Hallow-Reading: Casper's Haunted Halloween

Before discovering the joys of superhero comic books as a teen, I enjoyed gorging on "funny books." As a ten year old with few pennies to spend on the fancy comic books displayed in the corner store spinner rack, my "collection" consisted of the discounted discards my brother and I would buy at the local used bookstore. Despite lacking covers (which were removed, I presume, so that they could be sold at a discount), we would buy as many as we could during each trip. The bulk of these starred Harvey Comics regulars such as Casper the Friendly Ghost, Richie Rich, and our favorite at the time (most likely because our grandfather was a proud World War 2 veteran), Sad Sack.

Though rife for an update (given that the original premise is slightly dated), new Sad Sack material has not been published for decades. Recently, though, others in the Harvey stable, most notably Casper and his spooky friends have found new, and reprinted, life in a line of titles from American Mythology Comics. All-ages titles such as Casper's Ghostland, Casper's Spooksville, and Casper the Friendly Ghost's Capers regularly find there way to my weekly pull list with good reason: they're entertaining as heck and a little well produced nostalgia goes a long way. They are also among the first books I read upon arriving home.

This past week saw Casper's Haunted Halloween arrive right on time for the holiday. Consisting of six stories from the Harvey Vault, Casper's Haunted Halloween also features fan-favorites the Ghostly Trio, Nightmare the Galloping Ghost, and "the tuff little ghost," Spooky. This holiday one-shot demonstrates the timeless nature of Casper's antics which are published monthly in the American Mythology titles. In the first of a three-part story, "Spook School", Casper is one again being pressured by the Ghostly Trio to become a "nasty ghost". The erstwhile friendly ghost agrees to attend because "education never hurt anyone!" After happily failing the first day of classes with a "minus zero," returns the following day rather than be "clobbered by the Ghostly Trio." Ultimately he and Gary Ghost, a star pupil in Spook School are abducted and taken to Goblandia in the second chapter, "Ghosts in Goblandia." Following a series of misadventures during which the kidnapped ghosts are forced into labor by the goblins, Casper [SPOILER ALERT] he saves the day, and the mean ghosts that belittle his good natured ways, through the power of friendship.

Yes, the story is simple, and, yes, the pages (on high quality paper) are clearly reproductions of classic comics, but the visuals and message remain timely. Ultimately, Casper's earnest efforts to help both those who steal he and his classmates away, and those same classmates who ridicule him, win the day and all but the most hardened and cynical readers. I enjoyed Casper's Haunted Halloween quite a bit and am thankful to American Mythology for producing such high quality reproductions and new content (though not in this particular title) monthly for new and old seasoned readers alike.

Funko POP Goes My 2016

Believe it or not, this collection is small as compared to those of

Funko POP super fans. (12/30/16)

For better or worse, 2016 was the year I further expanded my collecting interests. While I have periodically purchased action figures (dolls!?) in the past, mostly unique or unusual characters, such as Batman's Native American counterpart Man-of-Bats, Lord of the Rings Ent Treebeard and the 2003 Hulk movie's David Banner/Absorbing Man amalgam, I have until 2016 avoided falling into the seductive trap laid by figure lines. My resolve was weakened this past year, as I responded to the siren song of Funko POPs.

If the allure of Funko POPs lies in the diversity of the line, it's strength is in the power of the memories they are capable of evoking. As I am in the collectables sweet spot (40+ years old, male, some expendable income, a fanboy), there are in incredible number of relatable characters. Whether reflecting childhood movie favorites (Flash Gordon), recent superhero comicbook interests (Ms. Marvel, Batgirl), cultural icons (Ghostbusters' Patty Tolan, Mel Gibson as Braveheart), or even literary mainstays (Cthulhu from the stories of H. P. Lovecraft), Funko POPs addresses itches that can be stretched. Like comicbooks and baseball cards, the acquisition of many come with an anecdote.

My first Funko POP Holy Grail: I travelled to multiple Walgreens over the course of

weeks to find this exclusive Ms. Marvel. Kamala Khan is one of the more interesting

comicbook heroes to be introduced in years. Was very excited to come across it in

an urban store I stopped at on a lark. 

A favorite character from a favorite movie, Vultan, played by Brian Blessed,

from Flash Gordon (1980). I was 11 when my brother and I went to see this in

theaters. Purchased this on annual excursions to Nee York City to visit my stepson

at college. It kind of became thing to find a unique Funko POP on each visit. 

The first real collectible based on H.P. Lovecraft's Cthulhu mythos that I wanted was

also the first that I asked my local comic shop to find for me. Though unplanned, it

was also the first "Exclusive". Wish there were more POPs based on "Books" though.

A few months ago, I posted a picture of my POPs on Instagram. A former student wondered

in the comments, "Where are the female POPs?" She was right, at that point I had bought

only characters that were male. Ghostbusters (2016) was a movie I never expected to

like, but I was won over by the performances of the four leads, especially Leslie Jones'

portrayal as Patty Tolan. Jones' own cultural relevance has only continued to grow since.

A gift from my son this past Christmas following last Christmas' Howard the Duck.

Jack and I attended a local Sanders rally in June 2016 when the campaign

ball really began rolling, and I was excited to see his interest in politics develop.

Hawkgirl was an unusual impulse purchase from Barnes & Noble, which by the

way is an excellent source of POPs! I've never seen an episode of DC's Legends

of Tomorrow television show, I do, however, love recent depictions of the

Kendra Saunders Hawkgirl character in DC Comic books over the past ten years.

Also a New York Comic Con Exclusive, an event I have yet to attend but hope to... someday.

Funko POPs tell stories. These 6" figures (and bobbleheads) that prompt me to reflect on semi-important moments in my life as a fanboy and person. To my wife and others who have not embraced the collector's life, it is difficult to explain that these $10 "dolls" are worthy parts of my fandom. As someone who's been doing "this" for 30 years, long before "geek culture" became hip, I dig what Funko is doing with this line and look forward to continue supporting it.

Run Reader: Rawhide Kid (2003)

Reintroducing Rawhide Kid in Issue #1.

My introduction to the Western comic book genre came late in my collecting life in the rugged guise of the 2005 Jonah Hex, Volume 2, written by Jimmy Palmiotti and Justin Gray. The most familiar Western hero from DC Comics, I eventually found that because of its excellence, I craved more adventure from "those thrilling days of yesteryear."

Cover to Issue #2 by Terry Dodson
and Kaare Andrews... subtle, right?

My experience with Marvel Comics' Westerns began with more modern iterations of two key characters, The Rawhide Kid and the Two-Gun Kid, among others. Together they starred in the four-issue miniseries Blaze of Glory (2000), by writer John Ostrander and artist Leonardo Manco and its sequel, Apache Skies (2002). Both The Rawhide and Two-Gun Kids were presented in fairly traditional Western fashion, consistent with the earlier roots of each character. The Rawhide Kid character originally debuted in 1955 from Marvel Comics's 1950s predecessor, Atlas Comics. Described as a "diminutive yet confident, soft-spoken fast gun constantly underestimated by bullying toughs, varmints, and crooked saloon owners," the Rawhide Kid (Johnny Bart) was the template from which later super-cowboys sprang. While the Rawhide Kid of Blaze of Glory/Apache Skies was grittier than the original, both interpretations were very different than what would come next.

With a faint recollection of a news story about the Rawhide Kid being re-envisioned as homosexual in the early 2000's, I bought the individual issues of  Rawhide Kid, Volume 4 (2003) for cheap to see what the hubbub was all about. At the time, I missed the red flag that the subsequent trade paperback collection of the mini-series, bore the title of the story arc from the miniseries, "Slap Leather." From the start, the tone is sophpomric and most of the updated characterization is played for "laughs."

Clue 1 from Issue #1: Rawhide Kid
likes celebrity gossip!

As written by Ron Zimmerman, this Rawhide Kid (who inexplicably prefers the nickname "Trey"?!) is much more of a caricature of homosexual stereotypes than a fully realized character with a (presumably) less-than-common sexual orientation for the Old West setting. The inherent potential of exploring the challenges of such a character in the Old West are ignored for the sake of probing the intricacies of how two of the Cartwright Boys from Bonanza could be placated by alcohol and potentially tricked into "extracurriculars" with Trey. I can't make this stuff up. Zimmerman sprinkles various literary and historical figures throughout the proceedings and even creates historical analogs for modern figures (for example, the dim-witted town leader, Mayor Bush) in an effort both ground his story in history and possibly, satire.

The flirtation begins in Issue #2.

The plot is standard: gunman (The Rawhide Kid) comes to town beset by criminal types. While there, gunman teams-up with local lawman, previously humiliated by criminals, to save town, and the lawman's shaky relationship with his young son. It's in the execution and detaisl that things get awkward: gunman drops numerous romantic hints to the lawman about things like French fashion while parading around without his shirt. Lawman's son, embarrassed of his pa's failure, publicly and verbally emasculates dad while hero-worshiping the gunman who (wink-wink) is homosexual.

Though subsequently billed as "the first openly gay comic book character to star in his own magazine," the Kid's openness is almost entirely comedic in its presentation, limited to obvious campy humor, puns and double entendre.  Used as simply a way to differentiate the protagonist from those around him (and as a subtle reasoning behind his colorful attire), the Kid's homosexuality fails to add a level of depth to the characterization or by extension, the title's proceedings.

As seen here in issue #3, the Kid is
always on the cutting edge of fashion.

The artwork by John Severin, a long time comic book artist who also provided art for Image Comics' modern-Western title Desperadoes: Quiet of the Grave (2001), is excellent. While the detailed setting clearly established as Old West vibe, the accompanying story, by Ron Zimmerman, is surprisingly ham-handed and stereotypical in its reveal and depiction of the Kid's sexual orientation. It could be said to border on parody, but just what was being parodied is up for debate. The multiple references to literary (the leads of Lonesome Dove get name-checked early on) and historical Western figures, as well as the beautiful artwork were not enough to carry me past the borderline offensive stereotype's of homosexuality that drove the story.

Even typography choices made by the writer and letterers, Rich and Wes @ Comicraft, seem to purposely reinforce the stereotypical depiction of our hero. As you can see from the pane at the top of the page, wherein the Rawhide Kid makes his first appearance wit the phrase "Oh, stop..." which when read aloud with the proper emphasis applied for the bold lettering sounds somewhat affected. Upon my own internal reading an inflection was intended, as it is through out the series.

So, is it worth checking out? As a snapshot of the misguided attempt by a mainstream publisher to take an older character and re-boot him in such a way, yes. Despite the somewhat clumsy effort, Severin's art (and the ability to analyze the hell out of the whole package) is just enough to recommend it. Both The Rawhide Kid: Slap Leather (2003) and it's sequel, The Rawhide Kid: The Sensational Seven (2010) are available as trades at your local comic book store (or in the back-issue bin).

Happy trails, Trey! from Issue #5.

Run Reader: Giantkiller (1999)

The opening page of Giantkiller Book One by
Dan Brereton, August 1999.

I enjoy reading and collecting two comic book sub-genres that are published with little regularity or consistency: giant monster (or "kaiju") and Western titles. Beyond familiar characters with high name recognition such as Godzilla or The Lone Ranger (both of which have current or recent iterations that are thoroughly entertaining), few titles from these two comic book sub-genres regularly see publication. This is especially true of titles published by the industry's "Big Two," Marvel and DC. While each will occasionally nod to their own giant monster-cowboy past with titles like DC's Jonah Hex or Marvel's current Secret Wars mini-series Where Monsters Dwell (both solid titles), few new characters are developed and promoted. There was a time though, when the comic book industry was on life support (or so I've heard) and willing to take greater creative risks,

The cover to Book Three.

While thumbing through some ancient longboxes last week, I re-discovered a long forgotten gem that incorporates classic elements of giant monster books with a common Western archetype thrown in for good measure, the 1999 DC miniseries Giantkiller. Written and drawn by Dan Brereton (most well know for his 1998 collaboration with Howard Chaykin, Batman: Thrillkiller), Giantkiller is basic in its plotting but dynamic in its presentation.

In the far-flung future world of 2002(!), atop Mount Diablo, "across the bridge from San Francisco, past the hills of Oakland" an inter-dimensional portal has opened releasing all sorts of Lovecraftian "daikaiju" or giant monsters. In an effort to confront these horrors, our government does what years of reading sci-fi and comic books have taught all of us what the correct answer to this problem is: experiment with evil DNA in an effort to develop super-soldiers.

One of the many spectacular
splash pages in Book Four
of Giantkiller by Dan Brereton.

The first product of this experiment, who as it turns out is our story's primary narrator, is Jill, a young woman who is injured while acting as an FBI agent charged with breaking up a cult dedicated to worshiping the creatures. Found nearly dead, Jill is resurrected following a hybridization process using the monsters' DNA. Eventually Jill goes native and is labeled "a lost cause" by the lead scientist responsible for her transformation, Dr. Steven Azuma. Following this first perceived failure, the good doctor to turn his sights toward an experiment with greater potential, Project Giantkiller.

The fruit of Project Giantkiller is the hero of our tale, a human-like creature (with a claw-tipped tail) christened "Jack," though he is affectionately referred to by Dr. Azuma and his team by the nickname "Yochu." Jack is educated ("Grades K through 6 lasted exactly two weeks.") and trained following his "birth," and armed with a samurai katana fashioned from the tooth of one of his "titanic relatives" which he names "Kiba" (Fang).

A number of mysteries involving our two protagonists are introduced and resolved during the course of the series as Jack and Jill meet in the kaiju -populated zone around San Francisco, and ally themselves with one another in an effort to close the portal. In a particularly clever move, writer-artist Brereton embraces the ethical quandry inherent in Jack's role as an agent of destruction pointed at his own race, and his willingness to address the reader's questions within the context of the narrative contributes to Giantkiller's success as a story.

"Friendly" monster,
Nox, from Book Five.

Brereton allows his energetic artwork to tell the story during the monster battles, and relies heavily on characters, most notably Jill, to deliver background exposition about the fictional world they inhabit. Despite this, I never felt weighed down by the necessity of information-sharing. Brereton characterizes Jack as a no-nonsense, action-oriented hero, so the moments during which he is engaged in battle are free of witty-remarks and absent nearly all dialogue beyond monster sounds and sound effects. It is in Jack's characterization that the Loner archetype (a la Western icons such as Shane and the Man With No Name) is employed. Jack is a monster, but he is also fighting on the side of "good," despite the natural urges deep in his DNA to be alone on his quest, he does meet those with whom he connects.

I couldn't help but notice some superficial  similarities, however, with Mike Mignola's Hellboy. As I was drawn into the world Brereton was crafting, I wondered if these similarities were part of why this potentially marketable character and his world have not since been revisited in some medium. Both Hellboy and Jack the Giantkiller work with (for?) a paternal character who raised them, and both also use their "sons"to somewhat surreptitiously further personal interests. Both are supported by female counterparts that are themselves cursed with abilities that make them distinct form the world around them. Given the opportunity to develop his character, it would have been fun to see where Jack and Jill, in Brereton's skilled hands, could have taken us.

As it stands, Giantkiller remains a promising introduction to a world and characters that work well as a single, inclusive mini-series. This is due primarily to Brereton's work, both as artist and writer; together his clear affection for the genres is infectious.

Giantkiller is a comic book miniseries originally published by DC Comics, along with a one-shot handbook called Giantkiller A to Z: A Field Guide to Big Monsters (which within the context of the story was written by Jill in her early days as a monster hunter for the government). The series has since been collected in a trade-paperback format by Image Comics. Both are still available in the back issue boxes of quality local comic books shops.

Jack the Giantkiller battles Shrill in Book Two.

Digital vs. "Real" Comic Books

Hard copy of Artifact Rebirth alongside digital Artifacts FCBD #0 on cell phone.

I remember record albums. Because of this, I also fondly recall what was lost when albums beget the cassette tapes that gave way to compact discs and ultimately to digital downloads: the nuanced but significant importance of the album cover. At the time it seemed a small price to pay for higher definition sound, but staring a small square CD cover was never the same as listening to a new record while reading the liner notes and trying to figure out just why that Iron Maiden, Asia or even AC/DC image was chosen to represent that collection f songs on the shelf.

Cover comparison: "real" vs.
digital.

It is too far of a leap to suggest that in ten years, comic book collectors such as myself may look longingly back at paper comic books in the same way; the age of the digital comic is upon us. As content has become available both in comic shops an donline (with many of the larger publishers offering same day releases for both), it is way past time to take a look at this new medium to discern whether it is one that I can accept. Whether online or on the new releases table, just as comic books are no longer "Only 35 cents!" (not even close), this may be the wave oh the publishing future.

As I toy around with digital comics I get the same sinking feeling as I did with the "evolution" of music distribution. Yes, it is more expedient and does make titles previously difficult-to-find easily accessible. Yes, it does allow for the magnification of panels and covers without loss of resolution. Despite these benefits, I still can't however help but feel that in the trade-off something greater is being left behind with this transition to digital. Since buying a smart phone, I have been periodically looking at a variety of free comic downloads online using the Comixology app.

Panel close-up of digital
 page above.

For comparison purposes, I down loaded the difficult-to-find Top Cow Artifacts #0 from 2010, and then pulled out the Top Cow Artifacts Rebirth one-shot from my long box. For those unfamiliar with the Top Cow line of books, while the stories may seem weak (though I'd disagree), the artwork is, without doubt, beautiful in its execution. The digital version does indeed offer the reader the opportunity to zoom in closely on the artist's line work and colors. Comixology also offers a reading system that moves from panel to panel creating an animation effect (in which the e-reader moves form panel to panel in a predetermined sequence) similar to the old Marvel cartoons from the 1960's.

Admittedly, many of the experiential qualities ameliorated due to the transition to digital are personal. For me, what is lost in the experience is part of what made it so appealing to me 35(!) years ago when I picked it up. What it does not allow (at least in the same way practical comics do) is the ability for the artwork to tease your peripheral vision. Oddly enough, one of the most pleasurable sensory stimulants I associate with comic book collecting is gone as well: the smell. (Students laugh at me when I get a similar level of joy from the scent of old books--they just don't get it.) The acre and attentiveness necessary to collecting (bagging, boarding, but not bending) that is integral to the hobby is also rendered obsolete.

Though my sense of nostalgia runs deep, the Nook tablet I received as a gift this Christmas reminds me there is likely no going back. Now, even Barnes and Noble's offers some fairly deep cuts of comic book collections and (appealing to the hipster/youth market, I'm sure) a wide array of manga. In some ways, this digital accessibility could help solidify the comic book world's financial future.

I can see the appeal for those who unfortunately don't have a solid, reliable local comic shop (lcs) from which to obtain "real" versions of these materials on a weekly basis. Or other fans in the community in which they live to personally discusses the latest controversial heel reveal or no re-boot on New Comic Book Wednesday. For this reason, I welcome the technological advances as they help insure the continuation of the medium I love. I am not, however, looking forward to the day when traditional comic books go the way of vinyl: available for inflated prices (digital back "issues" are very reasonably priced) and relegated to only the most popular titles being available.

Weekly Pull List: July 30

Lots of comic book goodness on the New Releases table this week!

Another Wednesday, another great New Comic Book Day!

For the uninitiated, new comic books are released for purchase every Wednesday, and in order to insure being able to purchase a copy of any given comic book, collectors will establish a "pull list" with their shop of choice. This means that the retailer orders you a copy of the books you prefer, and sets it aside (pulls it) for you to pick up at your convenience. During the summer, I have the great luxury of arriving at the comic shop at open (11 a.m.) every Wednesday, have my books pulled for me, and even have time to check out titles I did not ask for but may choose to purchase on a lark.

This week's pull list consisted of a number of new titles and the return of some older favorites who have been sidelined for a while:

• The Goon: Occasion of Revenge #1 (Dark Horse), written and illustrated by Eric Powell and Baltimore: Witch of Harju #1 (Dark Horse), written by Mike Mignola and Christopher Golden with art by Peter Bergting. Two of Dark Horses supernatural hunters return in mini-series this week. Yes, Goon was published last week, I neglected to pick it up then, so it made this week's pull list. Both titles do not require a reader having read past issues featuring either character, so in addition to beginning new storylines, each also serves as a goo jumping on point.
• I did not realize it until I got home, but both the Shadow Over Innsmouth One-Shot (Dynamite Publishing) and In the House of the Worm #1 (Avatar) feature art by Ivan Rodriguez. Working with very different settings, a fantastic imaginary world from the mind of Game of Thrones writer George R. R. Martin and the grounded real-world of Ron Marz's Shadow story, Rodriguez does a solid job switching genres (slightly) while maintaining a realistic (though thankfully NOT photo referenced) style that is clean and colorful. Even Shadow Over Innsmouth, set in a Lovecraftian seaside community, has a lively feel to it as presented by Rodriguez. I'm on board for at least the first arc of Worm, so I look forward to seeing more of what this artist has to offer.
• Not surprisingly, the prolific Marz (he also wrote this week's The Adventures of Superman #15 featuring art by Declan Shavley, making it a likely pickup next week) also wrote this week's Witchblade #177. During his return to the adventures of Sara Pezinni, Marz continues tweaking the character he wrote for many issues prior to Tim Seeley's too-short run. Though at first blush, the bright, anime style of artist Laura Braga may seem odd for what has traditionally been a "dark" book, I quite enjoy her work on this title so far. Braga's style makes new some ideas that have honestly been visited previously (Sara loses the Witchblade--again, Sara is given a new partner who dies with a likely resurrection very likely next issue, again) new and fresh.

Not a disappointing book in the bunch this week... and I haven't even mentioned the continued awesomeness of Marvel's All-New Ghost Rider written by Felipe Smith with art by Tradd Moore. As long as this creative team stays with this title they'll get my cash--it's that good and the first title I read when it comes out. This week's issue concludes the series' opening arc and moves the new character closer to being part of the Marvel mainstream. (The villainous Mr. Hyde, who has previously battled the traditional Ghost Rider character, notes that protagonist Robbie Reyes is "not the Ghost Rider" because he "smells different.") I am a little afraid to become to attached to this title as it seems like one that will be cancelled should it not prove profitable quickly. This is a great title for new comers to comic books.

It's week's like that remind me that we as collectors are in the midst of a genre renaissance--it's a great time to be a fanboy!

FCBD 2014 Quick De-Brief

Great turnout with many generations of readers represented! (From Comics Etc. FB page

The drizzle could not keep the fanboys (including your's truly) from yesterday's Free Comic Book Day 2014 celebration. I arrive at my local comic shop 30 minutes prior to opening, where a healthy line had already formed. Thanks to some online reading, I already had in mind both the comic books I would be picking up that morning, as well as a number of titles for that I would gladly pay $1 the following Wednesday when I came to the same shop to pick up the items on my pull-list.

FCBD offerings were stacked on the table with care... (Comics Etc. FB page)

This year's offerings were significant, with so many smaller presses taking advantage of the opportunity to show their wares. It was these less well-known titles (except for maybe IDW's Transformers vs. G.I. Joe teaser which I picked up for my stepson) that I gravitated too. Last year, my son accompanied me, a happy circumstance which permitted he and I to cumulatively haul away twice the treasure (each customer can take any four titles they's like), so my selection process had to be slightly more careful. I suspect some folks use today as an opportunity to test their speculative collecting skills (picking those books which may increase in value due to future success), though I continue just to pic those which seemed most interesting and entertaining.

... knowing that fanboys soon would be there.  (From Comics Etc. FB page)

I brought home four titles (which I will review more fully at a later date), that can quickly be recapped using blurbs from a recent NPR Monkey See post:

• TRANSFORMERS VS. GI JOE (Not reviewed) Didn't get a review copy of this toyetic tome, but the preview art on the FCBD site is channeling the great Jack Kirby like it's Whoopi in Ghost. 
• ATOMIC ROBO/BODIE TROLL/HAUNTED (Recommended) If you have learned nothing else from me about Free Comic Book Day over these 5 years, remember at least this: always pick up the Atomic Robo. Funny, fast-paced, robot-punchy adventure. Dependably great comics, as is the Bodie Troll story, which finds our furry hero facing off against a scarecrow. The excerpt from "Haunted," however, doesn't provide enough story to get a bead on – a woman is chased by a creepy hooded beast-thing, I guess? Yay?
• HIP HOP FAMILY TREE (Recommended) A collection of chapters from cartoonist Ed Piskor's exhaustive, hugely informative and hugely entertaining two-volume history of Hip Hop. Piskor's infectious love for his subject, and for comics, radiates from every panel. So good, you guys.
• RAISING A READER! (Recommended) The Comic Book Legal Defense Fund is a non-profit organization dedicated to fighting comics censorship on behalf of retailers, creators, publishers, and libraries. They've produced the useful Raising a Reader, a hands-on guide to the nuts and bolts of comics language, and how to use comics to encourage kids to read.

This year's FCBD haul. (5/3/14)

While waiting out the rain at my son's track meet, I had the chance to thumb through the titles and was very satisfied with the quality of those I selected, as well as intrigued by some of the more extensive products some represented a sampling of.

Fanboy Spring Break Adventures

The final product: IDW's Transformer comics in story order. (4/16/14)

When my stepson went off to college last fall, I continued carrying the comic book titles he had been reading for the past 5 or 6 years on my "pull list" from our local comic shop. These amount to anywhere from 4-6 titles a month, including the IDW Publishing's line of Transformers titles, Doctor Who and anything having to do with the video games (Halo, Assassin's Creed) he plays while home.

Each week, I add to the pile of books pulled for my stepson. (4/16/14)

Shortly after he left in September, I set about boarding and bagging all of his books (the process really can be sort of meditative), and organized the Transformers books by title, of which there are quite a few. Now, six months later and with time on my hands during Spring Break, I've returned to the four boxes neatly stacked in his room, and decide to reorganize the two short boxes which represent his IDW Transformers collection. This time, armed with a story-line chronology of the recent IDW mythos, I set about reorganizing all of the titles, thus representing a beginning to "end" story.

A "table" set for boarding, bagging and watching crappy zombie movies on Netflix. (4/16/14)

Though other titles are present, my focus this time was on the Transformers. (4/16/14)

There are many chronologies, or orders. for the Transformer's titles, but I went with one that seemed accessible to someone, such as myself, nit necessarily familiar with all of the ins-and-outs of the various adventures. Given that the comics sport centerfold covers rather than ones depicting events specific to that issue, it was even more necessary to have an order which was carefully broken down by title and number.

Gaps are identity after grouping issues by merged  story-line. (4/16/14)

Though the task may appear monotonous, I find it relaxing, and while I have yet to formally read each issue, I do enjoy thumbing through them. One great accomplishment of the IDW Transformer's line of titles is the relative consistency of characterization, especially visually. Thought he creative teams have been fairly regular, regardless of the issue most Autobots and Decepticons maintain a familiar look. This is much different than some of the books I collect (take Spider-man for example) where each creative team tweaks the hero's costume.

It is done. (4/16/14)

While my colleagues and students are vacationing in faraway (and warmer) locales, I am able to respond to their queries regarding the quality of my break with an assertive "very relaxing." In addition to walking, taking pictures and catching up on recreational reading, I spent this small portion of my time organizing my stepson's comic book collection, which for a fanboy is an excellent way to pass some quality hours.

Eventually, maybe when I retire, I will actually read the stories as there does seem be something there, and if my stepson (who is smarter than I'll ever be) can find some value in them, I may be able to as well.

Ghost of FCBD Past: Aphrodite IX (2013)

From Top Cow's FCBD 2013 offering Aphrodite IX  #1,
written by Matt Hawkins with art by Stjepan Sejic.

Free Comic Book Day (FCBD) 2014 is fast approaching (it's the first Saturday of May), and the list of this year's FCBD offerings is available for perusal, so it's once again time to take a look back at a previous year's free comic books that have somehow lingered in my longboxes...

I've recently posted about my ongoing conversion to Top Cow fandom, a journey that began last FCBD when I picked up a previously unfamiliar-to-me title, Aphrodite IX. If the intent of the FCBD initiative is to expose new readers to the medium (and older readers to new titles) than 2013's Top Cow freebie definitely turned the trick for me in a larger way than I had imagined (or in a way my wife--wallet--surely feared). While many FCBD offerings are promotional excerpts for future releases or more expensive graphic novels, Top Cow Productions, Inc. released the first issue of it's new Aphrodite IX series last May. An existing character first introduced in their uber-successful Witchblade franchise, Aphrodite IX was a soft-reboot of sorts, taking the cyborg character (as well as a primary antagonist) into the distant future.

Written by Top Cow President/COO (and judging from his on-line bio, Jack-of-all trades) Matt Hawkins with art by painter Stjepan Sejic, Aphrodite IX is something of a mixed bag for those (such as myself at the time) unfamiliar with the character. Beautiful artwork, interesting futuristic locales, dragons, and space motorcycles are always checks in the plus column, though. If the purpose of FCBD is to generate interest in titles, than it was certainly successful in doing that with this fanboy. A slight interest in issue #1, however, is later rewarded with continued reading as the unfamiliar plot points that can be seen as somewhat confusing in the first issue are clarified in later issues.

Aphrodite IX is still being published, though another change in status quo is apparently on the horizon later this summer. This FCBD will not see Top ow releasing another freebie for Aphrodite IX, but most quality local comic shops likely have the current series available at near cover prices (at my lcs, previous FCBD books are priced at $1). If you, like I, dig sci-fi-super heroics and sweet painted-style artwork then I recommend that you quickly catch up before the next narrative shift comes--lest you find yourself combing online store for gaps in the longer Top Cow Universe story. Be warned: once you pick up one book you will likely desire all that which preceded it, and take it from me, it is extensive and, worse yet perhaps, very satisfying!

Comic Book Finds: Cyberforce (2013)

Riplcaw does his thing in Cyberforce (Vol.4) issue #2 by Marc Silvestri and Khoi Pham.

While definitely not a new set of characters, Top Cow Production's most recent iteration of their team book Cyberforce is new to me. When the Witchblade-Darkness-Cyberforce wave of popularity hit in the 1990s, I never checked it out. As a collector, comic books had lost any sort of allure, and having been raised on the stylings of John Byrne, the "giant-gun-claw-and-pouches" product popular at the time resulted in my stepping away from collecting. Even during the past decade (as I have been wooed back to the hobby), I rarely find a "superhero" book that sustains my interest long enough to warrant a trip to the back issue bin.

Then, last year, I noticed that the Top Cow Universe books from Image Comics had experienced a line wide soft reboot titled "Rebirth". Though I had previously dismissed most books in the line-up as being too cheesecake heavy in their artistic direction, and for fear of too much back story--over a decade--I took a leap and jumped on board the reboot with Witchblade #151. My appreciation for writer Tim Seeley's Revival led me to Witchblade that then prompted a peak at Artifacts and so on down the line-up. This inevitably brought me to Cyberforce which was re-imagined and redesigned by the characters' (actually the whole Top Cow Universe's) original creator, co-founder Marc Silvestri.

Though the team and it's various members have been in publication through three previous volumes dating all the way back to 1992's first volume, I was able (through the help of the fantastic employees at my local comic shop) get my hands on the eight issues which comprise the to-date run. Even after only eight issues, it occurs to me that Cyberforce is a book that seems to read more clearly in multi-issue runs. After reading the first two issues, I was a little confused as to just what was happening, but having stayed with it, by #5, the narrative had smoothed itself out in such a way that I was in for the duration. I have zero insight into any previous characterization of the leads in this fourth volume, so any background (or baggage) is lost to me, which is probably just as well.

Some observations:

• While reminiscent of other in line characters (Killjoy from issues 6-8 of Cyberforce (V4) possesses a very similar facial design to a recent Witchblade villain) the overall character design's are solid. 
• The organic technology (which others suggest is reflective of artist Koi Pham's--and later Marco Turini) scratchy artistic aesthetic) which each of the heroes has integrated into their body visually makes sense. Not too "shiny-Colossus-y" metal, but something extra that distorts what would otherwise be a normal epidermis.
• Their is action, sophisticated narrative (newbies to Top Cow such as myself just need to be patient), sensible payoffs--writer Silvestri leaves just enough dangling to prompt one to come back next issue.
• The bargain is pretty exceptional at $2.99 an issue (the first few issues weer only $1!). Hero/sci-fi action books of this quality don't come anymore inexpensively.

From an online preview for the premier issue of Cyberforce , Volume 4.

As always seems to be the case, the highest praise I can make is that the series has motivated me to begin looking into the back issue bin for previous volumes, if only to have a broader sense of changes made in characterization. Without any of the Big Twos (though Image is beginning to make it a Big Three (qualitatively if not quantitatively) hero books on my weekly pull list, I was glad to stumble into the Top Cow's unique supernatural/sci-fi hero universe of which Cyberforce is a part.

Run Reader: The Man with No Name (2008)

From The Man with No Name #1 by Christos Gage and Wellington Diaz.

It has been almost two years(!) since I last wrote about a complete run of issues I have in my comic book collection. Veteran fanboys will  recall that a "complete run" occurs when a collector has all issues of a specific comic book title. In recent years, having a complete run of any given title is not as unusual as it once was, due to titles regularly being started over with a new issue 1, and therefore, a new volume. While I would not confider myself an ultra serious collector, mostly because I don't spend too much money on rare and unusual titles, I do have that OCD that requires me to do my best top acquire all issue in a series that I really enjoy, especially those with a high re-readability level.

Cover to MwNN #8 (2008)
by Richard Isanove.

About three years ago, I was bitten by the "Western-comic book bug," and found myself searching through back issue racks for modern series with a Western bent. In digging through longboxes at my local comic shop I came across the short lived Dynamite series, The Man with No Name (MwNN). Based upon the character and film aesthetic developed by Clint Eastwood and Sergio Leone in their collaborative Spaghetti Western series of films, this series lasted only eleven issues that follows the continuing adventures of the characters and plots of the original MGM film series, serving as a sequel of sorts. This link is even clearer when I looked into purchasing the issues online and realized that they often bear the subtitle The Good, The Bad and the Uglier, added following a title ending colon. Despite the short length of the run (it was eventually continued as a follow-up series entitled with the likely more recognizable title of The Good, The Bad and The Ugly), completing it did take some doing.

From MwNN #5 by
Christos Gage and Wellington Diaz.

Unlike more visually recognizable (and therefore more marketable) characters such as the Lone Ranger and Zorro, both of whom have current or recent series published by Dynamite, MwNN was not as highly ordered in its initial run and therefore not all the back issues were easily available at my local comic shop. Another "challenge" was the fact that many issues had variant covers, most with pin-up style depictions, so I had to be sure not to purchase too many duplicates of existing issues already in possession. (I know it would make sense to maintain a list of numbered issues, but one never knows when they may come across a stack in some small shop without a the list in hand.)

The entire run consists of two storylines, both by different  creative teams. Issues 1-6, entitled "Saints and Sinners," is a direct sequel to the original film that follows "Blondie" (the name by which the original Eastwood charter was referred to in The Good, The Bad and The Ugly (1966)) as he deals with the repercussions of his actions in the classic Spaghetti Western. Written by Christos Gage with art from Wellington Diaz, these dangling plot threads are tied up in comic book and woven into another redemptive opportunity for the character.

The second arc introduces to an earlier adventure of Blondie and Tuco Ramirez, "The Ugly" of the film's title, brought to life so memorably by the late Eli Wallach. "Holiday in the Sun," this five-issue arc was written by Luke Lieberman and Matt Wolpert, with art by Diego Bernard.

Both arcs attempt to duplicate some of Leone's film-making style by employing a slightly more minimalist approach to dialogue as exposition. Blondie does, however, "speak" more in a single issue than in any single Leone film, a concession that must be made for a medium that, while highly visual in nature, does require a degree of expediency. Both Bernard and Diaz offer depictions of the characters in a way that is consistent with the films, though much of the reader's ability to discern Blondie from other similar characters is dependent on his iconic poncho and not-so-iconic mullet-style hair. As a fan of Wallach's Tucco, it is good to see the character brought back to life. Tucco (along with Van Cleef's Angel Eyes) did not appear in any other of Leon's Eastwood movies, so the back and post stories provide the reader and fan a chance to revisit the character. (Angel Eyes does not make an appearance in either, though *SPOILER* the character's death at the end of The Good, The Bad and The Ugly would have made that difficult.

Dynamite's The Man with No Name was followed up immediately after issue 11 the following year with another eight issue miniseries featuring the Man With No Name character. Both series, The Man with No Name (2008) and The Good, The Bad and The Ugly (2009) are available in trade paperback at fine local comic shops everywhere. If you're a fan of single issues (as I am), I'd bet if you were diligent you could collect a complete run of both series for yourself.

The final panels from MwNN #11 (2008) by Luke Lieberman and Matt Wolpert,
with art by Diego Bernard.

New Comic Wednesday: August 14

Somethings new and a few things old(er).

Even more so than the weekend, Wednesday continues to be my favorite day of any week. There is something exciting about heading out to my local comic shop (lcs) on Wednesday afternoon (or Wednesday morning if I'm real lucky) and retrieving a stack of freshly pulled (saved) publications for reading. When a week is lighter-than-expected (translation: not as many issues that are automatically pulled from the fresh table) there is that wonderful extra time spent pouring through back issue bins.

And then there are Wednesdays like today: a New Comic Day where what I've requested my lcs friends to pull includes recent issues by classic characters that I have either never followed before or have not done so for many moons, Red Sonja, by Gail Simone and Walter Geovanni, and Vampirella: Southern Gothic, by Nathan Cosby and José Luis. Both are from the fantastic publisher, Dynamite.

As I've posted about previously (here and here), my own collecting habits have moved quite a ways away from where they were 30+ years ago when I began reading comic books. Like most, I grew up a "Big Two" (DC and Marvel) fanboy, but in the past decade my interest in those characters and the universes they exist within has ebbed and flowed until finally becoming merely a trickle. My traditional super-heroic collecting tendencies have been replaced by zombies, westerns, Cthulu-esque tales, noir and pulp. Stepping back from my longboxes, I've also recently noted that many of the comics I collect feature strong female leads (Lazarus, Sixth Gun, Sheltered and Revival, to name a few).

This week's haul is very representative of that change. In addition to sampling the aforementioned Red Sonja and Vampirella series, I also finally picked up the three issue miniseries Breath of Bones: A Tale of the Golem by Steve Niles, Matt Santoro and Dave Wachter from Dark Horse. I've read great things about it, and while having previously scanned issues as they were released, I waited until I could read the entire miniseries before  purchasing. My lcs had one copy of issues 1 and 2, so the waiting game worked out in my favor this time.

Happy reading!

Great Issues: Superman: Man of Steel #22

Steel's in-action intro (following a splash page featuring the traditional new
costume splash page) from Superman: Man of Steel #22. 

One of Superman's greatest assets is a rich collection of supporting characters beyond the Daily Planet and rogues gallery. Something the books of the late-Eighties and early-Nineties did well was to tap into this and organically add to this collection of relatable characters. It is this diverse cast that makes selection of a "great" Superman issue without Superman not nearly as difficult as one would think.

It was the Nineties, so naturally
there were two covers: this one by
series artists Jon Bogdanove
and Dennis Janke. 

Lost in the ether that was the "old" DC comic book universe, as is everything in continuity that happened prior to the advent of the "New 52" initiative, Superman: Man of Steel #22 is a great issue that came during one of the most significant storylines in modern Superman continuity: the Death of Superman. The storyline was the genesis for a number of characters including Doomsday, Cyborg Superman and Steel, each of whom would become important members of the Super-family of characters for years (decades?) to come and would also be candidates for an eventual return in one form or another in the New 52. Created by Louise Simonson and Jon Bogdanove, Superman: Man of Steel heralded the formal introduction of John Henry Irons, and his heroic alias, into the DC Universe.


Also by Bogdanove and Janke,
this is the special die-cut cover.
Ever the fanboy, I have both.

Though clearly an urban take on Marvel's Iron Man (and therefore a spin on DC's own Batman), Steel differentiated himself from both the other "reigning" supermen (Superboy, Cyborg and Eradicator) during Superman's "death", by embracing a street level purpose. In this issue, written by Louise Simonson, John Henry Irons dons his Steel persona for the first time (Irons appeared in a previous issue that included the events that inspired his creation of the costume, also recounted here) with the intent of cleaning the streets of weapons--weapons he had designed. Unlike the other Super-books being published at the time, the scale of the  world in which Steel operates, as established in this issue, is small, local and personal.

The art of Bogdanove (pencils) and Janke (colors) gave Steel a unique look; exaggerated and "gritty". The presence of slightly distorted physical features (a staple of Nineties comic book "art"), suggested power rather than deformity, while the overall style appeared purposeful in reflecting the urban tone. Thankfully absent from the character design were the multiple pouches prominent in comic books at the time, though the villainous gang weapons, Irons' "Toastmaster" guns (visible in the left-most panel below), do bear a striking resemblance to the Cable-esque Rob Liefeld guns also popular at the time.

Though it seems so common now, in 1993 Simonson's plot was not so standard.

Having enjoyed the adventures of John Henry Irons in Superman: Man of Steel so much, I followed him from that title into his own (Steel ran for 53 issues from 1994-1998) once Kal-El made his inevitable return. Simonson and Bogdanove continued the adventures of John Henry Irons into the solo series, and I always had the sense that their affinity for (and dedication to) Irons' cause contributed greatly to the character's presentation.

It's difficult to talk "Steel" without mentioning the movie adaptation , which for many is there only knowledge of the character. All it takes is one bad (well, really bad) movie adaptation to derail the potential film life of a character that shows great promise. Just ask Shaquille O'Neal and John Henry Irons. The real shame about the failure of Steel (1997), was that there was really some solid source material to draw from, as evidenced from the characters first appearance in Superman Man of Steel #22. (To be fair, some character elements were retained for the movie so maybe just plain bad execution was the culprit!)

But, don't let your lingering memories of this mediocre film effort dissuade you from catching up with the real Man of Steel via trade paperback or, as is my preference in single issues which are surely available in most back issue long boxes at your local comic shop.