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By Andrew A. Smith

Scripps Howard News Service

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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


Photos:

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

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

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

 

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

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

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

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

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

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

Learn more about the Relocating series itself here!

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A New Look at New X-Men

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

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

 

E is for Extinction

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

 

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

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

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

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

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

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

 

12134170254?profile=originalImperial

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

 

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

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

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

 

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

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

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

 

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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

 

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

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

 

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

 

Namor decides to take the human race to court!

 

A loopy idea, but, hey, why not?

 

 

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

After that, the negotiations kind of fall through.

 

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

 

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

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

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

 

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

 

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

 

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

 

12134166669?profile=original 

 

 

He won the respect of the readers, as well.

 

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

 

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

 

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

 

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

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Comics for 1 February 2012

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

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

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

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

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

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

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

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

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

KIRBY GENESIS CAPTAIN VICTORY #3

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

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

OMAC #6

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

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

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

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

UNCANNY X-MEN #6

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

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

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

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

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Quick Comments on New Comics

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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Andrew A. Smith

Scripps Howard News Service

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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Comics for 25 January 2012

30 DAYS OF NIGHT ONGOING #4

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

VOODOO #5

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

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

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

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

 

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

 

A.  Superman

B.  Jimmy Olsen

C.  Supergirl

D.  Professor Amos Dunn

E.   Lex Luthor

F.   Batman

G.  Lois Lane

 

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

12134148481?profile=original 

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

 

 

 

 

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

 

 

 

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

Ding dong!

 

“I’ll get it, darling.”

 

“Rao! Who is it, now?”

 

“Jor, do you know a Jim-My Ol-Sen?”

 

“Never heard of him!”

 

“He says he’s from out of town.”

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

Then he makes the mistake of letting her out.

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

Maybe that’s the real reason Mort retired.

Read more…

Single Issues vs. Story Arcs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Read more…

By Andrew A. Smith

Scripps Howard News Service

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Read more…

Comics for 18 January 2012

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

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

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

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

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

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

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

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

INVINCIBLE IRON MAN #512

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

KIRBY GENESIS DRAGONSBANE #1

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

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

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

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

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

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

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

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

VENOM #12
VOLTRON #2

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

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

YOUNG JUSTICE #12

copied from memphiscomics.com

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By Andrew A. Smith

Scripps Howard News Service

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Read more…

Comics for January 11th, 2012

 

 

 

 

 

12134125891?profile=original

7 WARRIORS #3 (OF 3) (MR)
ACTIVITY #2
ADVENTURES OF HUCKLEBERRY FINN HC
ALL NEW BATMAN THE BRAVE AND THE BOLD #15
ALPHA FLIGHT BY PAK AND VAN LENTE PREM HC VOL 01
AMAZING SPIDER-MAN #677
ARCHIE BEST OF DAN DECARLO HC VOL 03
AVENGERS 1959 #5 (OF 5)
AVENGERS BY BRIAN MICHAEL BENDIS TP VOL 02
BATGIRL #5
BATMAN AND ROBIN #5
BATMAN THROUGH THE LOOKING GLASS HC
BATTLE SCARS #3 (OF 6)
BATWOMAN #5
BLACK PANTHER MOST DANGEROUS MAN ALIVE #528
BLUE ESTATE TP VOL 02 (MR)
BRILLIANT #2 (MR)
BTVS SEASON 9 FREEFALL #5 JEANTY VAR CVR
BTVS SEASON 9 FREEFALL #5 MORRIS CVR
CAPTAIN AMERICA #7
CARNAGE USA #2 (OF 5)
CARTOON NETWORK ACTION PACK #66
COBRA ANNUAL 2012 ORIGIN OF COBRA COMMANDER #1
COLTS MANNING 14 INCH PLUSH (C: 1-1-3)
COLTS MANNING 7 INCH PLUSH (C: 1-1-3)
COMIC SHOP NEWS 90CT BUNDLE #1282 (NET)
DAKEN DARK WOLVERINE #19
DARK MATTER #1 (OF 4)
DARK TOWER GUNSLINGER BATTLE OF TULL PREM HC
DARK TOWER GUNSLINGER WAY STATION #2 (OF 5)
DARKNESS #97 CVR A HAUN (MR)
DC UNIVERSE ONLINE LEGENDS #21
DEADPOOL #49
DEATHSTROKE #5
DEMON KNIGHTS #5
DOCTOR WHO ONGOING VOL 2 #13
DR WHO MAGAZINE #442 (C: 0-1-2)
DUNGEONS & DRAGONS 100 PAGE SPECTACULAR
ESSENTIAL MARVEL TWO IN ONE TP VOL 04
FANBOY MAKE YOUR OWN COMIC BOOK (NET) (O/A) (C: 1-1-3)
FEAR ITSELF AVENGERS PREM HC
FEAR ITSELF GHOST RIDER PREM HC
FLASH TP VOL 01 THE DASTARDLY DEATH OF THE ROGUES
FORMIC WARS SILENT STRIKE #2 (OF 5)
FRANKENSTEIN AGENT OF SHADE #5
GERONIMO STILTON HC VOL 09 WEIRD BOOK MACHINE
GHOST RIDER BY DANIEL WAY ULTIMATE COLLECTION TP
GHOST RIDER CYCLE OF VENGEANCE #1
GHOST RIDER OFF INDEX TO MARVEL UNIVERSE GN TP
GI JOE A REAL AMERICAN HERO #174
GREEN LANTERN #5
GREEN LANTERN #5 VAR ED
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12134027688?profile=original“You’re right, Cap!  I see the fuse!  It’s gonna blow!

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

Well, yeah.

 

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

 

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

 

And young Mr. Barnes was still very dead.

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

12134136489?profile=original 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

At least, there were no doubts, then.

 

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

 

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

 

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

 

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

 

12134139873?profile=original

 

 

Bucky Barnes, Requiescat in Pace.

 

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