Late to the Party: Northlanders

From Northlanders #10 (2008), written by Brian Wood with art by Dean Ormston.

A fan of historical fantasies such as AMC's Vikings television program, I have often wished that there were more similarly conceived comic books. Though the sword-and-sorcery genre, especially in the pulpy presentation of fictionalized barbarians such as Conan and Red Sonja, have been long time staples of the comic book racks, realistic depictions often seem limited to nuanced character moments presented as small parts of larger fantasies. Recently I came across Northlanders, a DC/Vertigo series which ran for fifty issues from 2007 to 2012. Now, this is Viking action!

Written by Brian Wood (whose current Revolutionary War set series Rebels for Dark Horse, is equally well-researched and written) with a variety of different artists, the stories told in Northlanders set in and around historical events during the Viking Age. Back when it was originally published, I was in a more cape comic collecting mode, purchasing and reading stories more closely associated with the medium such as Superman, Fantastic Four and Spider-man. Though I dabbled in the occasional Vertigo-style independent title, Northlanders somehow missed my attention. Now as my own tastes have shifted, I have been fortunate to acquire most the first twenty issues of the series' run via back issue bins. (Yes, there are trade paperbacks available for purchase, but I remain a single-issue collector--which presents its own challenges!)

Rather than binge reading--plowing through the 20 issues I have in quick order--I have elected to savor each issue and arc, reading them between novels or articles for school and other more recently published titles and series. This has been a most rewarding approach as I'll often reward myself with an issue after having completed other big-boy tasks such as yard work or grading papers.

As a whole, the series reads as an anthology of tales told from a variety of perspectives through a number of historical events set during the Viking Age. While  my own grasp of the historical accuracy is limited, it is clear that Wood has done his research. (As readers of the aforementioned Rebels will attest, Wood is nothing if not not through and his sharing of his process and research is in itself fascinating.) Violence, nudity and appropriately vulgar language earn Northlanders its "Suggested for Mature Readers" labeling, but having thus far made my way through the first two story arcs, or ten issues, these adult trope are story driven rather than gratuitous.

Interior art from Northlanders #7, art by Davide Gianfelice.

The common theme of the heavy weight of inheritance in the first two arcs, "Sven the Returned" by Wood and Davide Gianfelice in issues 1-7 and "Lindesfarne" with art by Dean Ormston, that create connective tissue between stories beyond the Viking Age settings of each. In "Sven," the eponymously named protagonist returns with desire to reclaim his Viking birthright from those who usurped his father, while "Lindesfarne" tells of another young boy who rejects his father's brand of Saxon cruelty in favor of a more violent Viking one. Both characters achieve a level of success on their respective quests, but as one might expect of hard stories in an incredibly harsh world, the resolutions lack the tidiness of traditional comic books. This is a good thing and consistent with the world Wood and his accomplices bring to life.

Only ten issues in and I'm hooked for the fifty issue run that Northlanders had, which conclude in 2012, especially as Wood is a constant through the entirety of the series. The artwork is consistently solid, and though it might lack the ultra realistic shading and pencil work that stories of this ilk seem to need, in concert with the writing and coloring it is far more than serviceable. In the majority of cases, I am unfamiliar with the interior artists (the though of Becky Cloonan coming up in 35 and 36 is surely something to look forward to), but they are the capable supporting cast.

As I await the return of Vikings to the small screen sometime in 2016, the prospect of continuing to make my way through Wood's Viking landscape one arc at a time is an exciting one.

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.

Run Reader: Fantastic Four: The World's Greatest Comic Magazine (2001)

With this alliterative splash page we return to the Marvel Universe
circa 1970 care of Erik Larsen, Eric Stephenson, Bruce Timm,
Kieth Giffen, Al Gordon, Jorge Lucas and Joe Sinnott 

With the conclusion of James Robinson's "The End is Fourever" storyline in May's Fantastic Four (issue #15 of Volume 5 or #645 in the continuous numbering), for the first time in a long time, Marvel is not publishing a comic book with the phrase "Fantastic Four" in it. As a long time fan (my first issue was Volume 1, #202 with the second part of the "There's One Iron Man Too Many!",  written by Marv Wolfman and with pencils by John Buscema when I was ten years old), it is the very real end of an era. Though with little more finality than any of the many previous "End of the FF" arcs, this one feels a tad more permanent (though nothing is fourever forever in comic books, right, Bucky Barnes and Gwen Stacey?) as far as "official" comic book endings go.

FF: WGCM #4 cover by
Bruce Timm. 

Like many fans, I will, however, continue to have copies of the FF on my reading table thanks to multiple longboxes of back issues, including many of the mini-series and one-shots that have been published in the past 40+ years. One such series that I recently completed purchasing the entire run of was the 12-issue miniseries from 2001, Fantastic Four: The World's Greatest Comic Magazine. Published during one my my hiatuses from collecting, it was only in the last week that I was able to purchase the final three issues of the series, and reread the whole run in it's entirety.

Interestingly, despite being published in 2001,  Fantastic Four: The World's Greatest Comic Magazine fits canonically between issues #100 (July, 1970) and #101 (August, 1970) of the original Fantastic Four, Volume 1.

Because legendary penciler Jack Kirby's run was unceremoniously halted after issue #102, modern superstar comic book artist Erik Larsen enlisted others to produce what Stan Lee and Jack Kirby might have put together had there run continued for 12 more issues.  While this can be seen as Larsen's formal tribute to the original World's Greatest Comic Magazine, one can rightly argue that his work as creator, writer and artist of the Savage Dragon series stands as its own homage to the Kirby aesthetic. In essence, the miniseries is one possible answer to the question of "What if Stan Lee and Jack Kirby concluded their historic run on FF with one last wild adventure?"

From FF:WGCM #5, written
by Kurt Busiek with art by
Gordon Purcell and Bruce Timm.

With Larsen's FF miniseries, the original title's iconic banner line takes center stage. As if to emphasize the prominence of the characters' and title within the Marvel Universe, the series' traditional "The World's Greatest Comic Magazine" moves from the area above the title, into the title proper.  Great effort is taken to suggest the comic books of the time with attention to details such as titling of each issue and use of time appropriate costumes for certain characters such as The Falcon's green and gold tights.

Each issue's story title also reflects Stan Lee's own penchant for alliterative names: for example issue #1 "The Baxter Building Besieged!", Issue #4's "The Merciless Menace Of MODOK!", and issue #9s "Nightmare In The Negative Zone!" I've written previously about the impact my childhood fandom had on early vocabulary development feel, especially the professorial dialogue written for Mr. Fantastic. It was wonderful to see nods to this in the editorial captions provided throughout such as in the lower right hand corner of the panel to the right declaring a "Special Note to lovers of Onomatopoeia."

It's not an FF saga without
an appearance from the Big G.

The conceit of the series is that it's firmly planted in the Fantastic Four timeline of the Lee-Kirby years, but that does not dissuade from the using certain popularized characters, most notably the X-Men and the Sentinels, in a way different than if published in the early Seventies. The inclusion of such characters is made to seem common, though in the true historical context, such drop-ins by popular characters would probably have been promoted on comic book covers as "Special Guest Appearances!" This is not a complaint, but an observation, as the fun manner in which all are used make their inclusion seem "event" worthy. Never fear, True Believers, as those characters once strongly associated with the FF, such as Galactus, the Sub-Mariner and the Black Panther, also join in the proceedings. It is also unusual that the conflict is developed through the use of the Cosmic Cube, an artifact never as connected to the FF as Captain America.

While this trip back to the 1970's Marvel Universe is co-plotted by Larsen and Eric Stephenson, the list of scripters reads like a who's who of late-Nineties stars including Chuck Dixon, Jeph Loeb, Tom DeFalco, Kurt Busiek, and Bruce Timm. Even Fantastic Four co-creator Stan "The Man" Lee receives a story credit for the final issue of the series (Issue 12, "Victor Von Doom: Emperor of Earth"). The art is suitably bright, vibrant with clean lines and a clear effort being made by the many pencillers (including Keith Giffen, Erik Larsen, Ron Frenz, and Rick Veitch) to recapture that Kirby Krackle magic.

Fantastic Four: The World's Greatest Comic Magazine was originally envisioned as a kick-off to the 2001 40th anniversary of Marvel's First Family, but it also serves as an entertaining and worthy re-read suitable for the one-time flagship title's recent cancellation.

Emperor Doom versus Fin Fang Foom in issue #12 is almost worth the price of
admission alone!

Run Reader: The Crew (2003)

Former Iron Man James Rhodes meets Josiah X, heir to the Super Soldier
legacy in The Crew, Issue #1.

War Machine, James Rhodes, on
the cover of issue #1 by
J.H. Williams. 

While combing through some old longboxes recently, I came across a unique take on the superhero team book from back in the early 2000's. Though I am unsure whether it is part of current continuity (then again, who is sure what is anymore), Marvel Comics' 2003 series written by Priest with pencils by Joe Bennett, The Crew, offers an untraditional take on longtime Iron Man understudy/partner James "Rhodey" Rhodes. Additionally, the series also introduces an heir to a recipient of the Super Soldier serum tests from the time immediately following the emergence of Steve Rogers as Captain American, the first Avenger. A number of iconic character-types (Captain America, Iron Man, Black Panther) and familiar Marvel tropes (heroes of color and of diverse cultural backgrounds) are tweaked here laying the groundwork for further exploration in future issues.

Josiah X's secret is exposed in
issue 6, with art by Joe Bennett.

But, in yet another case of a promising series gone-to-soon, The Crew was cancelled after only seven issues leaving the reader with only the slow-burn introduction of each individual character's in a storyline that establishes its roster and the team's basic motivations. The team's formation is put into motion when Rhodey, having lost everything after living the exciting lifestyle of a wealthy, superhero and CEO, learns that his sister has been found dead in New York City. Rhodey is characterized here as a weary, greying-at-the-temples veteran who is simply looking to move on, though just to where is uncertain. The search for justice in the death of his sister rekindles his heroic fire. While James Rhodes is the anchor that keeps the proceedings firmly planted in the street level world of Marvel's New York City (specifically a neighborhood dubbed "Little Mogadishu"), it is Josiah X's heroic arc which echoes Rhodey's journey of redemption through the entire seven issues.

In the current Marvel Comics Universe, the highly publicized change of shield-bearer from Steve Rogers to former partner Sam "The Falcon" Wilson would seem to subtly put forward the notion that he is the first African-American "Cap." Not so. Just over a decade ago, Marvel Comics fans were given some disturbing new insight into the U.S. government's efforts to recreate the project that resulted in Steve Rogers becoming Captain America.

The Crew as depicted on 

the cover of issue #6 by

J.H. Williams. 

Though Rogers was the first successful beneficiary of the Super Soldier serum, the "honor" of being the secondary recipients of the U.S.'s efforts to recreate it belonged to African-American soldiers who served as test subjects. The limited series Truth: Red, White and Black explained that while most of the test subjects ultimately died, one survived. For a short time, Isaiah Bradley served as an occasional substitute "Captain,"before facing court martial and sent to Leavenworth prison for 17 years.

The hero-in-full revealed at last
in the series final issue, #7.

In The Crew, after challenging Rhodey's sense of personal responsibility and pride, Josiah X is himself forced to evaluate his own willingness to stand up and be counted. After being revealed to be Isaiah Bradley's son, Josiah must choose whether or not to emerge from urban legend into reality as the "black Captain America." Due to the diverse backgrounds of the four Crew members, it would be fair to suggest that one of the themes Priest intended to explore here is race, but based on the seven issues that were published, that couldn't be farther from the truth. It is Priest's treatment of our multiple protagonists as complex and conflicted individuals facing relatively common concerns (in a traditionally super-heroic world) with moxy and grit in the face of adversity, regardless of ethnicity, that rings true.

Dannny "Junta" Vincent and Kasper
"White Tiger" Cole are the other two
members of the Crew, seen here in issue #4

The Crew is not a "black super-hero comic book," but rather a study in what can drive one to make the difficult, heroic choices necessary to bring light into a community where lawlessness is ingrained in the shared code of survival. As the series progresses, the more familiar artifacts of super-heroism such as costumes and code-names move to the forefront only after the characters and their intentions are firmly established. For example, in Issue #1 the only indication of Rhodey's past as a crime fighter is his misguided effort to pawn a non-working Iron Man helmet as a means of pulling together some finances. By issue #7, Justice, the name Josiah X will use as a code-name, is revealed to the community as their hero after saving children from a fire.

It should be clear that I enjoyed the plot and characterization inherent in Priest's work with The Crew, and in a medium where the artwork is an equal contributor, Joe Bennetts' work is also worthy of note. I had previously been unfamiliar with Joe Bennett's pencils. which possess a Bart Sear's vibe. Bennett's backgrounds effectively evoke the somber sadness of Little Mogadishu, while the panel blocking communicates both the frenetic energy of our more active superheros, Junta and White Tiger (above, left), as well as the stoic posturing of Rhodey and Josiah X. The infrequent splash pages also serve to establish striking iconic superhero poses for the relatively new heroes on the scene (see Josiah X below).

Though forgotten as a team following the seven issue "Big Trouble in Little Mogadishu" storyline, some events in The Crew have echoed into the current Marvel Universe, such as the later emergence of Josiah X's nephew as The Patriot of the Young Avengers, but this tale of the cast of the Crew has unfortunately fallen once again into the realm of urban myth and back issue longboxes.

The moments during which Rhodey dons armor 

exist only on the series' covers such as this one for issue #4.

The cover to issue #5 echos that of Truth: Red, White & Black,
the miniseries that first brought Josiah's, father, the "black Captain America"
into Marvel Comics continuity.

Run Reader: Doctor Voodoo (2009)

As Sorcerer Supreme, Doctor Voodoo is obligated to tussle with the Dread Dormammu! 

While scrolling through Twitter today, I came across Buzzfeed's well-written Black History Month post "17 Black Superheroes And Where To Read More About Them," which referenced a number of familiar (to comic book fans anyway) African-American (and in the case of the Black Panther, African) superheroes. While some of those mentioned in the Top 17 were among my favorite characters, most notably John Henry Irons from DC Comics' Steel series that ran from 1994-1998, there were some additional characters I thought worthy of mention.

The cover to issue #1
by Marko Djurdjevic.

My longbox of cancelled titles runs deep and as I read the article, mental images of forgotten covers came to mind. My intent over the next few weeks is to post some images and basic info about those not included on Buzzfeed's list. Though some characters have some fairly lengthy history in their respective comic book universes, I'll limit the pictures and comment to those in comic books I have actually read, as in a complete "run." First up, Marvel Comics' Brother Doctor Voodoo.

Though he first appeared in 1973, Brother Voodoo (Jericho Drumm) didn't come fully to my attention until he was promoted to "Doctor" Voodoo, Avenger of the Supernatural, during the five issue series of the same name in 2009. Replacing Doctor Stephen Strange as the Sorcerer Supreme in the pages of The Avengers, Dr. Voodoo's self titled series was written by then up-and-comer Rick Remender with art by Jefte Palo. Each issue featured a beautiful painted cover by Marko Djurdjevic.

Much of issue 1 deals with Dr. Voodoo asserting his newly-appointed authority with some of the Marvel Universe's magic-based heavyweights, including Dr. Strange (who appointed him in the first place), Dormammu and Dr. Doom (both of who feel it is they who should have been given the job instead)--apparently having a doctorate helps in the practice of the mystic arts. In fact a recurring theme throughout the five issue run is Voodoo dealing with various preconceptions of his worthiness. Dr. Doom in particular seems especially interested as the title come with lots of magical goodies. Beyond his existing powers derived from voodoo spirits, including the ability to call on the spirit of his deceased brother, Daniel Drumm, Voodoo also gifted with some special accouterments with the Sorcerer Supreme role. In addition to the iconic Eye of Agamotto, Strange also bestowed the Cloak of Levitation and the Books of Knowledge, upon him.

Doctor Voodoo and his brother, a spirit,
converse at the series
conlcusion. Art by Jefte Palo.

For those new fans of Dr. Voodoo, such as myself, there was also an short character biography, written by Tony Isabella, in the back of the first issue explaining the characters background with great detail. Issues 2, 3 and 4 also contain reprints of previously published back-up stories narrated by Dr. Strange recounting part of the history of the Brother Voodoo mantle, which not just a clever super-hero code-name, but rather a title and role like that of the Sorcerer Supreme that has been passed down through generations.

Marvel's editorial decision to supplement Remender's story with additional background information serves to reveal a character of much greater depth and potential than I had previously understood. Consistently atmospheric artwork by Jefte Palo grounds the proceedings in an earthy, yet suitably fantastical, setting that is (intentionally?) very different from the bright colored realms that longtime Strange are familiar with seeing their hero in. As evidenced by his action orientated approach and the visual palette through which his adventures are portrayed, this Doctor is his own man.

Though it only ran five issues before being abruptly canceled (other than the semi-terminal "End?" note in the book's final panel, the issue seems to be transitioning to a second story arc, this one with Voodoo battling Ogoun the Slayer), the series hints at some of the great potential the character holds. Perhaps this will be explored more fully, and with greater sales, as Brother Voodoo has recently resurfaced in the Marvel Universe in a big way, playing a pivotal role in last fall's AXIS event and his position as a member of a new Avengers team.

Single issuers of the five issue Doctor Voodoo: Avenger of the Supernatural are very likely still available at your local comic shop, as is the collected trade of the same name.

The cover to issue #3 by Marko Djurdjevic.

Teaming-up with Dr. Doom on the cover to
 issue #5 by Marko Djurdjevic.

Getting Mod with Cataloguing Comics

The Collecterz.com software is very easy to manage.

Last Sunday, I took the next step in my 30+ years of collecting comic books, by finally purchasing software to assist in the tracking and logging of the comic books in my collection. Though I have always endeavored to maintain a running list of the titles I own, including those I have discontinued reading, it was always in a way that required my entering the most basic data (title, volume and issue number) by hand.

Twenty years ago it was using a spiral bound notebook and listing the issues I had. Two years ago, I began periodically updating a Word file with roughly the same information. Needless to say, I was way behind the times, and (despite having read comic books for so many years) having always thought of myself as a casual collector, I never really felt that I needed a software system to keep these things in order. I have often marveled at the weekly "collection porn" on Comic Book Resources, but rarely envisioned myself taking it to that level. I figured I did not need to as long as I bought, boarded and bagged my books regularly. After a week of beginning to enter those titles I still add to on Collectorz.com, I am prepared to admit I was wrong.

After previewing a number of free and pay comic book collecting software, I settled on Collecterz.com comic book option due to both its reasonable cost and the ease with which one could enter the information. With older titles from the pre-variant Nineties (a fad that really never faded from the comic book shop collecting scene) it was very simple. More recent titles from publisher such as Dynamite and Dark Horse who regularly publish issues with both A and B titles, it has taken a little longer. I am oddly okay with this as it requires me physically engaging with each issue. Thus far I am happy with the software and with the opportunity to organize that which I have spent so much time acquiring, reading and re-reading.

While I still have a long way to go to get through all of the titles I've been accruing over many years, there is time. This disgustingly cold winter should continue to provide plenty of opportunity to stay inside to methodically plug ahead long-box by long-box through my collection before too long.

The cloud interface allows for checking on titles on a
tablet or phone.