?profile=originalIn Showcase # 6 (Jan.-Feb., 1957), four men---Ace Morgan, Prof Haley, Red Ryan, and Rocky Davis---survived what should have been a fatal air crash.  Deciding they were living on borrowed time, they continued to cheat death, tackling the riskiest of dangers head-on, as the Challengers of the Unknown.  It was a venture that would last thirteen years, spanning the length of the Silver Age.

 

Despite the hazards, there were a handful of others who sought a place on the team.  In my last Deck Log Entry, we discussed June Robbins, who early in the Challs’ existence earned a spot as an honorary Challenger.  June appeared constantly over the next five years, and then faded into limbo, when the writers ran out of things to do with her.

 

This time around, we’ll take a look at the other hardy souls who had the opportunity to join the champ Challs.

 

 

 

12134107254?profile=originalF. Gaylord Clayburn III

 

 

We meet Gaylord Clayburn in Challengers of the Unknown # 30 (Feb.-Mar., 1963), in a tale appropriately titled “The Fifth Challenger”.

 

The Challs meet him when they attend a swanky black-tie dinner party, as guests of June Robbins, in Clayburn’s opulent penthouse.  For most of us, being filthy rich would be accomplishment enough, but “Clay” Clayburn is something of an over-achiever.  He’s an Olympic-class sportsman, with a trophy case full of medals and loving cups for tennis, skiing, motor racing, and a dozen other competitive sports.  His entry in the Social Register takes up two whole columns and he’s matinée-idol handsome, to boot.

 

The Challengers barely have time to shake his hand and order cocktails from the bar when a scream from the terrace announces trouble.

 

A partially demolished building sits across the street, and a girder has slipped, taking a young man with it.  Now jutting out a dozen or so storeys above the pavement, he hangs on for dear life.

 

The Challs are about to rush to the boy’s rescue when June points out that Clayburn has gotten the jump on them.  In classic Doc Savage style, Clay scales the outside of the ramshackle building, a coil of rope over his shoulder.  With the surefootedness of a mountain goat, he clambers over the girders above the imperiled youth.  Just as the fellow’s strength gives out, Clayburn lassos him in mid-air and hauls him to safety.

 

12134107301?profile=originalWhen Clayburn returns to the party, the Challs greet him with hearty slaps on the back for his feat.  It’s a good time, figures the playboy, to tell them that he wants to join the Challengers.  He has the skill set, and he meets the other criterion, too---he survived a crash-and-burn at LeMans, walking away without a scratch when he should have been burnt to a crisp.

 

The team is split over the idea of making Clayburn a member.  Clay’s rescue of the man impressed Ace and Red favourably, but Rocky and Prof are against the idea.  So the four decide to compromise and give the sportsman a try-out.

 

The next day, Clayburn further antagonises nay-voter Rocky by showing up for the trials wearing a custom-styled Challenger uniform.  “I anticipated becoming a Challenger,” says the playboy, “so I had it tailored in advance!”

 

Our Heroes test Clay’s abilities at each of their own special talents.  He comes through like a champ at flying, diving, and mountaineering.  He’s about to square off against Rocky in a boxing bout when real life intrudes.  The radio announces fantastic reports of a giant mechanical eagle menacing aircraft.

 

The Challengers, with Clayburn in tow, jet to the location where the giant bird was last spotted and arrive in time to save a commercial liner from its talons.  As the team presses on with the case, they discover that the robotic eagle is the invention of a criminal scientist, bent on using the mammoth mechanism to commit air piracy.

 

As things progress, Clayburn is a fireball, full of guts and talent, but he keeps making tactical errors.  The mistakes result in Ace, Prof, Red, and Rocky becoming prisoners of the scientist’s henchmen.

 

12134105901?profile=originalWith the help of June Robbins, who had stowed away on the Challs’ jet, Clay redeems himself.  He clobbers the crooks guarding the mechanical eagle, then takes over its controls from the inside.  He manœuvres the huge bird over the scientist’s hide-out and uses its claws to rip open the vault in which the Challengers are imprisoned.  Freed, Ace and the others make quick work mopping up the rest of the gang. 

 

Even Rocky is won over, now.  “You came through with flying colors,” he tells the playboy sportsman.  “You got all our votes to join our team!”

 

The group is dumbstruck, then, when Clayburn turns the offer down.  Still kicking himself over his earlier mistakes, he decides that he just hasn’t got what it takes to be a Challenger.

 

It wouldn’t be the last time someone rejected the chance to become one of the Death-Cheaters.

 

 

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12134111090?profile=originalTino Manarry

 

 

In 1967, Challs editor Murray Boltinoff made the dramatic decision to kill off one of the famed foursome, in a gripping tale which appeared in Challengers of the Unknown # 55 (Apr.-May, 1967).  Its title---“Taps for Red”---didn’t leave much mystery about which Chall had drawn the short straw.

 

The circus acrobat-cum-mountain climber’s borrowed time finally ran out when he hand-detonated an explosive charge in order to save half-a-country-full of innocent people from a deadly shockwave.  In a five-panel epilogue to the tragic conclusion of the story, teen singing sensation Tino Manarry is introduced.

 

In due time, we learn that young Tino has a record of accomplishments that makes Gaylord Clayburn look like an idle slacker.  When he isn’t cranking out million-selling records, Manarry makes guest appearances on The Ed Sullivan Show and The Man from U.N.C.L.E.  Not that he needs the money.  The young genius---his I.Q. is 179---holds 147 engineering patents, earning him mega-bucks.   In his spare time, he’s the United Nations representative to the Peace Corps.

 

Not too shabby for a kid not even old enough to vote.

 

12134112083?profile=originalYet, Tino has one burning ambition left:  to destroy the Challengers of the Unknown!

 

His stage name, Tino Manarry, is actually an anagram of his birth name---Martin Ryan, as in the kid brother of dead Challenger Red Ryan.  And he holds the remaining Challs responsible for his big brother’s death.

 

Over the next couple of issues, Tino tries his damndest to knock off the Challengers, laying traps for them during the course of their next mission.  Thanks to their resilient talent for survival, Our Heroes thwart the teen’s deadly efforts, leaving them scratching their heads over the identity of their would-be assassin.

 

Things come to a head in issue # 57 (Aug.-Sep., 1967), when Tino joins forces with an electrically charged super-villain calling himself Power Man.  In their initial effort to kill the Challengers, Ace and Prof and Rocky manage a hair’s-breadth escape, but not before discovering who Tino really is and his warped belief that they caused Red’s death.  A second attack by Manarry and the monstrous Power Man leaves the Challs at their mercy.  Instants away from being turned into piles of ashes, Prof shows Tino proof of Red’s gallant self-sacrifice.

 

Realising his terrible mistake, Tino turns on Power Man, and with his knowledge of physics, defeats the villain single-handedly, saving the Challs from flash-fried death.

 

12134112886?profile=originalIn the wrap-up, the Challengers show there are no hard feelings by offering the youngster a place on their team.  Tino turns it down flat.  He knows they extended the invitation only out of sentimentality for Red, and he tells them that.

 

But, probably, the real reason was Tino was just too damn smart to go around dodging death on a regular basis.

 

 

 

Nevertheless, the teen genius manages to insinuate himself into the next couple of Challenger adventures, much to the consternation of Rocky, who never took to interlopers.  Only the fact that Tino was Red’s brother keeps the ol’ Rockhead from twisting the wiry little warbler into a pretzel, genius I.Q. or not.

 

Tino was also on hand for the dramatic revelation in issue # 60 (Feb.-Mar., 1968) that Red Ryan was alive!

 

Murray Boltinoff had gotten cold feet.  In a “Let’s Chat with the Challs” letter column, the editor claimed to have received an avalanche of mail protesting Red’s death.  In response, Boltinoff capitulated, forcing writer Arnold Drake to craft an awkward plot involving stone-idol gods, secret societies, shape-changers, and the team’s old foes, the Challenger-Haters.  It was a real reach, but the fans didn’t care.  They were overjoyed that Red was back with the Challs.

 

Tino wasn’t shunted off to limbo, though.  The Challenger series was about to undergo a thematic shift, and a fateful development in the lives of Red and Marty Ryan would kick off that change---a change which would lead to, for the only time in the team’s history, a new Challenger.

 

 

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1968 was a watershed year for most DC titles.  Writers and artists were shifted around.  Formats changed.  Series headed off in new directions.  It was a shake-up virtually across the board.  No DC magazine was the same as it had been six months before.

 

For Challengers of the Unknown, the sea change came in the nature of its stories.  Our Heroes would now face threats from the supernatural.  Gone were the cheesy super-villains and conquering despots, to be replaced by ghouls and goblins, witches and witch doctors, and things that went bump in the night.

 

The first new Challenger menace under this new theme was the Legion of the Weird, consisting of a vampire, an ancient Druid, a medicine man, an Egyptian sorcerer, and a witch from old Salem.  After failing in its initial attempt to put Ace under its spell, the Legion stops being subtle and dispatches the giant mummy, Tukamenon, to destroy the Challs outright.  In the mêlée, Tino Manarry is blinded by a mystic ruby.  Red donates one of his eyes for a successful transplant operation, and thanks to the gem’s residual magic, the brothers find that they can each see what the other one does, from their shared pair of eyes.

 

And the weirdness was just warming up.  Subsequent issues pitted the Death-Cheaters against resurrected murderers, an alien Frankenstein’s monster, nightmares turned real, and a rematch against the Legion of the Weird.  It was all rather unsettling, especially since long-time writer Arnold Drake and artist Bob Brown, who had been handling the art chores since 1959, were bumped off the title in favour of newer talent, in many cases, less capable but who were deemed to better fit the moodier nature of the series.

 

In Challs # 68 (Jun.-Jul., 1969), the team tackles a computer-spawned demon in the bowels of a U.S. nuclear detection facility.  It ends with the demon secretly inhabiting Prof’s body.  From then on, it takes possession of Prof’s mind from time to time, causing him to go nutty and try to kill his buddies on random occasions.

 

That sets the stage for . . . .

 

 

 

12134114467?profile=originalCorinna Stark

 

 

The next issue begins with the Challs investigating reports of a man-like monster murdering the residents of a hamlet nestled on Skull Mountain, in the Ozarks.  Atop Skull Mountain, they stumble upon a castle and make the acquaintance of its master, Algernon Stark, and his beautiful daughter, Corinna.  The mystery is uncovered when Corinna reveals that her father has been searching for the secret to immortality.  In the process, he created the man-monster out of organic materials.

 

They find the brutish thing hiding in Stark’s laboratory and, after a titanic brawl, defeat it with that time-honoured technique used to vanquish all artificially alive monsters---by electrocuting it, when Rocky slams it against some high-voltage equipment.  But Stark gets the drop on them with a sub-machine gun.  As he squeezes the trigger, Prof hurls himself at Stark and takes the volley of slugs meant for them all.

 

Haley is seconds away from dying from his wounds, so his Challenger pals stuff him into a cryogenic unit that Stark happened to have on hand.  The unit keeps Prof alive---barely.

 

Out of guilt for her father’s actions, Corinna offers to take Prof’s place as a Challenger.  That is, despite apparently not possessing any skill or talent that qualifies her for the job.   Still, there isn’t any time for Ace and Rocky and Red to argue the matter one way or the other for, as it turns out, their problems are starting to snowball.

 

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Over the next couple of issues, the Challs discover that Algernon Stark was actually a servant of an alien being called Chu.  Chu is something out of an H. P. Lovecraft novel, with a head like a cabbage and a pair of auxiliary tentacles which suck the life force out of humans.  Half the local backwoodsmen are members of his cult, and they keep the Challengers bouncing from one deadly situation to another, like pinballs.

 

Meanwhile, Chu kills Algernon Stark, in a sort of motivational demonstration for his followers.  Then he finds Prof and gives him an injection which sustains his life and kills the computer demon inhabiting his body.  The downside is it turns Haley into one of Chu’s bedbug-loony slaves.  As if things couldn’t get any worse, when the Challs attempt to rescue Prof, an explosion burns the sight out of Red’s remaining eye.

 

12134115471?profile=originalThe big finish comes in issue # 71 (Dec., 1969-Jan., 1970), when the local townsfolk capture the Challengers and turn them over to Chu.  That’s when the cavalry arrives, in the form of Tino---who has seen the whole thing in his shared sight with his brother---and his fan club, along with a healthy contingent of state lawmen.  Several dozen rounds from a brace of police specials suck the life force out of Chu and most of his minions.

 

The loose ends are tied up in the last three or four panels.  Red receives an eye transplant, giving him two working peepers, again.  Prof survives too, mentally restored, but so shot up that he will need months of convalescence.  Thus, by default, Corinna gets to stay on as a Challenger.

 

 

That makes things sort of sticky, though.   Rocky’s as smitten over her as a love-struck Saint Bernard.  He’s wrenched, though, when Corinna gives him the “let’s just be friends” speech.  You see, she’s all ga-ga over Red.  But Red regards her presence as threatening to break up the team and snarls at all of her overtures.  The more Red rags on Corinna, the more Rocky gets in his face about it, with the two men often coming to blows.  And with all these personality squabbles, Ace finds leading the Challs a whole lot tougher than it used to be.

 

To justify Corinna’s presence, it was established that she had some “small ability as a medium.”  She would receive psychic emanations or sense ghostly presences whenever it was convenient to the plot.

 

12134118653?profile=originalClearly, adding a female to the team was an attempt to insert some Marvel-type soap opera.  Not surprisingly, the arc which brought Corinna Stark to the series was written by Denny O’Neil, who always seemed to approach such things heavy handedly.  For veteran fans, it was dismaying to see the tight-knit, arm-in-arm Challs turned into a group of contentious bickerers.

 

That, more than the shift to a supernatural theme, killed the heady sense of adventure that had been the series’ strongest asset.  That headlong drive, combined with the easy confidence and sense of humour exhibited by the Challengers, had made it DC’s longest running non-super-hero team magazine.

 

But not for much longer.  Three insipid issues would follow before the Challengers’ last Silver-Age gasp---one page of new material setting up a retelling of Showcase # 7, in Challs # 75 (Aug.-Sep., 1970).

 

Red Ryan, it seemed, had been right.  They should have kept the “No Girls Allowed” sign up on the clubhouse.

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Andrew A. Smith

Scripps Howard News Service

 

IDW Publishing pulled off a storytelling coup in early 2011, when they involved a variety of unrelated, licensed books with a common threat (vampires). That worked so well, they’re going to do it again in January 2012 – and they’re upping the ante.

 

12134125252?profile=original“Infestation,” which began in January 2011 and ran for four months, told stories of vampires battling Transformers, infecting the Star Trek universe, getting shot by G.I. Joe and baffling Ghostbusters. The amazing thing about this crossover is that all of these characters are licensed to IDW by different companies, constituting a logistical and legal nightmare. It’s like the characters from Glee showing up in CSI wearing Tron T-Shirts and dating people from Jersey Shore.

 

And yet, it worked so well, IDW is doing it again. This sequel – “Infestation 2,” naturally – springs from the first, in that the way IDW’s home-grown CVO (Covert Vampiric Operations) dealt with the bloodsucking menace opened the door to something worse. And since IDW now has the license for H.P. Lovecraft concepts, stories and characters, that means Cthulhu and the other Old Ones are coming for a visit.

 

For those not up on their Lovecraftian lore, the Old Ones are ancient, evil gods who were driven off somehow in pre-history, but are really eager for a return engagement. Among Lovecraft’s stories about the Old Ones is The Dunwich Horror, which IDW is currently adapting as a four-issue miniseries. IDW also plans a Lovecraft Library; Volume One, Horror out of Arkham is due out this month and includes eight Lovecraft prose stories set in the fictional Arkham, Mass.

 

All of which means trouble for other characters published by IDW, especially some new players who didn’t make the cut in the first Infestation. G.I. Joe is back for another round, but new franchises include Dungeons & Dragons, 30 Days of Night and the Teenage Mutant Ninja Turtles. The Transformers are back, too, but instead of the modern robots most readers know, Infestation 2: Transformers #1-2 will feature the “Hearts of Steel” versions from the 2006 miniseries of the same name, in which humanity first encountered the Transformers in the 19th century.

 

12134125475?profile=original“You’ll see a lot of fun historical characters, people you never expected to see interacting with Transformers,” said editor Bobby Curnow in a teleconference. “If you’ve ever wanted to see a steampunk version of Optimus Prime fight a giant monster, this is the place.”

 

Other surprises include a one-shot starring Batboy from Weekly World News and a grey alien from Groom Lake, two miniseries written by IDW Publisher Chris Ryall, who also attended the teleconference. Those two characters will be played for laughs in a Feb. 29 one-shot called Infestation Team-Up.

 

Another surprise is a planned appearance by J. Scott Campbell’s Danger Girl, but Ryall and Curnow declined to cite specifics. They did, however, mention a new miniseries starring everybody’s favorite zaftig spy-gals, the four-issue Danger Girl: Revolver coming in January by Andy Hartnell and Chris Madden.

 

Speaking of creators, the two-issue “Infestation 2” miniseries that bookends the event and an Infestation: 30 Days of Night one-shot are written by Duane  Swierczynski, best known for crime fiction and a stint on Marvel’s X-Men. Another top-drawer writer, Chuck Dixon, is writing the two-issue Transformers series. IDW veterans Paul Crilley, Tristan Jones and Mike Raicht pen the Dungeon & Dragons, Teenage Mutant Ninja Turtles and G.I. Joe two-parters, respectively.

 

As for artists, expect to see Guido Guidi (Transformers: Evolutions), Valentine De Landro (X-Factor), David Messina (Star Trek: Countdown), Alex Robinson (Box Office Poison), Stuart Sayger (Shiver in the Dark) and Mark Torres (Zombies vs. Robots).

 

12134125874?profile=originalAnd just for fun, the two TMNT covers combine to form a single image, and each issue will have temporary tattoos representing their respective franchises. “We brought all of our toys out of the toy chest,” Curnow said.

 

Both Curnow and Ryall were quick to point out that one needn’t buy every book to understand the story. Nor are readers required to have read “Infestation” to understand “Infestation 2.”

 

But if you do happen to want to read “Infestation” first, IDW has made that easier with a hardback collecting the entire first event, coming out in January ($34.99). While not necessary to understand the sequel, Curnow said, “if you have been following both events, you’ll get a nice through line.”

 

After all this, could there be an even bigger Infestation down the road? Hard to believe, but Ryall noted that “these things tend to happen in threes.”

 

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

 

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Deck Log Entry # 133 Happy Thanksgiving 2011!

12134027688?profile=originalFriends, I’ve never taken the time to say this before, but I deeply appreciate the fact that you’re reading this.  It means you’re taking time away from the Big Game on TV, or from nibbling at the bowls of pre-feast snacks, or discussing politics with your oddball uncle, the one who insists that the Commies spiked our drinking water with saltpeter back in the ‘50’s to reduce American population growth.  (O.K., so maybe reading my column isn’t that much of a sacrifice, after all.)

 

But thanks for stopping by, and I’ll try to make it worth your while.

 

To-day, I’m going to talk about a famous department-store chain and its annual holiday parade.

 

Now, if you’re a long and faithful reader of my Deck Log, you’re probably thinking that you’ve heard me talk about this before.  But, no, this isn’t a re-run of my 2009 Turkey Day column.  There’s a new story here.  But to get there, I’m going have to go over some ground that’s going to sound familiar.

 

12134116481?profile=originalTo make it seem like less of an old tale, I’m going to write it from a different angle.  So just bear with me here, while I once again delve into the dustbin of American history.

 

 

 

It was the dawn of the Roaring Twenties, and life was good.   Especially so for the president of what was then the largest chain of department stores in the country.  It was a family business, founded by his father, and three of his brothers served in key positions with the company.  But “El”---to use the family nickname---was in charge of the whole ball of wax, including seven major stores spread from coast to coast, with net sales exceeding one hundred million dollars.

 

It was a time of prosperity in America, and El was certainly prosperous.  In the fall of 1920, with the holiday season looming, he came up with an idea to show his appreciation for the public who had made his stores a rising success.  In those days, when commercial radio was new, movies were still silent, and television was only a concept rattling around in Philo Farnsworth’s noggin, the biggest public attraction was a parade.

 

12134116867?profile=originalBut El didn’t want just any old parade.  He wanted it to be something memorable, a spectacle of entertainment and delight, to show thanks for his good fortune.  And to make sure that everybody had a chance to see it, the parade would be held on Thanksgiving Day, when people had the day off from work.  And it would go right through the centre of town.

 

A gesture like this didn’t come out of the blue.   El was already known as something of a philanthropist.  Every year, he sponsored “Orphans’ Day at the Circus”, in which he treated some ten thousand parentless children to a day at the “Big Top”, with all the peanuts, lollypops, and ice cream they could eat. 

 

“I think you’ll enjoy hearing ten thousand children laughing at once,” he once said.  “If you’ve ever been to a circus, that’s explanation enough.”

 

But let’s not be too quick to hang a halo on him, either.  El was also aware that the sort of grand pageant he had in mind would be a great marketing tool.  It would remind potential customers that the holiday season had arrived and there were lots of gifts to purchase.  Why not buy them at the friendly store, from the generous folks who had put on such a great show?

 

 

 

There were permits to obtain, along with the support of the police and fire departments and the street-maintenance workers.  The company lawyers handled all of that.  As for the parade itself, fifty store employees volunteered to give up their Thanksgiving to march down the length of the city in the chilly autumn weather.  Many of the volunteers were immigrants, and they saw the parade as a chance to display their gratitude for the new lives they had found in this country.  El provided whatever they needed for costuming and meals and transportation.

 

12134118099?profile=originalSo, when the big day came, on Thursday, 25 November 1920, what the parade lacked in size was more than made up for with enthusiasm.  Newspaper and bill advertising had done its job, and the sidewalks were crowded with spectators to see the passing troupe of happy marchers.  They came on bicycles, on stilts, on horseback.  They juggled, played instruments, twirled batons.  Their merriment was infectious, and the crowds stamped their feet and clapped their hands to the music. 

 

There were clowns and cowboys, and many of them were attired in traditional costumes of their native lands.  And to the delight of the children, the whole review was capped off by a horse-drawn wagon carrying Santa Claus and his sleigh.

 

The parade ended at El’s flagship store in the heart of town, where Santa scaled a ladder, obligingly provided by the fire department, up to the eighth-floor home of “Toyland”.  From there, Jolly Old Saint Nick exhorted to the joyous throng that this was the place to do all their Christmas shopping.

 

It was the first Thanksgiving parade ever held in a city, and by any standard, it was a success.  Public sentiment was overwhelmingly positive.  The newspapers praised El and his company for their civic-minded altruism. 

 

And El’s stores saw their highest holiday sales ever.

 

 

 

12134118893?profile=originalSometimes, you know right from the beginning when a tradition is set; this was one of those times.  With each succeeding Thanksgiving, the parade grew more impressive, with floats and balloons and high-school marching bands.  El gladly paid the licensing fees to have Mickey Mouse and Popeye pass down main street.  Stars of cinema and radio, and later, television, served as grand marshals or waved at admiring throngs from the backs of open limousines.

 

It grew to the point where El had to hire a full-time employee whose only responsibility was to produce the parade.

 

It didn’t take long for the idea to catch on.  Within that first decade, other businesses in other big cities were sponsoring their own Thanksgiving Day parades, just as splendid in their pageantry.  But El’s was the first.

 

As El had expected, the annual parade proved to be an endless stream of publicity for his chain of stores.  And they got another boost from the 1947 film Miracle on 34th Street, where the boss got to see himself portrayed on screen.

 

 

 

12134119899?profile=originalEl served as the head of the company until his death, in 1950.  The Thanksgiving tradition he started outlived him.   His nephew succeeded him as company president, but for decades, the parade marched on just as it always had, bringing joy and ushering in the Christmas season for the people of Philadelphia.

 

 

“Philadelphia?!  Don’t you mean New York City, commander?”

 

 

No.  Philadelphia.

 

Oh, I see . . . you thought I was talking about the Macy’s Thanksgiving Day Parade.

 

No doubt about it, the most famous Thanksgiving Day parade in America is Macy’s.  The Macy’s parade is virtually synonymous with the holiday.  But, the man responsible for the first Thanksgiving Day parade in America, the fellow who originally came up with the idea, was “El”---for Ellis Gimbel, president of the Gimbels department-store chain.

 

You know, the other guys.

 

 

12134121666?profile=original

 

 

From Cheryl and myself, to all of you, our fondest wishes for a Happy Thanksgiving Day, and many more of them.

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Retro-Review: Marvel Team-Up (1977)

12134120666?profile=originalThis is supposed to be a high point for team-up titles in general and Marvel Team-Up in particular.  This was the year that Chris Claremont and John Byrne worked on the series, which led in turn to their magical pairing on Uncanny X-Men. In retrospect, these issues reveal the limitations of a team-up title more than the possibilities.

            Before Claremont and Byrne were paired together, they each worked on several issues separately.  John Byrne partnered with writer Bill Mantlo on a short run that began with Marvel Team-Up Annual #1 at the end of 1976.  Chris Claremont then took over and teamed with artist Sal Buscema for a couple of issues.  Finally, Claremont and Byrne worked together for 12 consecutive issues (#59-70) and one last coda (#75). 

            The Mantlo-Byrne team begins with a fairly prosaic story in Annual #1. Spider-Man and the X-Men are brought in separately to investigate an energy experiment that went awry.  They’re defeated; the villains explain their plan; the heroes then escape and defeat them.  There’s little about this story that’s original or enlightening.  I suppose there’s something unique about the first meeting between Spider-Man and the all-new X-Men but that’s not enough to carry the story on its own.  It’s a little bit interesting that Mantlo uses the Hindu gods as villains but he has them possess ordinary scientists so it’s more of a half-hearted attempt.

            Fortunately, the stories improve from there.  Mantlo sets up a series of obstacles that prevent Spider-Man from getting home to New York.  He’s sidetracked first by a Hulk rampage in New Mexico and later accidentally sent to the Blue Area of the Moon.  The way in which one story leads into the next is a lot of fun.  It’s not quite a rollercoaster but it is a bit of a carnival ride.  Unfortunately, it’s annoying that both Hulk and Woodgod constantly refer to themselves in the third person.  One feeble-minded hero might be interesting.  Two is aggravating.  More notably, the stories are innocuous and inconsequential. We know that anything important will happen in Spider-Man’s own title.  It’s a problem that has dogged many a team-up title, including Mark Waid’s most recent attempt to re-start The Brave and the Bold. 

However, John Byrne’s art is a bright spot.  It’s already polished.  And it’s occasionally brilliant as on a splash in which a delirious Spider-Man hallucinates miniature versions of his rogues’ gallery.

           12134121081?profile=original The Claremont-Buscema team is an awful mess.  Claremont’s stories are uninventive and formulaic.  A villain-or two- commits a common crime like robbing a bank or an armored car.  One hero is tracking the criminal.  Another hero stumbles onto the crime accidentally.  They fight, make up and team up to defeat the bad guys.  I know that comic book writers used to compare work-for-hire to playing in someone else’s sandbox but Claremont didn’t have to take the metaphor literally.  The plots are about as interesting as a HeroClix scenario.  They’re less interesting than watching a kid play with their toys as the child might actually surprise you. 

Finally, Claremont and Byrne are paired together.  Claremont and Byrne give us a pretty good tour of the Marvel Universe.  They alternate between kung fu and the cosmic (an adventure with the Super-Skrull, Human Torch and Ms. Marvel is followed by one with Iron Fist and the Daughters of the Dragon).  They pair Spidey off with established veterans and bright newcomers (founding Avengers Yellowjacket and the Wasp appear in the first story while the first American appearance of Captain Britain occurs a little bit later).  And they manage to balance human concerns with godlike wonder (Spider-Man squares off against the Living Monolith with Havok and Thor).  Byrne shows excellent range as an artist, depicting urban landscapes, aerial dogfights and hand-to-hand combat. 

The stories are a marked improvement over the previous issues and not just because of John Byrne’s art.  Claremont expands his horizons as well.  He begins to experiment with two-issue stories, allowing more room for plot twists and cliffhangers.  And he brings weight to the stories by focusing on the guest-stars more than Spider-Man.  We know that Spider-Man won’t die, break up with his girlfriend or lose his job at the Bugle in a secondary title.  But we don’t know that something essential won’t happen to a guest star.  A minor character might very well be killed off or lose his powers.  This intensifies the stakes in a story, bringing greater conflict and drama.

Individually, the two-part stories work well.  However, read in sequence, Claremont’s new formula eventually becomes repetitive.  It might have been nice if they had alternated the pace of their stories a little more (there are a couple of one-shots guest-starring Tigra and the Man-Thing near the end of the run).  It definitely would have been better if Claremont had occasionally shifted the focus back on Spider-Man.  He feels like a secondary concern in his own title, continually caught up in other people’s adventures.  At times, Team-Up starts to feel like an advertisement for other comics.  “Hey, check out Ms. Marvel or Iron Fist in their own titles!”  Claremont also makes the mistake of completing abandoning Spider-Man’s supporting cast.  Sure, they’re not going to play a significant role.  But without them, he stops being Peter Parker.  He’s just another hero with a smart mouth and a mask.

Marvel Team-Up can be pretty good.  But it’s never great.  

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Comics for 25 July 2012

AIRBOY DEADEYE #3 (OF 5)
ALL STAR WESTERN #11
ALTER EGO #111
AMAZING SPIDER-MAN #690
AMERICAN VAMPIRE #29 (MR)
ANGEL & FAITH #12
APPLE SELECTION SC VOL 02
AQUAMAN #11
ARAGONES GROO THE WANDERER ARTIST ED HC
ARCHIE #635
ARCHIE CLASH OF THE NEW KIDS TP
AVENGERS #28 AVX
AVENGERS WEST COAST AVENGERS TP FAMILY TIES
AXE COP PRESIDENT O/T WORLD #1 (OF 3)

BACK ISSUE #58
BART SIMPSON COMICS #73
BATMAN INCORPORATED #3
BATMAN THE DARK KNIGHT #11
BEFORE WATCHMEN COMEDIAN #2 (OF 6) (MR)
BPRD HELL ON EARTH EXORCISM #2 (OF 2)

CAPTAIN AMERICA #15
CAPTAIN AMERICA AND IRON MAN #634
CROSSED BADLANDS #10 (MR)
CROW MIDNIGHT LEGENDS GN VOL 01 DEAD TIME

DAREDEVIL BY MARK WAID TP VOL 01
DARK AVENGERS #178
DARK SHADOWS #6
DC COMICS PRESENTS WONDER WOMAN ADVENTURES #1
DEADPOOL #58
DEBRIS #1 (OF 4) (MR)
DEJAH THORIS & WHITE APES OF MARS #4 (MR)

ELEPHANTMEN #41 (MR)
EVERYBODY LOVES TANK GIRL #1 (OF 3) (MR)
EXILE PLANET O/T APES #4 (OF 4)

FF #20
FLASH #11
FURY OF FIRESTORM THE NUCLEAR MEN #11

GEARHEARTS STEAMPUNK GLAMOR REVUE #3
GFT BAD GIRLS #1 (OF 5)
GFT JUNGLE BOOK #4 (OF 5)
GFT SWIMSUIT SPECIAL 2012
GFT WONDERLAND ANNUAL 2012
GHOSTBUSTERS ONGOING #11
GODZILLA ONGOING #3
GOON #40
GRAVEYARD OF EMPIRES #4 (MR)
GREEN ARROW TP VOL 01 INTO THE WOODS
GREEN LANTERN #11
GREEN LANTERN NEW GUARDIANS #11
GRIFTER TP VOL 01 MOST WANTED
GRIM LEAPER #3 (OF 4) (MR)
GRIMM FAIRY TALES #75

HAUNT #25
HAWKEN #5 (OF 6)
HELLRAISER #16 (MR)
HIT-GIRL #2 (OF 5) (MR)

I VAMPIRE #11
INCREDIBLE HULK #11
IRRESISTIBLE #1 (OF 4)

JOHN CARTER GODS OF MARS #5 (OF 5)
JUSTICE LEAGUE DARK #11

KEVIN SMITH BIONIC MAN #11
KEVIN SMITH BIONIC MAN TP VOL 01 SOME ASSEMBLY REQ
KISS GREATEST HITS TP VOL 01
KOLCHAK NECRONOMICON HC
KULL TP VOL 03 THE CAT & THE SKULL

LEGEND OF OZ THE WICKED WEST #5 (MR)
LOCUS #618
LORD OF THE JUNGLE #6 (MR)

MAD PRESENTS BATMAN #1
MANHATTAN PROJECTS #5
MARIE SEVERIN MIRTHFUL MISTRESS OF COMICS SC
MARVEL UNIVERSE ULTIMATE SPIDER-MAN #4
MASS EFFECT HOMEWORLDS #3
MIGHTY THOR #17
MMW FANTASTIC FOUR TP VOL 08
MODERN MASTERS SC VOL 28 ERIC POWELL

NATIONAL COMICS ETERNITY #1
NEAR DEATH #10
NEW DEADWARDIANS #5 (OF 8) (MR)
NOWHERE MAN #4 (OF 4)

PLANET OF THE APES #16
PREVIEWS #287 AUG 2012
PROPHET #27

RED HULK TP HAUNTED
RED SONJA WITCHBLADE #5
REED GUNTHER TP VOL 02
RESIDENT ALIEN #3

SAVAGE HAWKMAN #11
SCALPED TP VOL 09 KNUCKLE UP (MR)
SECRET AVENGERS #29
SNAKE EYES & STORM SHADOW #15
SOULFIRE GRACE #1
SOULFIRE POWER #1
SPACEMAN #8 (OF 9) (MR)
STAN LEES MIGHTY 7 #3
STAR WARS BLOOD TIES BOBA FETT IS DEAD #4 (OF 4)
STAR WARS DARTH MAUL DEATH SENTENCE #1 (OF 4)
SUPER DINOSAUR #12
SUPERMAN #11
SUPERMAN FAMILY ADVENTURES #3

TAROT WITCH OF THE BLACK ROSE #75 (MR)
TEEN TITANS #11
TEENAGE MUTANT NINJA TURTLES ONGOING #12
THOR DEVIANTS SAGA TP
TMNT MICRO SERIES #6 CASEY JONES
TRANSFORMERS AUTOCRACY TP
TRANSFORMERS MORE THAN MEETS EYE ONGOING #7
TRANSFORMERS ROBOTS IN DISGUISE ONGOING TP VOL 01
TRIO #3
TRUE BLOOD ONGOING #3

ULTIMATE COMICS HAWKEYE BY JONATHAN HICKMAN TP
ULTIMATE COMICS ULTIMATES #13 DWF
UNCANNY X-FORCE #28

VENOM #21
VICTORIAN SECRET GIRLS OF SUMMER #1
VOODOO #11

WINTER SOLDIER #8
WITCHBLADE #158
WOLVERINE AND X-MEN #14 AVX
WONDER WOMAN ODYSSEY TP VOL 01
WONDERLAND #1

X-MEN LEGACY #270 AVX
X-MEN STEVE ROGERS ESCAPE FROM NEGATIVE ZONE TP
X-TREME X-MEN #1

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

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The Best of Chuck, Part II

12134199296?profile=originalWelcome back! Last week, I started ruminating about the best episodes from NBC’s spy comedy Chuck. This week, I finish the job by reflecting on the best moments from seasons three, four and five.

Season Three

12134199891?profile=originalChuck vs. the Angel de la Muerte (3): Season three of Chuck is notable for increasing the international scope of Chuck, an angle that would continue through to the end of the show. In this episode, a Central American dictator comes to LA. The dictator has a brutal record and a long-simmering rivalry with Casey. However, while the team is keeping an eye on Premier Goya (played by Armand Assante), Chuck’s brother-in-law Dr. Devon Woodcomb, aka Awesome, saves his life. The episode provides interesting background for Casey, some wonderful twists and a fun mix of family and action.

12134200693?profile=originalChuck vs. First Class (5): For the third time in three seasons, Chuck is given a romantic rival for Sarah. In this case, he flirts with Kristin Kreuk in the first class section of an airplane while on his first solo mission. However, the show simultaneously set up a possible romantic interest for Sarah in their new spy supervisor, Shaw, played by Brandon Routh. The relationship complications increased to almost absurd levels, which was perfect for a show that was as comfortable with farce as Chuck.

12134200897?profile=originalChuck vs. the Beard (9): One of the major changes in season three is that an upgraded Intersect gave Chuck access to skills as well as knowledge. However, the new Intersect develops a glitch and Chuck is temporarily sidelined from the team. At the same time, Morgan fires Chuck as his best friend due to his inexplicable behavior. The crisis allows Chuck to finally come clean to Morgan, setting up a new dynamic for the show in which Morgan first covers for Chuck and then eventually becomes a part of the spy team.

12134202076?profile=originalChuck vs. the Tic Tac (10): Season three spent a lot of time building up Chuck’s supporting cast: Awesome, Morgan and now Casey. In one storyline, we learn about Casey’s history as a soldier and a spy. We also learn that he faked his own death when he joined the CIA in order to protect his loved ones. In the present storyline, Casey is framed for murder and the team has to clear his name. However, the operation involves Casey’s former fiancee and Casey discovers that he has a daughter named Alex. It’s a great character episode, with a lot of emotion and a lot at stake.

12134202467?profile=originalChuck vs. the American Hero and Chuck vs. the Other Guy (12 & 13): The Shaw storyline comes to a dramatic height in the middle of season three. For most of the season, Shaw has been a romantic rival for Chuck and someone who might possibly lure Sarah back to Washington DC. He’s also been a professional rival, occasionally supplanting Casey’s place on the team and bossing Chuck around. But on a mission in Rome, Chuck learns that Sarah was the agent responsible for the death of Shaw’s ex-wife. Even worse, Shaw knows it and is setting Sarah up for revenge. The team is fractured and Chuck is all alone. Yet somehow Chuck has to stop Shaw, save Sarah and prove himself as a spy. It’s a thrilling two-parter, full of action and intrigue. And it’s an important moment for Chuck as he finally fulfills his potential.

12134203097?profile=originalChuck vs. the Subway and Chuck vs. the Ring Part II (18 & 19): Shaw returns for this two-part finale. Their former ally is now working for the terrorist organization The Ring and is out to destroy the entire team. Meanwhile, Chuck continues to 12134203286?profile=originalexperience glitches with the Intersect which could potentially destroy his mind. Scott Bakula returns as well for this intense, fast-paced finale.


Season Four

12134204456?profile=originalChuck vs. the Anniversary (1): Chuck and Ellie’s dad had been an important character for two seasons. With season four, we finally meet their mother Mary, played by Linda Hamilton. Her introduction is wonderfully complex. We don’t know if she’s an undercover spy, an assassin or something worse. The failed reunion brings a lot of emotional baggage to the fore for Chuck and Ellie. It’s one more way in which Chuck stays connected to its core audience- the Generation Xers who were raised on Star Wars and video games, but many of whom also grew up in broken families.

12134204285?profile=originalChuck vs. the Coup d’Etat (4): Every once in a while, I have to break with the crowd. The consensus is that the first appearance of Premier Goya in season three is better but I preferred the second appearance when the team traveled down to Costa Gravas. I loved the dynamic of a dictator trying to transition to democracy against the wishes of his inner circle. More than that, I loved the secondary storyline in which Morgan begins to show romantic interest in Casey’s daughter Alex. Casey and Morgan had been a wonderful odd-couple for much of season three 12134204878?profile=originaland this added an amusing complication to their relationship.

Chuck vs. the First Fight (7): Chuck and Sarah are finally a couple but that doesn’t mean everything will go smoothly between them. They have their first fight in this episode and Chuck looks for advice from an unlikely source- the frumpy British analyst Gregory Tuttle played by Timothy Dalton. Dalton was wonderful as Tuttle, cringing in the midst of a firefight in a mockery of his time spent as James Bond. But the twist was even better: Tuttle was a front and Dalton was really Alexei Volkoff, the international arms dealer they’ve been trying to find since the end of season three.

12134205468?profile=originalChuck vs. the Balcony (11): Sometimes I love everything about an episode. But sometimes I develop an affection for an episode based on one particular moment or scene. In this case, Chuck and Sarah are sent on a mission in France. Chuck decides that it’s the perfect place to propose- a beautiful balcony with vineyards in the background. Of course, nothing can ever go smoothly and a few gunmen spoil the romantic rendez-vous. For me, it’s a great example of the way in which Chuck’s spy life complicates his personal life and vice versa.

12134205668?profile=originalChuck vs. the Push Mix (13): Chuck was never a ratings monster. It escaped cancellation on multiple occasions. But one side benefit was that the show had multiple big endings. This mid-season finale was planned as a series finale before they were given yet another reprieve. The result was an excellent episode in which multiple loose ends were tied up and Chuck had his final confrontation with Alexei Volkoff. It was full of exciting action and also emotionally satisfying.

12134206457?profile=originalChuck vs. the Masquerade and Chuck vs. the First Bank of Evil (16 & 17): The second half of season four as a little inconsistent as the writers had to figure out what to do next. Personally, I liked the introduction of Vivian and I loved the twists at the end of these two episodes. In the first, we learn that the British heiress targeted by Volkoff’s men is actually Volkoff’s daughter. In the second, we watch as Chuck unwittingly turns a potential ally into a new nemesis. These two episodes are excellent examples of how Chuck could play against expectations, surprising the audience with new directions at the drop of a dime.

12134206861?profile=originalChuck vs. the Last Details and Chuck vs. the Cliffhanger (23 & 24): Season three ended with Ellie and Awesome’s wedding. Season four ended with Chuck and Sarah’s. Once again, it was a wonderfully fast-paced finale, with multiple obstacles to overcome, returning villains and high comedy.

12134207260?profile=originalSeason Five

Chuck vs. the Hack-Off (5): There are three reasons to love this episode. First, it was
12134207469?profile=original
one of several to showcase Carrie Anne Moss as security mogul Gertrude
Verbanski and the first to feature her as an uneasy ally instead of a caustic rival. Two, it included a great guest appearance by Community’s Danny Pudi as a geeky new tech specialist at the BuyMore. Three, it highlighted Chuck’s ability as a computer programmer in a humorous way as he binged on a big bottle of white wine while trying to out-hack a gang of geeks.

12134207897?profile=originalChuck vs. the Curse (6): I’m a big fan of Chuck’s supporting cast, whether it’s his spy team, his quirky co-workers or his perfect family. This episode showcases Awesome and Ellie on a date night. Like a lot of couples with a baby, they’re looking forward to some private adult time. Instead, they get mixed up in one of Chuck’s spy adventures. However, they aren’t aware of what’s going on and mistakenly think the spy adventure is a role-playing game to spice up their relationship. The episode is full of humor, drama and yes, romance.


12134208500?profile=originalChuck vs. the Santa Suit (7): Certain scenes simply stick in the memory. In this case, it’s the completely unexpected and totally hilarious scene in which General Beckman kisses Chuck while he’s wearing a Santa suit. In season five, Chuck’s team has set out as private security consultants. However, in this episode, Chuck needs Beckman’s help to break into a CIA facility. Beckman is willing to bend the rules for one of her former agents. But, of course, it’s never easy. One of Beckman’s counterparts starts to hit on Chuck and the only way she can extricate him is to plant a big kiss on him herself. It’s all part of an excellent episode that balances humor and tension in a wonderful way.

12134208297?profile=originalChuck vs. Bo (10): There are two main stories in this episode. In the one, Chuck and Morgan go to Vail to investigate Morgan’s earlier actions when he was in possession of the Intersect. They uncover a few surprises, including a tryst with Bo Derek (playing a spy version of herself). Meanwhile, Jeff and Lester have been investigating the BuyMore’s connection to the CIA. However, whenever they get close, Casey knocks them out and leaves them in the desert hoping that they’ll think they blacked out after a Las Vegas bender. The repeated desert scenes are hilarious. And the confrontation with Bo Derek is pretty good too.

12134209684?profile=originalChuck vs. the Goodbye (13): After so many finales, it wasn’t easy for the final ending to measure up to some of the great episodes of before. The penultimate episode didn’t have quite the pizzazz of earlier season-enders. However, the finale did provide some important emotional closure. They didn’t wrap everything up neatly with a bow. That would have been too pat an ending for a show that upended its status quo as often as Chuck. But they did hint at the possibilities of a real, peaceful family life for Chuck and for Sarah- something they’ve wanted from the beginning but always worried was just out of reach. The closing scene brought tears to my eyes and was a fitting way to say good-bye.

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By Andrew A. Smith

Scripps Howard News Service

 

There are few graphic novels that not only benefit from multiple readings, but demand they be re-read. Spaceman (DC/Vertigo, $24.99) is an example.

 

The premise alone is fascinating: The “spaceman” of the title is Orson, a hulking bruiser in the near future, genetically engineered to survive a trip to Mars and do manual labor there. But when the controversial program that created Orson and his 16 equally anthropoidal siblings became public, the outrage costs NASA its funding and Orson his future. Instead of living and working in outer space, he scratches out a living dredging up salvage from America’s seacoasts, which were flooded after the icecaps melted. What isn’t drowning in this greenhouse world is burning, except for narrow strips between fire and flood where the wealthy live as well as ever.

 

12134244659?profile=originalIn an interview, writer Brian Azzarello said Spaceman wasn’t a post-apocalypse story, so much as “a collapse. An environmental and economic collapse.” And it’s not science fiction so much, he said, as “science hell.”

 

Which is just the set-up. The plot involves the kidnapping of a celebrity couple’s child, who falls into Orson’s orbit. Will he save her? If he tries, what chance does he have against the competing bandits (and one of his siblings) who want the reward? And, even if he can, is he doing it out of altruism – or the money?

 

“He has a good heart, but only Mother Teresa has never given in to temptation,” Azzarello laughed. “There’s a noir element to it. If there wasn’t, I wouldn’t be working on it.”

 

Which is obvious to anyone familiar with Azzarello’s career, famed for the crime noir series 100 Bullets, the Western noir series Loveless and currently “Wonder Woman” – which is framed not as a superhero book, but one exploring the Greco-Roman gods, a group Azzarello calls “the original crime family.”

 

Azzarello is teamed with artist Eduardo Risso, his partner on 100 Bullets, and Risso’s work is – as always – gorgeous. But, in many ways, the writing is still the star.

 

For example, Orson is named for Orson Welles, who – among other things – has a connection to Mars in the form of Welles’ famed 1938 radio broadcast, War of the Worlds. In fact, Azzarello said, all of genetically-altered children were named with Mars references. The entire book is laden with this sort of wordplay, from chapter titles to the dialogue, mostly delivered in futuristic slang based on texting-speak.

 

That’s one reason Spaceman needs a second reading, to catch all of Azzarello’s clever references, puns and double entendres. But another reason is that all of this cleverness is in service to the story, which involves overlapping storylines, plots, double-crosses and triple-crosses, with echoing themes both overt and sub-rosa.  

 

All of which, again, is mirrored in another story, set on Mars – the astronaut future Orson was promised but which we’ve been led to believe never happened. Azzarello never explains these vignettes, which tell another crime story involving two of the same players (Orson and his bounty-hunter brother, Carter). We follow this story in Orson’s head when he is unconscious, dreaming or intoxicated, but it’s never clear whether this adventure is a memory or a fantasy. If the latter, Orson has an implausibly active imagination, but if the former, how and when did this mission occur?

 

These are the sorts of questions roiling through the reader’s head after the first read. It will surely take a second reading – or perhaps a third – to uncover all the clues necessary to piece this puzzle together, as well as for full appreciation of a complex story.

 

Speaking of complexity, one other graphic novel this week takes on a complicated topic, but tries to make it simpler.

 

12134244886?profile=originalPhilosophy: A Discovery in Comics (NBM, $16.99) falls into the category pioneered by Larry Gonick’s “A Cartoon History of the Universe”: A textbook masquerading as a comic book. But that’s not a bad thing; the reason the textbook-as-graphic-novel genre exists is because it works.

 

In Philosophy, Dutch cartoonist Margreet de Heer explains and explores the major philosophies of Western thought, with brief biographies of the major Western philosophers. That means she starts with Socrates, Plato and Aristotle; follows through with Thomas Aquinas and  Augustine; then hits “free will” and branches into all sorts of directions.

 

If that sounds boring, it honestly is not. No matter the subject, a good cartoonist can make it lively and absorbing, and de Heer is a good cartoonist. I am one of those who always found philosophy boring, but not here. For example, now that I have a visual understanding of Plato’s “Allegory of the Cave,” I understand it implicitly and don’t find it boring at all.

 

Nor does de Heer limit herself to the classical approach to philosophy. In the section on modern philosophies she plows far afield of academia, exploring the beliefs of friends and family, as well as unofficial philosophers like comedian George Carlin.

 

As I usually say in these circumstances, this is a book that belongs in schools. If I can finally learn about philosophy from comics at my ripe old age, think what fires it would light in the minds of the young!

 

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

 

ART

1. Spaceman is a sci-fi noir about a genetically engineered brute who runs across a kidnap scheme. Copyright DC Entertainment Inc.

2. Philosophy gives background, biographies and explanations for Western philosophy. Copyright NBM Publishing Inc.

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By Andrew A. Smith

Scripps Howard News Service

 

'Cowboys & Aliens' movie lifts graphic novel's high concept

 

Another comic-book concept makes its movie premiere July 29: Cowboys & Aliens. And therein hangs a tale.

 

12134110490?profile=originalCowboys & Aliens debuted as a standalone graphic novel from Platinum Studios in 2006 by writers Fred Van Lente and Andrew Foley, penciller Luciano Lima and a host of inkers. The story involved an expansionist alien species crash-landing in 1870s Arizona and annexing it while building a transmitter to contact their fleet to finish the job. Apache warriors, gunslingers and pioneer settlers joined forces to battle them, stealing alien equipment where they could to equal the odds.

 

While the thrust of the story was action, action, action, there was some social commentary too. One gunslinger remarked that the aliens had no right to conquer our turf just because they had better weapons, which resulted in a sheepish “Oh” after a stern look from the Native Americans. The “all men are brothers” theme was underscored by some cross-racial romance, as a gunslinger and a (female) alien science officer fell in love, as did a (white) female gunslinger and an Apache warrior.

 

None of which seems to apply to Cowboys & Aliens the movie. Starring Daniel Craig, Harrison Ford and Olivia Wilde, the film seems to take very little from the graphic novel except the name and the high concept.

 

But what a concept it is! It’s almost impossible to look at the GN cover, the movie posters or movie trailers and not have a thrill of anticipation. A cowboy shooting at a UFO with a sixgun? That begs the who, what, why and how response.

 

Which answers in part this question I hear a lot: How come Hollywood has come to rely so much on comic books as their source material? This is especially remarkable when you consider how comics were once fiercely snubbed by pop culture in general, especially the much-maligned superhero genre. For this 40-year comics reader, it’s a 180-degree turn from my youth, when I had to hide comics to avoid getting beaten up.

 

So what’s changed? A recent “Simpsons” episode depicted Bart explaining, “Hollywood has run dry of ideas.” While that may be partly true, I think some other things are going on here:

 

  • Comics have really grown up. And I’m not just talking about more sophisticated themes in superhero comics (which are also on display in the X-Men and Spider-Man movies). What I mean are terrific non-superhero comics that have been turned into occasionally terrific movies like 300, Constantine, Kick-Ass, Ghost World, Hellboy, A History of Violence, The Mask, Priest, Men in Black, Red, Road to Perdition, Scott Pilgrim vs. the World, Sin City, V for Vendetta, Wanted and many more. Regardless of their medium of origin, these are just good stories.
  • Movie F/X have caught up to comics. It used to be that if you wanted to see an exploding sun or a plausible space ship, you’d read a comic book (or a science fiction book and imagine it). Now the movies can do it – which means they can finally do comic books and science fiction right.
  • Comics concepts come pre-vetted. If you’re writing a Batman movie, for example, you’re standing on the shoulders of giants. The Dark Knight has appeared in hundreds of thousands of stories over more than 70 years, and has had hundreds, if not thousands, of writers. That means all the mistakes have been made; those authors have found what works and what doesn’t, and have discarded the dross. They’ve already done the focus groups, involving millions of readers over decades. If a concept is still in a long-running comic book, that means it’s popular and it works and movie writers should use it. No thinking required.
  • Comics are basically movie storyboards. Comics do all the work for a director. The pacing, camera angles and storytelling have all been thought out in advance.

 

Movies that ignore these lessons do so at their peril. When you compare a list of the worst comic-book movies with a list of comic-book movies where the writers jettisoned or fundamentally altered the existing mythos, many names appear on both. (See: Catwoman, Elektra, Jonah Hex, etc.)

 

That deviation from source material is happening with Cowboys & Aliens, but here we’re talking about a single graphic novel, one which was a a fairly pedestrian take on what is clearly a cool concept. This time, the movie-makers might be right to start over.

 

And, honestly: Cowboys shooting at UFOs! How can you go wrong?

 

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

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A New Look at New X-Men, Part II

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

 

New Worlds

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

 

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

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

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

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

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

 

12134173683?profile=originalRiot at Xavier’s

(Issues 134-138)

 

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

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

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

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

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

 

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

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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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Deck Log Entry # 150 Merry Christmas 2012!

12134027688?profile=originalIt’s funny how this business of humanity works.  Like it or not, you, me---all of us---are cross-connected to everyone else.   A single, random event can alter the path of one man’s life and, in turn, affect the destinies of so many others. 

 

That’s why thousands upon thousands of children owe their lives to a rat bite.

 

It was 1919, and Charles Yakhoob Kairouz and his wife, Margaret, immigrants from Lebanon, lived in a small flat in Toledo, Ohio, in a north-end neighbourhood called Little Syria.  It was crowded in that tiny apartment, for Charles and Margaret had ten children.  With that many mouths to feed, money was tight.  As Maronite Catholics, the family got by mostly on faith.

 

One day, the youngest of Kairouz children, Daniel, only six months old, was bitten by a rat and took ill. Now remember, these were the days before penicillin or anti-biotics.  Even if the rat wasn’t rabid, there was a good chance the infant would die of fever or infection.  That’s the way things were then.

 

12134188075?profile=originalPretty much all the family had was prayer.  Margaret promised God that, if her baby lived, she would collect money for those even poorer than her own family. 

 

Little Danny survived, and his mother kept her word. Every day for a year, she took a streetcar to the end of the line and walked all the way back downtown, knocking at every door along the way.  “Please give pennies to the poor,” she’d ask in her thick Middle-Eastern accent.  “I promise God.”

 

Margaret’s perseverance made a deep impression on her son Amos.  At eight years old, he was the fifth of the Kairouz’ ten children.  Years later, he would state that his memory of his mother’s determination to keep her promise to God was the motivation for his own.

 

 

 

At the time, though, young Amos Muzyad Yakhoob Kairouz had other things occupying his thoughts. 

 

To help support his family, Amos took a job selling candy and soda inside the Empire Theatre, at St. Clair and Orange Streets.  Vaudeville was in full swing, and from the balcony, the boy had a ringside seat to the comedians, the song-and-dance men, and the other performers. He studied their routines, their timing, their tricks for keeping the audience entertained.

 

It didn't take long.  Like so many youngsters exposed to show business, Amos was hooked.

 

12134187689?profile=originalFortunately, he had talent.  Once his formal education was done, he struck out on his own, using less-ethnic-sounding name of Amos Jacobs.  He soon found it tough going.  The country had entered into what would become known as the Great Depression and few people had disposable income.  Amos managed to find work on the nightclub circuit. It was a catch-as-catch-can livelihood for Amos, whose nightly wage often was just a meal in the back room.  Things picked up a bit when, in 1932, he landed a job performing on radio in Detroit. 

 

It didn’t pay much, but it paid regularly.  Regularly enough for Amos to take a wife in 1936.

 

A year later, a baby was on the way.  While attending Mass in a local church, Amos was so moved by the service, he put all the money he had---seven dollars---into the collexion plate.  Now broke, he prayed for God’s help in paying the looming hospital bills.  The next day, he was offered a part on another radio show, one that paid seventy dollars for the performance---ten times what he had given to the church.

 

Still, his career languished in Detroit for another three years.  Uncertain of what to do, Amos visited church, again.  Drawing on his Catholic upbringing, Amos turned to St. Jude Thaddeus, the patron saint of hopeless causes.  “Help me find my way in life,” he prayed, “and I will build you a shrine.”

 

Reluctantly, Amos opted to take up the nightclub circuit, again.  He moved his family to Chicago.

 

Things improved, but not by much.  The money was slightly better, but it meant being away from his wife and children for days, even weeks, at a time.

 

12134190497?profile=originalAgain, his career was stalled and again, Amos returned to the church.  He prayed to St. Jude Thaddeus once more, repeating his vow to build him a shrine.

 

What occurred next probably reminded Amos of what had happened back in Detroit after he given his last seven bucks to the church.   A nightclub offered him a healthy booking for a decent salary.  He was able to save up enough money for the Jacobs family to relocate to California.  Amos knew this was where the real money in show business was.

 

He landed stints on network radio.  He played recurring rôles on The Bickersons and The Baby Snooks Show, as well as performing as himself on the popular variety programme, The Big Show.  This got Amos noticed by the right people. 

 

Amos appeared in a handful of films, and this was followed by the thing which made his face recognisable in every household in America---an eleven-year run as the star of his own television show.

 

 

 

After twenty years of struggling, Amos was now an “overnight” success.  But he didn’t forget his promise to St. Jude Thaddeus.

 

12134191888?profile=originalAmos decided that the best shrine to the patron saint of hopeless causes would be a hospital dedicated to that most hopeless of diseases---cancer.  More than that, it would be a children’s hospital, as children were cancer’s most unfair victims.  At the suggestion of a friend and spiritual advisor, Amos chose Memphis, Tennessee, as the proposed location.

 

Amos started raising money for his cause in the mid-1950’s.  He and his wife criss-crossed the United States by automobile, making impassioned pleas and rousing support.  During one summer, they hit twenty-eight cities in thirty-two days.

 

Meanwhile, a group of Memphis businessmen, persuaded by Amos’ fervency, joined his cause and began its own fundraising efforts, providing the capital for charity shows featuring the major entertainment stars of the day.

 

It wasn’t enough to just raise enough money to build the hospital; there was also the formidable task of financing its daily operations.  You see, Amos insisted that the medical treatment provided by the hospital be available to all stricken children, even those from families too poor to afford it.

 

To that end, Amos turned to fellow Americans of his own Middle-Eastern descent.  He told them that supporting his hospital would honour their immigrant forefathers who had come to America.  Amos also pointed out that it was a way for them, as a group, to thank America for the freedoms they had enjoyed here.

 

12134194068?profile=originalOne hundred representatives of the Arab-American community agreed with him.  They met in Chicago and organised for the sole purpose of raising funds to support the operation of the hospital.

 

In 1962, Amos kept his vow when the St. Jude Children’s Research Hospital opened its doors.  It is the world’s foremost facility for the study and treatment of catastrophic diseases in children.  It treats over 7,800 patients each year.  Due to its advanced techniques in radiation, chemotherapy, and surgery, the survival rate for acute lymphobastic leukemia, the most common form of childhood cancer, has risen from 4% to 80%.  St Jude was the first institution to develop a cure for sickle cell disease, by means of bone marrow transplants.

 

And no family has ever had to pay for the care its child receives.

 

 

 

By now, most of you have already guessed the thing I’ve been deliberately omitting from this story.

 

In 1940, when Amos and his family moved to Chicago, he didn’t want his family to know he had returned to the nightclub circuit, so he stopped billing himself as “Amos Jacobs”.  Taking the first names of two of his brothers, he adopted the professional name of . . . .

 

12134194865?profile=originalDanny Thomas.

 

I expected you’d figure that out on your own.  It’s O.K., though, because that’s not “The Rest of the Story” part of my tale.

 

To get to that, you need to know one other important thing about St. Jude.  It’s not just a hospital, but it is a research centre.  Its many discoveries and breakthroughs in the treatment of the ill---cancer protocols, organ transplant procedures, vaccines, human gene therapy, and countless other developments---have been shared with medical institutions across the country and around the world.

 

St. Jude’s refinement of imagining technologies, such as magnetic resonance and computerised tomography, provide the tools for patients everywhere to have their cancers more readily identified and located.  This enables physicians to more accurately determine the best treatments and apply them.  In the case of radiation therapy, physicians are now able to pinpoint the cancerous tissues, with significantly less harmful side-effects than the old “slash and burn” techniques of the past.

 

Countless cancer patients all over the world owe their survival and their improved quality of life during treatment at least in part to the products of St Jude’s research.

 

 

 

Now, like many others of comfortable means, Cheryl---the Good Mrs. Benson---and I pass on some of what we have to others, donate to those in need.  For years, I have given to St. Jude.  Oddly enough, it’s not because I was swayed by the advertisements depicting the children afflicted by cancer “in the dawn of life”---though helping them is as worthwhile as it comes.

 

12134195294?profile=originalNo, I started donating to St. Jude because of Danny Thomas.  He kept the vow he had made to St. Jude Thaddeus.  And Thomas didn’t do it by simply throwing money at a problem.  He worked harder to establish a children’s hospital than he ever did as an entertainer.  He did everything to build St. Jude short of laying the cement for the foundation, and at great personal cost in time and income. 

 

Thousands of children and adults are alive to-day because he kept a promise.   And I had profound respect for him because of that and that’s why I write the cheques to St. Jude.

 

As it turns out, I now have another reason to appreciate Danny Thomas.  A much bigger one.

 

Thanks to his devotion to establishing St. Jude and all of the medical advances in the treatment of cancer that have come about as a result, in a way, Danny Thomas helped save my wife’s life.

 

You see, Cheryl has cancer.

 

12134196268?profile=originalSpecifically, it’s squamous cell cancer, which in her case developed when malignant cells detached from a cancerous tumour and collected against the lymph node on the right side of her throat.  As with most cancers early on, there were no noticeable symptoms.  No pain or discomfort.  Not even a sense of pressure under her skin.  She just happened to discover it, three months ago, while taking a shower.

 

Thankfully, we’ve had the services of some top-notch physicians.  The doctor who immediately recognised the lump for what it was during his clinical examination.  The specialists who accurately gauged that the source tumour was located in one of her tonsils.  The surgeon who performed the tonsillectomy. 

 

In retrospect, things moved pretty fast.  But at the time, each day weighed heavily on us as yet another day the cancer was growing.

 

Removing the cancerous tonsil was only Step One.  The malignant lump in the side of Cheryl’s throat still had to be dealt with.  That meant a campaign of chemotherapy and radiation treatment.

 

Cheryl’s had six weeks of chemo and radiation so far.  You have no idea of how terrible a cure it is.  Sure, everybody knows about the hair loss and the nausea and the fatigue.  But there are a dozen other unpleasant side-effects that nobody realises---unless he’s gone through it himself, or someone he loves has.

 

12134197477?profile=originalBut here’s the thing.  As miserable as it is for Cheryl, it would have been worse twice times ten if it weren’t for the advanced medical techniques and equipment of to-day.  Techniques and equipment developed from the research performed at St. Jude and other institutions like it.  Things like the linear accelerator.

 

The purpose of the radiation is to kill the cancerous tissue.  Unfortunately, the radiation doesn’t discriminate; it also kills healthy tissue, as well.  Thirty years ago, the standard protocol would have been to bombard Cheryl’s entire face and neck with radiation.  Healthy tissue would be sacrificed in order to destroy the cancer.

 

But a linear accelerator provides a three-dimensional image of the cancerous mass.  Computers “read” this image.  A beam of radiation is projected into the patient and the computers adjust the direction and intensity of the beam so that it strikes only the affected tissue, minimising the damage to the surrounding healthy cells.

 

 

 

So, you’re probably asking, why is this the subject of my Christmas log entry?  What has this got to do with Christmas?

 

Well, not very much, I'll grant you.  Just this.

 

When the Good Mrs. Benson found that lump in her throat three months ago, it was the size of a golf ball.  Now when she presses down on the same spot, there’s nothing there.  The treatments are working remarkably, which has the doctors delighted.

 

They aren’t the only ones.

 

This should be Cheryl’s last week of treatment.  After that, three weeks of recuperation, and then a positron emission tomography (PET) scan to ensure that the cancer has been eliminated.  The first PET scan had shown no trace of cancer anywhere else in her body.  So the lump in her throat should be the last of it.

 

We won’t know for sure until January, and then there's the five-year monitoring period.  But right now, it appears that my wonderful wife has gone from being a cancer patient to being a cancer survivor.

 

That’s the best Christmas gift ever.

 

To-day is our twenty-first Christmas together.  Three months ago, there was a real possibility that it would have been our last.  Now, we have every reason to expect another twenty-one Christmases together, her and I, and each of them, we’ll treasure all the more.   Each one of them will be a gift, too.

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

 

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Andrew A. Smith

Scripps Howard News Service

 

April 17, 2012 -- My review pile is overflowing with books that are part of what has become a huge revenue machine for publishers: reprints. But this tsunami of old comics, some not seen for 70 years, raises a new question: Which are really worth reading?

 

That wasn’t asked in decades past, because prior to the avalanche of hardcover reprints, not much was available. Fans and pseudo-historians like me were able to buy whatever reprints came out, because there just weren’t that many. And, of course, those few were generally the cream of the crop.

 

Now, though, one must make choices. Let me help with a few examples:

 

12134182489?profile=original* Hermes Press is reprinting the material originally published by now-defunct Gold Key in the 1960s and ‘70s that was licensed from television shows. Some of it is vaguely interesting because the shows these comics were based on were pretty good, like Dark Shadows, Land of the Giants, The Time Tunnel and Voyage to the Bottom of the Sea. But now comes My Favorite Martian: The Complete Series: Volume One ($49.99), mediocre comics based on a mediocre TV show. This series isn’t worth a volume one, much less however many more are planned, unless you’re an MFM completist. If such a thing exists.

 

I don’t want to kick Hermes, though, because it’s also reprinting The Phantom comics published at various times by Gold Key, King and Charlton in the 1960s and ‘70s, a project long overdue. These comics aren’t the finest ever made, but they never get worse than pretty good. Several artists that later hit the big time started here, like Jim Aparo and Don Newton. And The Phantom is such a seminal character in adventure fiction – the first hero to wear a costume, predating Superman – that I will buy every book, plus the reprints of the comic strip that Hermes is reprinting simultaneously.

 

12134182672?profile=original* Last week I savaged Showcase Presents: Young Love (DC Comics, $19.99) for romance stories from the early 1960s that are so misogynistic that they affront conscience and so idiotic they insult intelligence. But that doesn’t mean all romance stories are terrible, as evidenced by Young Romance: The Best of Simon & Kirby’s Romance Comics (Fantagraphics, $29.99).

 

Joe Simon and Jack Kirby, the marquee team of the early days of comics, pioneered the romance genre in 1947 with this title, and as you’d expect from the creators of Captain America, Young Romance wasn’t bad.  It had its fair share of melodramatic tear-jerkers, and occasional forays into misogyny (stupid women who need a man to teach them how to live), but Simon & Kirby also flirted with social issues like class distinctions and religious conflicts. And they didn’t restrict themselves to small towns or big cities, like most romance stories, finding romance out West or in the Korean War. Young Romance offers 21 of the best of Simon & Kirby’s romance stories, and that’s probably just the right amount.

 

12134183653?profile=original* I truly appreciate comics historian Blake Bell’s efforts to codify the careers of early comics creators, especially the Steve Ditko Archives (up to Volume 2, waiting for 3). But Amazing Mysteries: The Bill Everett Archives Volume 1 (Fantagraphics Books, $39.99) was a disappointment. There’s no information in here about the creator of Sub-Mariner that I didn’t already glean from Bell’s 2010 Fire and Water: Bill Everett, The Sub-Mariner and the Birth of Marvel Comics (Fantagraphics, $39.99). Which isn’t surprising, since the primary purpose of this book is to reprint rare, old, non-Sub-Mariner stories by Everett. But that is a problem in itself in that A) Everett’s early work is pretty amateurish, and B) excluding Sub-Mariner means excludes the writer/artist’s best early work. Oh, well, maybe Volume 2 will be better.

 

12134183689?profile=originalFinally, I have to mention Sugar and Spike Archives Volume 1 (DC Comics, $49.99). I’ve heard all my life how terrific this 1950s comic book was, which starred two toddlers with their own baby speech adults could not understand, written and drawn by the legendary Shelly Mayer. But, to tell you the truth, I couldn’t make it through this book. It seemed to have only one joke – the Look Who's Talking joke – and the misadventures the kids share are both bland and faintly familiar, as if Mayer was replicating every TV show and movie he’d ever seen.

 

So there are some warning signs about recent reprints, brought to you by Captain Comics. My motto: “I read the crap so you don’t have to.”

 

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

 

ART

1. My Favorite Martian: The Complete Series: Volume One reprints comics that probably don't deserve the hardback treatment. Copyright Hermes Press.

2. Young Romance: The Best of Simon & Kirby's Romance Comics reprints some of the better comics of this genre by the team in comics. Copyright Fantagraphics Books.
3. Amazing Mysteries: The Bill Everett Archives Volume 1 reprints the legendary writer/artist's earliest work. Copyright Fantagraphics Books.
4. Sugar and Spike Archives Volume 1 reprints the misadventures of two toddlers with their own private language. Copyright DC Comics.
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Catching Up on Comics (June and July)

12134113667?profile=originalI was travelling for roughly 6 out of 7 weeks in June and July.  Among other things, that means I fell way behind in my comic book reading.  I still managed to make it to the shop occasionally and pick up whatever was sitting in my pull box.  But I simply couldn’t keep up with that many comics while on the road. 

 

On the bright side, that meant that I had a huge stack of comics waiting for me when I finally settled down again.  Even better, I had multiple issues of most titles.  Though I prefer single issues to trades, it can be a lot of fun to read two or three issues in a row.  You get a much better sense of where a story is going when its individual installments aren’t interrupted by 40 other series.    

 

Amazing Spider-Man 659-665: In these issues, Spidey joined the FF, took a turn teaching the Avengers Academy, got mixed up with Anti-Venom and Mr. Negative and ditched a movie night with Betty Brant.  I read some online reactions from people who didn’t like the first two stories, since they seemed to be about the guest-stars more than Spidey (the Avengers Academy issues were even written by the AA writer rather than the regular Spidey scribe).  But I loved them. I like Spidey’s niche in the FF.  He’s a perfect substitute for the Human Torch bringing both power and levity.   Yet Peter still feels like he’s a little bit out of place, so there’s still some of that typical Parker awkwardness.  The Avengers Academy story was just a fun read.  It reminded me of classic Marvel Team-Up stories, pairing Spider-Man with the newest hero in a way that shines light on both of them.  The one down note for me was the Anti-Venom story.  I find Anti-Venom one-dimensional and boring.  Plus, I was much more interested in Mr. Negative when he was influencing Aunt May, instead of serving as Anti-Venom’s foil.  However, it appears as if the Aunt May/Mr. Negative story was resolved in a side series as she only showed up for one panel.  Happily, the title quickly recovered with a great one-shot that focused on Peter’s friendship with Betty Brant.

 

12134114056?profile=originalAmerican Vampire 14-16 and American Vampire: Survival of the Fittest 1-2: American Vampire is quickly becoming one of my favorite titles and a strong contender for series of the year.  Both stories take place during World War II.  In the main title, Henry Preston is serving in the Pacific where he’s been sent to destroy a vampire nest on the island of Taipan.  Skinner Sweet came along for reasons of his own, and Pearl Jones is back in Hawaii trying to unravel the mystery.  In the special mini-series, vampire hunters Cash McCogan and Felicia Book are posing as Nazi sympathizers in an attempt to acquire a potential cure for vampirism.  Both stories are full of setbacks and unexpected twists, deadly situations and heightened emotional drama.  My one small complaint is that the artists don’t do a good enough job differentiating stylistically between Pearl and Felicia and Skinner and Cash.  The separate leads should have separate looks. 

 

12134114264?profile=originalAstonishing X-Men 37-39: I like what Astonishing X-Men is doing right now.  The title is alternating between two stories that are supposedly happening at the same time.  In the first, one squad- Cyclops, Emma Frost, Wolverine and Armor- is in Japan fighting escapees from Monster Island.  The story is a lot of fun, riffing off of classic Godzilla movies.  Yet it also has a strong heart as Armor deals with the emotions of returning to her homeland as a hero for the first time.  In the second, another squad- Beast, Colossus, Shadowcat and Storm- has flown into orbit to help SWORD fight off a Brood incursion.  Once again, there’s a fun movie flavor to the story.  This time, the plot evokes the original Alien.  And, once again, there’s a strong emotional component with awkward reunions between Kitty and Lockheed and Beast and Brand.

 

12134114871?profile=originalCaptain America 617-619 and Volume 6 #1: The biggest news for Captain America occurred in Marvel’s summer crossover, Fear Itself.  James “Bucky” Barnes, who had been carrying the shield, was killed.  Back in his own title, James was serving a prison sentence in Russia for crimes he had committed as the Winter Soldier.  It was a strong story, with the Black Widow and Sharon Carter working for his release while Bucky fought for redemption.  However, the emotional impact was lessened by Bucky’s appearance in Fear Itself, presumably after his release.  As for the new title, I should have known that I could trust Ed Brubaker.  The reason I’ve loved Captain America for the past seven years hasn’t been Steve Rogers or Bucky Barnes.  It’s been writer Ed Brubaker.  He delivered a great individual tale.  Plus, he set up Baron Zemo as a shadow threat, giving the title the continuing menace that it’s been missing since the Red Skull was defeated. 

 

12134115260?profile=originalDollhouse: Epitaphs 0 and 1: This comic is not for the faint-hearted.  Based on Joss Whedon’s television show, the comic is set in the near future.  The Rossum technology to erase and replace personalities is about to go global.  This mini-series tells the story of those early survivors, the ones who resisted the technology, kept their own minds, banded together and began to fight back.  But their experience is not pretty.  They are abandoned and isolated.  They don’t know who or how to trust.  Some become callous killers.  Others look for love among the ruins.  There are even a few surprise appearances of characters from the TV show.  It’s an epic and emotionally satisfying tale so far, but it’s not a place I’d want to live. 

 

12134115890?profile=originalFables 103-106: I’m sorry to say it but, for me, the Super Group story has been a giant misstep.  The only good stuff happened in sub-plots that had little to do with the main story.  I liked the final confrontation between Bigby’s dad and Mr. Dark.  But that had nothing to do with the gathering of heroes and could have happened just as easily without it.  Even worse, the plot device of putting together a super-team was contrived and out-of-place.  It is possible to tell a great story that breaks the fourth wall and comments on the nature of comic book superheroes.  It might have even worked in Jack of Fables, which regularly commented on literary devices and conventions.  But it was an awkward digression for Fables and never fit smoothly with the established tone of the series. 

 

12134116255?profile=originalFear Itself: Every crossover walks a tightrope.  It needs to tell a main story that is engaging, exciting and complete in its own right.  It also needs to leave other strands of story that can be explored in the tie-ins.  Blackest Night got it right on both counts.  Civil War managed the first, Secret Invasion the second.  Fear Itself is teetering on the edge and in danger of falling.  The main story is bold and beautifully drawn.  However, significant plot points are being designated to the supporting series- specifically what happens to each of the hammer-wielders.  The two main story threads- Thor’s expulsion from Asgard and Captain America’s confrontation with Skadi- are going well.  But the other scenes feel more like an update about what’s happening in other comic books rather than sub-plots of this particular story.  Though, to be fair, there are a lot of pretty explosions. 

 

Fear Itself tie-ins: I sampled a few of the Fear Itself mini-series.  My recollection was that the series were hit or miss.  But when I looked back, I realized that was because I was including ongoing series.  The four mini-series that I sampled contained a lot more misses than hits- Alpha Flight, Uncanny X-Force, Wolverine and Youth in Revolt.  Alpha Flight had a decent premise- fighting Attuma after he’s been powered up by one of the magical hammers (see the previous entry).  Yet, despite my love for Alpha Flight, it’s a fairly mediocre comic.  Youth in Revolt is an attempt to salvage characters from the recently canceled Young Allies series and it’s about as bad as that series had been.  I 12134116295?profile=originalhad the highest hopes for Uncanny X-Force because the parent title is so good but this series inherited the violence but not the humor or the heart.  Surprisingly, Wolverine has been the only series worth reading, mainly because of the presence of Melita Garner.  I like the way that various writers have been slowly building her relationship with Wolverine in one-spots and specials like this. 

 

FF 2-6: First off, I don’t like the all-white costumes.  I wanted to give them a try, but then I saw the all-black costumes they wore for mourning and those were so much better.  Second, this is a pretty awesome comic if my only complaint is about the color of the costumes.  I like the mix of personalities.  Peter Parker is a good fit, bringing a similar sense of humor as Johnny Storm.  Alex Power is kind of cool as a Mr. Fantastic in training- learning to be a hero, a leader and a genius.  The kids and the guests keep the series light and surprising.  Oh, and I love the twists such as recruiting their greatest enemies to help defeat the Reed Richardses of parallel worlds.  The Inhumans issue was a minor misstep, but one that could be salvaged depending on how that story is integrated in future issues.  

 

12134117262?profile=originalFlashpoint 1: I feel a little like Barry Allen.  Despite reading comics as fast as I can, I still haven’t caught up with Flashpoint.  So it’s not quite fair to compare Flashpoint to Fear Itself.  After all, I liked the first issue of Fear Itself.  The series didn’t start to wobble until the third and fourth issues.  All I can say by way of comparison is that I hope Flashpoint stays steadier on its feet because it’s done a great job of bursting out of the starting block.  I like the set-up- Aquaman and Wonder Woman are warring over Europe while Cyborg is trying to put together a team to stop them.  And I like Flash’s confusion.  Expected allies are adversaries.   Expected friends are practically strangers.  Now we see if Cyborg (and Geoff Johns) can pull the confused and scattered misfits into a force capable of bringing peace to this world. 

 

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Short Takes: Idle Thoughts on a Sunday

July 17, 2011 -- Here are some thoughts rambling through my head that aren't worth a whole post by themselves:

 

1) Marvel is ribbing DC's relaunch in their most recent solicitations by bragging about their high issue numbers. You've probably seen "Uncanny X-Men -- still at #340!" or whatever. But I've noticed that Marvel is, in fact, relaunching a lot of their long-running series on the sly:

  • They launched Hulk along with the long-running Incredible Hulk -- but now they're canceling Incredible Hulk (currently called Incredible Hulks), so the remaining major Hulk title is one with low numbers. Result: A Hulk relaunch.
  • They turned the long-running Daredevil into Black Panther: Man Without Fear, and launched a new Daredevil #1. Result: A Daredevil relaunch.
  • They've turned the long-running Fantastic Four into FF, starting over with #1. Result: A Fantastic Four relaunch.
  • They're canceling the long-running Uncanny X-Men and relaunching with Uncanny X-Men #1. Result: An X-Men relaunch.
  • They turned the long-running Thor back into Journey into Mystery, and gave the Thunder God a new title. Result: A Thor relaunch.
  • They turned the long-running Captain America into Captain America and Bucky, and gave Cap a new title. Result: A Captain America relaunch.
  • They flat-out relaunched The Punisher, canceling the old title and beginning a new one (with Castle's second title, Punisher MAX, only about a year old ).

Toss in the resurrections of Ghost Rider, Moon Knight and Alpha Flight, all with #1s, and that's at least 10 relaunches in recent months. It's not 52, but it's still too many to be bragging about how they've kept their old numbering.

 

2) I love having Legionnaires from around the world, offering unique insights and perspectives. And I'm frequently reminded of that by a peculiar difference between American English and UK English: verb-subject agreement. I first noticed it in sports (which the English refer to as "sport"), where Americans say St. Louis IS but the Cardinals ARE doing such-and-such, shifting from singular to possessive depending on the subject. But I hear on BBC radio UK speakers using the plural no matter what, so Manchester ARE doing such-and-so, which sounds weird to American ears. This also applies to "United States" as a subject; American says the United States IS doing such-and-such -- we actually fought a bloody war to establish that the USA is, indeed, a singular noun and not a collection of individual states that can secede at any time -- but UK speakers say "the United States are" -- which, again, sounds odd to American ears.

 

I may have some of the above mucked up -- I don't actually memorize how UK speakers talk, I only notice when a noun/subject "disagreement" sets off my copy editor sense -- but it also applies to Marvel and DC. American speakers generally use the two as singular nouns, whereas UK speakers generally use the two as plural nouns. Americans say "Marvel is ... " while UK speakers say "Marvel are ..."

 

The upshot is that every time I read "DC are run by boring guys in suits" or "Marvel are run by monkeys" I'm reminded how wide-spread the Legion of Superfluous Heroes is, how much diversity we have, how much cultural exchange is going on ... and it makes me smile.

 

3) Years ago, the Frito Bandito was officially and publicly banished by Frito-Lay as an offensive cultural stereotype. I haven't heard anything to corroborate this, but it appears the same is true of any heavily-accented Mexican character, from Jose Jimenez to Speedy Gonzales to Baba Louie (in Quick-Draw McGraw). Whereas other offensive cultural stereotypes, such as Pepe LePew, seem to still be around. Anybody know?

 

4) In the current Avengers cartoon, the three-part season ender had the Assemblers banished to the nine realms of Norse mythology, whereupon they had to battle back to Asgard to confront Loki.

It's interesting to note that Captain America was in Niffleheim or Muspelheim or Hel (I've forgotten which, but it was one of the lands of the dead) where he met the shades of deceased Howling Commandos -- including JACK Fury, the African-American commander of the squad. In the comics, of course, Jack Fury was a World War ONE veteran, and Caucasian, while Nick was the WWII Howler, and, of course, also Caucasian. Evidently the concept of Nick Fury as an African-American has now made a third leap in the culture, from the Ultimate universe to the movies and now to the cartoons (and Fury's WWII connection has been severed). The problem, of course, is that the U.S. armed forces weren't integrated in World War II, and the idea of a black man commanding white troops was, AFAIK, impossible. I like a black Nick Fury just fine -- and who doesn't love Samuel L. M-Fin' Jackson -- but I don't like history being messed with.  We need to be aware of our mistakes, so we don't repeat them, and anachronisms like this bury the mistakes of our past. And the way America has historically treated its black sons and daughters is a Very Big Mistake that should not be, ahem, whitewashed.

Another interesting bit is that Tony Stark was marooned in whichever world the trolls live in ... you know, the trolls who forged Thor's Mjolnir and Odin's Gungnir. So, naturally, Stark and the trolls forged Uru, Asgardian, Iron Man armor! That was pretty cool ... and now I read that this bit is being repeated (nine-fold!) in 'Fear Itself.' Coincidence? Cross-pollination? The tail wagging the dog? I don't know, but it's interesting.

 

Those are some of the thoughts rattling around in my head on a lazy, hot Sunday. Now to go watch the Japan-U.S. match in the women's World Cup final. GOOOOOOOOALLLL!

 

 

 

 

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By Andrew A. Smith

Scripps Howard News Service

There’s a new Superman in town, and he’s … OK.

 

When DC Comics re-launched the titles comprising its superhero universe last year, they took the opportunity to re-tool the Man of Steel a little bit. Action Comics started over with a new first issue, showing Superman in his earliest days – which, in this new universe, is five years ago. (Superman began again, too, but set in the present day.)

 

12134163452?profile=originalAnd in a stroke of brilliance, DC hired Grant Morrison to write Action Comics. Morrison is famous (or infamous) for gigantic, mind-blowing concepts and ideas (that are occasionally incomprehensible). He’s the author of one of the best Superman stories every written, All-Star Superman. He’s also a Scotsman who’s thought more about American superheroes than any American, penning the instant classic Supergods: What Masked Vigilantes, Miraculous Mutants and a Sun God from Smallville Can Teach Us About Being Human.

 

And at first it seemed we were heading for something memorable. I raved about last September’s Action Comics #1 on my website, which gave us a Superman reminiscent of his 1938 debut – a man “only” as powerful as a locomotive, one who jumped instead of flying, with New Deal ideals and a passion for fighting on behalf of the common man.

 

So I was looking forward to the first collection, out this month. Superman: Action Comics Volume 1 – Superman and the Men of Steel ($24.99) collects the first eight issues of the new Action Comics. And for better or worse, it was not what I expected.

 

Which is perhaps my own fault. I was so surprised – and pleased – to see a Superman with an attitude that I wanted the emphasis on that concept to continue. Not just because I also tend to side with the underdog, but because it’s bold, it’s brash and it’s courageous storytelling – all things you haven’t been able to say about the Superman books for a long, long time. Like it or loathe it, this Superman was feisty, with an edge.

 

12134163653?profile=originalBut that turned out to be an element of the story, not the focus. Instead, subsequent issues of Action Comics went about the business of building major, and familiar, components of Superman’s world. Morrison keeps to the core of elements like Lois Lane, Jimmy Olsen, the Daily Planet, Lex Luthor, Brainiac, Metallo, the Legion of Super-Heroes, Ma and Pa Kent, Steel, the Bottle City of Kandor and kryptonite, but retools some of the details for the 21st century.

 

And, since it’s Morrison, this was a lot of fun with some big, big ideas. I liked most of what he did, especially making Jimmy Olsen and Clark Kent contemporaries and best friends. (The days when an older Superman and a younger Jimmy can be “pals” without raising eyebrows are long gone.) He re-imagines Krypton as the perfect scientific utopia imagined in 1930s science fiction with modern SF twists, which works on a number of levels. Also, in the bonus material in the back, Morrison says he wanted to recreate the feeling of Superman’s early stories with “nonstop, kinetic, muscular action” – something he achieves with rousing success. (Morrison notes in the back that you can tell when Superman’s in trouble – it’s when he’s not in motion.)

 

As to the art, I’m a big fan of artist Rags Morales, who brings not only tremendous talent and skill to the page, but deep thought to the concepts. For example, Morales says of Superman that he imagined him as a combination of Steve Reeves (the 1950s TV Superman) and the king of rock and roll. “When he’s catching the bullet, he’s got that Elvis light in the corner of his eye.”

 

12134164468?profile=originalSo this is an excellent update to the Man of Steel, especially compared to other such attempts, such as Superman: Earth One (2011), Superman: Secret Origin (2009) and Superman: Birthright (2003). All of those also took the basic story we’re all familiar with and attempted to tweak it for the current century, with mixed results. Action Comics is more imaginative and entertaining on almost every level.

 

So call it the prejudice of high expectations. When you attach the name Grant Morrison to Superman, I expect to have my brain blown out the back of my head. But Action Comics Volume 1 is “only” a terrific comics collection full of action, humor and high concept.

 

This would be a high-water mark for any other book, with any other creative team. With Morrison and Morales, though, I expect the best is yet to come.

 

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

 

ART

1. Superman: Action Comics Volume 1 -- Superman and the Men of Steel collects the first eight issues of the new Action Comics. Copyright DC Entertainment Inc.

2. Superman battles one of Brainiac's robots on the cover to Action Comics #4. Copyright DC Entertainment Inc.
3. Baby Kal-El is launched from the doomed planet Krypton on the cover to Action Comics #5. Copyright DC Entertainment Inc. 
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This is my first Blog attempt and I've been thinking about it for a while now. I picked the title "Reflections" because you can see reflections in Gold, Silver, Bronze and the Brand New. Comics have always reflected pop culture, politics, social issues, current events and the world that they were created in. These are my opinions, my views and my conclusions. And I welcome comments and corrections.

With the relevation of the New Ultimate Spider-Man being half-Latino, half African American, several of us (myself included) observed the lack of original minority/non-White heroes. I'm focusing on Marvel now but DC is equally lax on it. There are notable examples of black characters taking the names/personas of established white heroes: Iron Man, Captain Marvel, Goliath/Giant-Man, even Ultimate Nick Fury. To be fair, Marvel created all-new minority non-White heroes in their Silver Age but there were always problems.

The Black Panther is a real African king from the super sci-fi nation of Wakanda so it was difficult for readers to identify with him. He was a guest star for his first years, joining the Avengers. Then the term "Black Panther" took on a whole new meaning with the rise of the militant group, thus robbing him of a marketable, "safe" name. He was addressed as The Panther, the Black Leopard and his true name, T'Challa but this denied him any solo series until the regretably named Jungle Action. There have been many attempts to make the Black Panther a star; five different series, numerous minis, married to the X-Men's Storm and lately being treated as a major player in the MU. It may work yet though his lack of real powers and a dull costume are definite disadvantages.

The Falcon was always featured prominently but always as the second part of Captain America And... This sidekick label never left him and then there is his convoluted origin and constant attempts of upgrading him. Powers, no powers and the same falcon, Redwing, for over forty years! Maybe he has the super-powers!

The Prowler added some variety to Amazing Spider-Man but he's a very minor character, especially compared to Daily Bugle editor Joe Robertson.

But Marvel's best bet for a non-White superstar was:

12134118055?profile=original

Created by Roy Thomas, John Romita and Archie Goodwin, Luke Cage debuted in Hero For Hire #1 (Ju'72). His origin was definitely from the headlines. He was a black prisoner, wrongly convicted, mistreated by racist guards, who undergoes an experimental process to gain parole. But one of those guards tried to kill him but the overloaded treatment gives him "steel-hard skin and muscles to match!" He quickly escapes and starts a new life as a super-hero that the public can employ.

Luke had a hard life which he does not sugarcoat. He has committed crimes and done acts of violence but he was trying to better himself when he got framed. He is wary of the law and authority and rightfully so. But he wants to be a force of good, he just wants to be paid for it. This does has some precedence in the Marvel books. Both the Fantastic Four and the Avengers get stipends and the public believes that Iron Man works for Tony Stark.

Many complain about his outfit but it is appropiate. The metal handband shows his strength and nobility. The much-mocked yellow shirt works with his dark skin and makes him stand out. He does not hide in the shadows. He is in your face and proud. The chain belt reminds him of his wrongful imprisonment and gives him resolve to aid the helpless. He looks like a hero, an individual and a warrior.

Also worth mentioning is that not all whites are bad and not all blacks are good. Cage fought black foes (Diamondback, Black Mariah, Senor Muerte, Chemistro, Shades and Comanche) and white foes (Mace, the Christmas Bomber, Stilletto, not to mention Doctor Doom). The latter smacked in the middle of the Marvel Universe. The Doom issues of Hero For Hire #8-9 also have him meeting the Fantastic Four, which would pay dividends in the future. HFH #12 refer to Amazing Spider-Man #124 where he was hired by Jolly J. Jonah Jameson to capture the Wall-Crawler.

But in what would have been HFH #17, the big change comes as the title becomes Power Man, a strong and memorable name. He also battles Iron Man and holds his own.

Power Man had all the potential to be a super-star. Compelling origin, real powers, an interesting supporting cast but sales were never strong. He may have been Shaft Among the Super-Heroes but he never really fitted in. Too strong for urban crime and too urban for super-hero fare. He was even part of the Fantastic Four for three issues, replacing the Thing briefly. He was paired with fellow fad hero Iron Fist and for a time, Power Man & Iron Fist was one of Marvel's best comics.

Luke had several problems for success. His strength was seemingly purposely left vague. He battled Spidey, Iron Man and the Thing but no one knew how strong he really was. He was part of the Defenders for a time but was never asked to be an Avenger even though he had his own title. Simply put, he was never treated like a headliner. Flavor but not the main course! 

He could have been a contender. He really could have!

"Sweet Christmas!"

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New DC versus Marvel Now

12134190876?profile=originalIt was the biggest story of the year: DC started over. They canceled their entire line of comic books and, in September 2011, started over with 52 new titles. It was a bold, unprecedented move in the history of comic book publishing. Of course, DC didn’t exactly start from scratch. A number of the new titles were relaunches of old favorites like Justice League and Superman. A few even continued with their former creative teams like Batman and Green Lantern. Even so, it was a big move and it shook up the comic book industry.


The restart excited a lot of fans and admittedly angered a few. It has been alternately praised as an unqualified success and derided as an unmitigated disaster. The truth- as always- lies somewhere in the middle.
The “New 52” is a qualified success. It’s a success in some ways, but not in others. It’s a success overall, but not in every particular. It’s a success, but it’s not immune from criticism.

A Brief History of Sales

To understand the success of the “New 52,” it’s helpful to know a little about the state of comic book industry in 2011. At the beginning of the millennium, comic books were on an upward trajectory. The industry experienced seven straight years of growth from 2000 to 2007 (don’t let the old cranks and pessimists tell you otherwise). It was one of the longest periods of sustained growth in the history of the medium and it culminated in 2007 with the Marvel’s Civil War and the Death of Captain America. However, 2007 was the peak year.


In 2008, the comic book industry started to come back to earth for a number of reasons, some external and some internal. 2008 was the first year of the Great Recession. Comic book critics had previously theorized that comic sales were immune from recessions as people still needed cheap entertainment but that theory was undone when people cut discretionary spending on a lot of things, including comics. Internally, there was also the problem of diminishing returns as successive- and near constant- crossovers lost their luster.


By 2010, comic book sales had dropped to their lowest level in a decade and the first half of 2011 looked even worse. DC rightly recognized that they needed to do something drastic to turn the market around. Their answer was the “New 52.”

A Smashing Success

The first month of the “New 52” was a smashing success. Every single title sold out and went back for additional printings. The enthusiasm carried over into October as fans gobbled up nearly as many second issues as debuts and as second and third printings reached the stands. By November, DC had clearly turned things around. Three months of the “New 52” was enough to offset eight months of anemic sales from earlier in the year. 2011 ended up ahead of 2010 sales-wise. It didn’t compare to the heights of 2007- though that’s mostly because the “New 52” only accounted for a third of the year.


That success has continued into 2012. The first eight months of 2012 have tracked well ahead of 2011. It’s too early to know for sure (we still have three months to go, after all) but 2012 could rival 2007 as the best sales year of the century. It’s at least in good shape to contend with the slightly off-peak years of 2006 and ’08. There’s no question that the “New 52” has been successful, despite what a few contentious critics have claimed.
And yes, there are a few contentious critics out there claiming that the “New 52” has failed. The problem is generally one of unrealistic expectations: they set the bar too high. It’s unreasonable to think that every new title will achieve equal success. And it’s ridiculous to expect the “New 52” to reverse not only the last 4 years of decline but several decades of decline that preceded it.

12134191290?profile=originalWhat DC Did Right

Obviously, DC must have done some things right to achieve this level of success. They certainly mustered an impressive marketing campaign. They excited the existing fanbase and reputably drew a lot of new or lapsed fans into the marketplace.


Marvel has noticed. This fall, Marvel is restarting their entire line as part of their “Marvel Now” initiative. They’re doing things a little differently. They’re rolling the restart out over several months. They’re maintaining their current continuity. And they’re exempting a few of their recent relaunches or new titles like Captain Marvel and Daredevil. Yet, as much as Marvel may try to deny it, they’re obviously trying to copy DC’s success with a restart of their own.
So what worked?

The Big Guns

The biggest success stories are DC’s most familiar characters. They successfully renewed interest in their icons. Their top-sellers today are Batman, Justice League, Green Lantern and Superman (in Action Comics). Those characters and titles are the beating heart of DC’s comic book line. As long as they’re doing well, the company is in decent shape.


Two of the more surprising successes are Aquaman, which is currently outselling Superman’s eponymous title, and Wonder Woman, which is outselling the Green Lantern spinoffs. They are familiar, iconic characters but they don’t have a recent history of strong sales. The “New 52” brought some of DC’s oldest characters back into the spotlight.

Diversity of Genres

DC should also be complimented for their commitment to a diversity of genres. Comic books are strongly associated with superheroes yet there is also a rich history of other genres in the medium. DC included war comics and westerns in the initial 52. Those titles weren’t altogether successful but DC didn’t use that as an excuse to give up on other genres. They replaced one war title with another and included a fantasy title in their third wave of comics launched last month. These titles show DC’s commitment to not only capitalize on current sales, but to grow the market. They should be commended for it.


This is one way in which Marvel misses out. Their “Marvel Now” titles emulate DC’s success by concentrating on familiar iconic characters. There’s Captain America and Iron Man and Thor. There are multiple versions of the Avengers and the Fantastic Four. But Marvel isn’t showing the same commitment to strengthen the marketplace by appealing to non-superhero customers. There’s no horror comic or western despite their strong history with those genres. Marvel will probably maximize their sales but it would nice to see them stretch a little.

Integration of Vertigo

DC’s diversification included the integration of characters from other lines. Several characters who had been loaned out to their Vertigo line for the past two decades returned to the DC mainstream. They also tried to incorporate characters from Milestone- a 1990s imprint distributed by DC- and Wildstorm- a company they purchased at the turn of the century.


In this case, the results were mixed. It worked with the former Vertigo characters. Swamp Thing and Animal Man have been welcome successes for DC. They’re strong mid-level sellers- well ahead of the typical Vertigo title. But it didn’t work with Milestone and Wildstorm. Characters from those imprints have been some of the earliest cancellation casualties and now there are rumors that Milestone will be leaving DC entirely.

An Issue of Pace and the Pace of Issues

The earlier zenith of comic book sales had been driven in part by the expansion of trade paperback collections as a secondary market. As a result, comic books began to be “written for the trade.” A slow moving deconstructed style proliferated and six-issue stories that could be conveniently collected became common.


That style of story was already on the wane before the “New 52” but the restart widely abandoned it. A few “New 52” titles opened up with six issue stories but most opted for shorter tales of two or three issues. After a couple of months, done-in-one stories were common again while individual chapters of longer stories made sure to have enticing cliffhangers and significant plot progress in each issue. The improved pace is a welcome side-effect of the “New 52.”
The change in pace has impacted the industry. Although it can’t be entirely credited to DC’s “New 52”- as I noted, the deconstructed style was already on the wane- other publishers have also abandoned the practice of “writing for the trade.”


It’s not as important but DC has also done a good job of maintaining a monthly schedule. They haven’t had a late book in an entire year. And they’ve also eschewed the practice of double shipping that’s common at Marvel. Marvel defends double shipping by claiming that it doesn’t affect sales. That’s only partly true. It may not hurt individual titles but it affects the entire line. Double shipping concentrates sales in a few top titles and cannibalizes others. It’s a big reason why Marvel’s mid-list is almost non-existent.

Bridge to Digital

The previous style of storytelling had been a by-product of format and this reversal is no different. The “New 52” was also DC’s major initiative to bridge from paper sales to digital. In the digital market, DC has to make sure that every issue is satisfying in itself so that the customer will come back for the next installment.
This is not a coincidence, by the way. The future is digital- although it’s hard to predict exactly when that future will arrive. DC knew that they’d have to switch to digital eventually. But they also knew they’d need a time of transition. They couldn’t simply abandon the print market or the brick and mortar stores that they’ve relied on for so long. The “New 52” provided a huge boost to the market that undercut potential complaints from storeowners about DC’s digital forays.

What Went Wrong

A lot of things have gone right for DC over the past year. But that doesn’t mean they have a perfect track record. They’ve made more than a few mistakes along the way. That actually puts Marvel in a good position. They’ve been able to watch DC and learn from their mistakes. Their restart might be more successful in the long term because of it, even if they don’t reach the phenomenal first month sales of the “New 52.”

Haste Makes Waste

DC’s biggest problem was that they rushed into the “New 52.” Earlier in the year, they had looked to their big crossover “Flashpoint” to turn things around. The crossover was going to be accompanied by 17 different tie-in titles. It still sounds crazy. The early sales and orders showed that another big crossover wasn’t going to cut it. As I already noted, there was a case of diminishing returns when it came to big crossovers. You might call it “crossover fatigue.” “Flashpoint” was not the game-changer DC needed. So DC decided to use “Flashpoint” as the launching pad for their restart.

However, due to their desire to keep up with a monthly schedule, DC needed to give the new creative teams several months of lead-time. DC pulled multiple creative teams off of their “Flashpoint” series in order to get them started on the “New 52.” They pulled other creative teams off of their current series for the same reason. Fill-in writers and artists were asked to finish the “Flashpoint” minis and outgoing titles. DC essentially punted their sales in July and August while setting up for a big September.

The sudden changes also gave the “New 52” the look of desperation rather than a long-term strategy. If DC had been planning this as long as they claimed, they wouldn’t have put so much energy into 17 mini-series that would be abandoned before they were completed. It didn’t hurt the September sales, which were impressive. But it did turn a few pundits against them unnecessarily.


Marvel learned the lesson. They’ve taken more time to get things together going into the restart. They’ve made sure that current creative teams have the opportunity to wrap up their stories and go out on a high note. They’re even promoting these final issues. Naturally, some cynics are skeptical of final issues for titles that are coming back next month but I see them more as final issues for the creative teams- some of which were critically acclaimed- rather than the titles themselves.

Shuffle Up and Draw

Another noticeable problem has been the changing of creative teams. Now, some of this is overstated. It’s unreasonable to expect that 104 writers and artists would all remain on their respective titles. There are going to be different opportunities pulling people away and the inevitable conflict of creative ideas. Even so, the “New 52” has had a remarkably high turnover rate. Titles have been reassigned and then reassigned again. Writers have left DC entirely- and publicly. Some of the titles are on their third creative team in thirteen months. The monthly consistency on the stands belies a surprising lack of stability on the creative end.

This is one of the reasons why I’ve called the “New 52” a marketing success, but not an editorial one. This might be a by-product of the rush into the restart but these aren’t good signs for the health of the company. It’s unfortunate that DC has burned so many bridges with creators, pundits and fans while trying to turn things around.
Once again, Marvel looks to have learned the lesson. It’s too early to know for sure- Marvel might have high-level defections in the next six months that affects our impression of “Marvel Now”- but there isn’t the same kind of public carping going into the restart.

Quality Control

I’ve saved one of the biggest questions for the end. As a fan, comic book sales don’t have an immediate impact on my enjoyment of a book. It doesn’t matter to me if a book is selling well or not except in the sense of whether it might be canceled. The real question for me as a reader is simply “Is the comic any good?”
The answer is unfortunately mixed. Some have been really good. Some have been really bad. Most have been fairly pedestrian.

I was excited about the “New 52.” I sampled broadly at first and bought a bunch of extra titles. Yet, a year later, I’m buying the same number of titles as I was before the restart. That’s partly because of budget restraints. But, honestly, it’s due more to a lack of interest. The only new titles I’m still getting are Aquaman and Batgirl- and I would have bought those anyway because of the creative teams irrespective of their place in the “New 52.” I’ve been disappointed in some titles and bored by others.


The quality simply hasn’t been there. Again, that’s possibly a by-product of earlier problems- the hasty way they went into the restart and the shuffling of creative teams. Yet it’s been a year and those excuses no longer hold water. For me, personally, there’s been no real progress in the “New 52”- even though it’s been good for the industry as a whole.

The Rising Tide

That last point is true, by the way. DC’s restart has been good for the industry. There’s an old axiom in comics that a rising tide lifts all boats. That’s not universally true- a specific title or publisher might flounder while others enjoy success. Yet it is generally true. IDW experienced significant success last September, such as multiple sellouts on a new Teenage Mutant Ninja Turtles title. Image has experienced broad success this past year launching new series such as Saga. And Valiant has enjoyed a successful return, after a couple of aborted restarts in previous years.
Some of this can be attributed to DC’s widely publicized restart drawing new readers into stores. The publisher at IDW certainly gave credence to that claim. Some of this can be chalked up to older readers dissatisfied with “corporate comics” abandoning DC for creator owned fare. That seems to be the case with Image’s slate. In either case, DC’s success has not come at the expense of other publishers. Many are experiencing their own revivals, even as they live in DC’s shadow.


The one publisher who hasn’t been a part of the rising tide is DC’s rival for the top of the ticket: Marvel. Marvel has struggled to keep pace with DC over the past year which is why they’re jumping into a restart of their own. They try to deny it, claiming that they’re doing something completely different. And there are key differences, though that can be partially attributed to the luxury of learning from DC’s mistakes. But it’s clear that Marvel was sufficiently feeling the heat to motivate them to build a new kitchen of their own.

It’s the New DC versus Marvel Now. And nothing will ever be the same.


(note: for comic book sales numbers, I consulted John Jackson Miller’s Comichron at http://www.comichron.com/yearlycomicssales.html and icv2’s top 300 index at http://www.icv2.com/articles/news/1850.html)

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The future arrives with DC's 'New 52'

 

The future arrives with DC's 'New 52'

 

By Andrew A. Smith

Scripps Howard News Service

 

On Aug. 30, comic-book fans, some in costume, will line up in front of Midtown Comics in New York's Times Square. It's a party, although some fainthearts fear it will be a wake.

 

12134153065?profile=originalThe occasion is the release of Justice League of America #1, by writer (and DC Entertainment Chief Creative Officer) Geoff Johns and artist (and DC Co-Publisher) Jim Lee. That title begins the replacement of DC’s entire superhero line of comics; it’s one of 52 new titles, all starting at #1, the remaining 51 all launching in September.

 

Comics fans and the mainstream media have been talking about this for months. By necessity, when DC released its September solicitations to comic-shop retailers two months ago, the Catwoman was out of the bag. (And, yes, there is a new Catwoman #1 in September, thanks for asking.)

 

Predictably, the Internet broke in half. Many comics fans, like many ordinary people, fear change.  There was much hair-pulling, teeth-gnashing and exploding of heads. After all, nobody believed DC’s official explanation for the re-launch, which was some sort of corporate-speak boilerplate that I don’t even remember. “What awful future,” some fans wondered, “does this massive re-launch portend?”

 

To quote the Sage of Highland, Texas: “Settle down, Beavis.” Seriously, it’s not the end of the world, nor even a serious omen. Titles get canceled and re-launched all the time. For example, Marvel recently canceled the old Hulk title to publish Incredible Hulk #1 in October, the third or fourth comic book to bear that name and number. Ditto for Daredevil #1, Moon Knight #1 and Punisher #1, all launched at Marvel in the last several months to replace previous versions. What’s unusual here is that DC is renumbering 52 new titles simultaneously, just to get people talking. Which is obviously working.

 

12134153691?profile=originalAlso, DC emphasizes this isn’t a re-BOOT, but a re-LAUNCH. That means titles that are already working well – read: the Batman and Green Lantern franchises – will continue as if nothing happened, just with new numbering. But DC will take the opportunity to fix a few things that they think are broken.

 

Surprisingly, one of them is Superman. They are re-booting the Man of Tomorrow, making him once again the first superhero on the planet (which hasn’t been the case since the 1980s), but one that has only been around for about five years. He isn’t married to Lois Lane any more (they’re not even dating … yet), and the rest of his status quo has been tweaked. For example, Ma and Pa Kent are dead, and his costume doesn’t have the red briefs any more.

 

One other change has some fans fuming: When DC says it’s rebooting all of their superhero titles, that includes the two oldest in America. Action Comics, which just reached issue #904, is now reverting to #1. And Detective Comics, the 1937 title that gave DC its name, is also re-setting the odometer. Although Detective will remain essentially unchanged, the new/old Action has a purpose: It will show Superman’s first five years in public, to explain the current status quo, which is depicted in sister title Superman, launching with a new #1 Sept. 28. (Justice League is also set in the past for now, showing how the team got together.)

 

12134154459?profile=originalAnother change is more diversity in the DC lineup of heroes, most of whom were created as interchangeable Generic Square-Jawed White Guys in days of yore. Cyborg, an African-American, will now be a founding member of the JLA. Other characters of color, like Batwing (African), Blue Beetle (Hispanic) and the new Atom (Asian-American) abound. Nor is the LGBT community ignored; Batwoman features one of DC’s many lesbian crime-fighters, while Apollo and Midnighter, stars of Stormwatch, are a gay couple.

 

And the last big change is that DC will release digital issues of their comics “day and date” – that is to say, at the same time the print versions hit the comic shops. I’ve heard differing views from various retailers about how good/bad this is, but for now it seems irrelevant, since the digital copies cost the same as print, and therefore shouldn’t cannibalize sales.

 

But it will position DC for the future, when digital is expected to become more important. And if there’s any lesson here, that’s it: The future is coming, and there’s no use fighting it. Let’s embrace the new DC as we did the old one, and see what the tomorrow’s Man of Tomorrow brings.

 

Photos above:

1. The revamp of the Justice League replaces Martian Manhunter with the African-American Cyborg as a founding member. Courtesy DC Entertainment Inc.


2.The new Action Comics will tell the tale of Superman's first five years in the public eye, where his initial costume is jeans and a T-shirt. Courtesy DC Entertainment Inc.


3. According to DC, Batwoman is the first eponymous title for an LGBT superhero. Courtesy DC Entertainment Inc.

 

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

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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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