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.

Comic Book Beard: DC's Starman

Back from the future, bearded and bugnuts crazy... just how I
like Starman! From writer Geoff Johns and artist
Dale Eaglesham in Justice Society of America #2 (March 2007).

In the comic book universe of DC Comics, there have been many Starmen, but the one I am most familiar with is former Star Boy, Thom Kallor. Thom was part of the Justice Society of America during a fantastic run spanning the latter half of the 2000s, the time during which I followed the teams' adventures through a number of different volumes and line-ups.

From the back up to Magog #1 (2009), by writer Geoff Johns and artists Scott Kolins.

My own understanding of the character is limited to that period, though he does have a much lnger history as a member of the Legion of Superheroes. Fortunately "The Secret Origin of Starman" backup story appeared in the January 2009 one-shot, Kingdom Come Special: Magog #1, to bring readers such as myself up to speed. On a side note, reading back through the previous JSA runs, only makes me miss the inter-generational old school niche it so entertainingly filled before being replaced with Earth 2 as part of DC's ongoing New 52 initiative. But this post is about comic book beards...

Starman being all crazy and what-not, courtesy of writer Geoff Johns and
artist Dale Eaglesham in Justice Society of America #6 (July 2007).

A member of the Legion of Superheroes in the future, Thom was sent back in time for, as Braniac 5 puts it, "one unsettling, but vital task." Unfortunately, while the future, baby-faced Star Boy did make it back to the past, a price was paid. In the process, his brain had been scrambled. Upon removing his mask in the present, it was revealed in the full-page scene at the top of the post, that Starman had somehow grown a beard while on his time trip. Going slightly against type, when Thom did regain his sanity briefly during this run, it was the state of lucidity that troubled him. While the more common comic book trope is for characters to become disheveled (and for men, beared) as his or her super-sanity begins to crumble, Thom avoided shaving as an external manifestation of being coherent, Thom maintained his bearded look for the issues that followed.

I've lost track of Thom Kallor (as well as many DC characters) since the New 52. I do understand though that he is alive and well, though drastically different in his physical characetrization and, sadly, beard-free.

Comic Book Beard: DC's The Chief

Ready for action (again) in Doom Patrol (Volume 4, #1) by John Byrne.

Justice League:
The Nail (1995)
by Alan Davis.

Justice #1 (2005)
by Doug Braithwaite
and Alex Ross.

You can't keep a good (albeit occasionally psychotic) super hero mastermind down... especially one with as cool a beard as Doctor Niles Caulder, more affectionately known as "The Chief." Perhaps the most notable aspect of the Chief's bearededness is that it is part of his consistent characterization since the teams beginnings. The Chief, along with the group he organized, the Doom Patrol, first appeared in DC Comics' My Greatest Adventure #80 (June 1963). The Doom Patrol has since appeared in multiple incarnations by some of the industry's best talent including Grant Morrison and (a personal all-time fave) John Byrne. All along the way Chief's appearance (other than an occasional shift in age and color from ginger to grey and back) has been the beard--like most instances of facial hair in comic books, his bear has not always been indicative of a transition to "craziness," but a rather a symbolic of his role as the rock of the team. (Note: The Chief has had a descent into madness--but what "hero" hasn't?)

Reaching the comic stands in advance of Marvel Comic's X-Men, Doom Patrol had some conceptual similarities with Marvel's X-team from the onset, the most obvious being that both the Chief and X-Men's Charles Xavier, were wheelchair bound "big brains."  Though Professor X was bald and a mutant psychic, the Chief was gifted with a genius-level intellect crowned by a fantastic head of hair and matching beard. The Chief motivated the original Doom Patrol, misfits who's individual circumstances made them bitter from being isolated from the world, to use their powers for the greater good. Caulder then used his scientific knowledge to develop numerous inventions and innovations that have made him wealthy.

The Chief Pin-up
by Richard Case.

Doom Patrol (Vol 2) #87
by Tom Taggart.

It is Caulder's genius that allowed the team members to survive (e.g., designing Robotman's body, devising Negative Man's medicated bandages), and helped grant their freakishness and amazing abilities. Much like the appeal of the X-Men, it was their status as outsiders which I found appealing as a young fanboy.

Like many, it was Morrison and Nick Cases' seminal Doom Patrol (Volume 2) run which began with the "Crawling from the Wreckage" storyline starting with issue 19 that really brought me to the team for the long run. Prior to this run, the Chief had always had a level of aloofness about his character, but from that point forward he began a fascinating spiral into straight-up kookiness. Demonstrating the truth in the adage that "nothing gold can stay," eventually this second series came to end. While there have been numerous other attempts by DC at a profitable Doom Patrol series, one has yet to take. Rest assured when they give it another shot (and rumor has it New 52 DP is in the works) the Chief will be front and center.

Source:
Wikipedia: Chief entry

Comic Book Beards: DC Comics' Aquaman

Top: Aquaman (Volume 2, 1991) #1 by Kevin Maguire,
Bottom: Aquaman (Volume 3, 1994) #0 by Martin Egeland.

If one superhero exemplifies the Jean Cocteau quote that "There is always a period when a man with a beard shaves it off. This period does not last. He returns headlong to his beard," it would be DC Comics Aquaman. Following many decades of perceived wimpy-ness (due in large part to his telepathic-fish appearances on Super Friends, the mid-Nineties saw an effort to "toughen" up the character.

Bearded Aquaman (Vol 3) Issue 4
cover by Hellboy
creator Mike Mignola.

To this end, writer Peter David and artist Martin Egeland collaborated on two significant aesthetic changes to the Aquaman character in the first few issues of his solo 1994 comic book series: by the fourth issue Aquaman would both lose his left hand to a school of a piranha and grow a crazy blonde beard. Though the first few images of this premiere issue keep Arthur Curry's (Aquaman's "real" name) countenance in the shadows--it is only in his dream that he is baby-faced--by the ninth page (see below) the new, edgier look is revealed.

As seems to often be the case (see Fantastic Four's Reed Richards, for example), the sudden facial hair growth was used to signal a jarring shift in characterization reflective of Aquaman's then unstable state of mind. Even his sidekick Garth (aka side-kick Aqualad) noted upon the initial reveal of the Aqua-beard that, "You [Aquaman] look like hell." Unlike other characters that have let their hair down (and out) while in reflective states of mind, the newly unkempt Aquaman did not clean himself up after returning to the world following his sojourn at the bottom of the seas.

During the next 20(!) years of continuity, Aquaman would occasionally shave and then re-grow his whiskers, returning headlong to his bearded, fiercer state. This "look" has seems to have settled into a consistently used one as evidenced by its use in Aquaman's recent appearances in Batman: Brave and Bold. Even issue 24 of the current Aquaman series--part of DC's New 52--recently had a previously clean-shaven sea king depicted with trim beard in place intact. In the iconic pantheon of DC characters, where in the past Aquaman's blond hair was perhaps enough to visually differentiate him from more popular heroes such as Superman, or even Batman's alter-ego, Bruce Wayne, the beard effectively points out some key differences. While Superman is an alien, and Wayne a millionaire playboy, Curry is an off-again-on-again King of Atlantis and a warrior to boot.

And who but the most bad-a** underwater super-warriors can stylistically pull off that crazy beard?

From Aquaman (Volume 3) Issue 1 (1994).

Doll Collector: DC Direct Batman Incorporated Series 1 Man-of-Bats Action Figure

My Man-of-Bats still safely sealed in his tomb box.

To commemorate the publication this past New Comic Book Wednesday of the final issue of Grant Morrison's Batman Inc. series, it seems like a good time to dig into the toy box and share a recent acquisition. based upon a character that I had not had an appreciation of prior to reading the DC Comics series Batman Inc.:  the Native American Batman, Man-of-Bats.

Photo from
actionfigurepics.com.

Once I got on board with the title, just prior to the soft-reboot/non-reboot that was DC's New 52 initiative, I quickly gained a respect for Morrison's take on the character and his partner/son Little/Red Raven. Originally created wa-a-ay back in 1954 by Ed Herron and Sheldon Moldoff, Man-of-bats continued to demonstrate Morrison's ability to take old throwaway concepts and give them new life and weight. It was this added dimension that prompted me to seek out a the only figure my research showed had been molded for the character, the DC Direct Batman Incorporated Series 1 Man-of-Bats Action Figure.

Getting my hands on one proved a little more challenging than I had thought it would, as I first went to my local comic store hoping they may have one among there vast collecting of action figures and collectibles. Once I quickly learned that not only did they not have one, but that they could no longer be ordered, I went the traditional collector's route and found one very reasonably priced ($7.99, significantly lower than the original $16.99-$23.99 list prices) online.

As an action figure, the DC Direct Man-of-Bats is a fairly standard issue toy; standing 6.75" tall and with minimal articulation, it appears clearly designed for one of two functions: either to be played or marvelled at through the plastic packaging. The design is very consistent with the character's recent rendering in the pages of Batman Incorporated, which for me (as well as they low cost) was the carrot.

Let's face it, it is not as though I am going to remove it from the box and set up battle scenarios with my Jonah Hex figures... but, then again, you never know.

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.

Great Issues: The Adventures of Superman #546 (1997)

From The Adventures of Superman #546 (1997) written by Karl Kesel and art by Stuart Immonen.

"Great" is an often overused superlative, and as used in the post title above, requires a quick definition. A "Great Issue" to me is one that captures the spirit of the character in a manner that is entertaining. That's it.

Cover pencils by Stuart Immonen,
with inks by Jose Marzan.

With that in mind, another incredibly solid comic book featuring Superman, is The Adventures of Superman #546 (1997). This issue is a case of the "something old, something new" dynamic. As is evident from the cover, this issue is from the late Nineties when "Electric Blue Superman" was the short-term norm for our hero. Though eventually developed into an homage of sorts to the Golden Age Superman Red/Superman Blue story, at the time this power/costume change was quite a big deal.

While temporarily deprived of the solar energy needed to provide the energy his body required to give him powers, Superman had developed electricity-based abilities, which eventually forced him to adopt a blue and white containment suit to prevent the energy dispersing. While retaining most of his abilities, he could now also generate electric attacks rather than his original heat-vision. He also gained the ability to turn his powers "off," though this left him as vulnerable as a normal human, a plot point which plays an importnat part in hwo this partcular story resolves itself.

Ceritak updating
his look.

As the first super villain Superman faced in Superman #1 (2nd Series, 1987), the John Byrne led series that spun out of the legendary Man of Steel (1986) reboot, it only makes sense that this new iteration of Superman is sought out by Metallo who wishes to see what all this "new" business is about. In addition to the battle between the two super powered figures, this issue also features a staple of the Nineties Superman comic books: excellent character development, especially  among a growing supporting cast.

One of the benefits of the weekly issue strategy employed by DC during those years (each week another title starring Superman was released with numbered diamonds on the cover so they could be read in order as a single extensive storyline) was the ability of each of the books to develop many characters fully. While the traditional Daily Planet staff (Lois, Jimmy, Perry) still had many moments in the spotlight, new and interesting characters (such as Jerry Ordway-created Superman's #1 fan, Bibbo) were developed, too.

One such character featured in this issue (and one of my favorite of the new-er supporting cast) is Certitak, a prince of the bottle city of Kandor who became stranded in Metropolis. Inspired by his one-time nemesis Superman, and the symbolic value of the red and gold "S", in this issue Certitak continues his transition from heel to hero and, ultimately, a friend of Superman. In some ways, Certitak plays as an amalgam between Marvel Comics Hulk and Thing as he struggles with being accepted in a world i which he is physically a monster, yet finds the hero within himself through the (eventual) affection of a young blind woman, Ashby Armstrong. This is not to suggest that this trope doesn't still have some life in it.

Though sporting the dubious story title "Blood and Thunder," The Adventures of Superman #546 is an old-school sci-fi, action Superman tale, that works both as an individual issue and as part of the larger Electric Blue Superman story. The individual issue is available in many back issue bins for below cover price or as part of the larger story in the trade paperback Superman: Transformed!

Sources:
Superman Red/Superman Blue Wikipedia Entry

Great Issues: Superman (Vol 2) #50 (1987)

Superman versus Mr. Mxyzptlk with an assist from Lex Luthor's fat cells!

With the past weekend's release of the Zack Snyder's Man of Steel, the Internet is abuzz with Superman related stories and reminiscences. One solid retrospective is the article The Greatest Superman Stories, According to Our Readers by Russ Burlingame on Comicbook.com. Always looking for opportunities to offer my two cents, I thought I'd troll through my own long boxes (composed primarily of 80's and 90's Superman, Action Comics, Adventures of Superman, and Superman: Man of Steel) for a favorite story (or two).

Cover by Jerry Ordway.

My first choice was an easy one as it is an anniversary issue that features pencils from some of the definitive Superman artists of the past while telling a story with significant ramifications for the future, Superman (Second Series) #50 from 1987. Issue 50 is the final installment of a four-part story arc entitled "Krisis of the Krimnson Kyrptonite," during which Superman has been rendered powerless due to Lex Luthor's use of the dreaded red kryptonite. Art is provided by a who's-who of Superman artists including the legendary Curt Swan, John Byrne, and one of my all-time favorite creators, Jerry Ordway, who also serves as the story's writer.

During his lengthy run with the character, Ordway always seemed to balance the heroics and humanity necessary to tell a compelling Super-story, and this issue, "The Human Factor" shows him firing on all cylinders. This is an historic issue in Superman-lore as it concludes with Clark Kent's proposal of marriage to Lois Lane, who (of course) accepts.



Seriously, how could she resist?

This issue provides the perfect comic book palette cleanser for a fanboy such as myself after having seen the new Superman movie, Man of Steel (2013). Superman (Vol. 2) #50 demonstrates all the great qualities of a Superman story excluded from the film: a balance of humor, heart, action, and character development. More than anything, given Superman's diminished super powers, this is a Clark Kent story, depicting how the most powerful person in the world struggles with the fear of being rejected by the woman he loves.

Don't be fooled though, this is after all a superhero comic book, and Clark Kent/Superman ultimately goes toe-to-toe with not one, but two super-villains: egomaniac Lex Luthor and interdimensional imp, Mister Mxyzptlk. Additionally, this issue all features an uncredited special cameo by Marvel's First Family who also battle Mr. Mxyzplk, who it is suggested interacts in the Marvel Universe as a Man whose identify is not Impossible to guess.

An excellent example of comic book storytelling, heroics and characterization, Superman (Vol.2 ) #50 is available as a single (back) issue online for a very small mark up from the original cover price of $1.50 or, better yet, as part of the Superman: Krisis of the Krimson Kryptonite trade paperback.

Seen It: Superman/Shazam!: The Return of Black Adam (2010)

Generally, I tend to avoid animated comic book movies; not because I dislike them, but rather because they are frequently produced for younger/newer audiences who lack experience with characters, thus requiring drawn-out, modern and gritty origin stories. I was pleasantly surprised to stumble onto an animated movie, while "bagging-and-boarding" my own comic books, that avoids many of the pitfalls of other productions, both animated and live-action.

Consisting of four short films cumulatively referred to as the DC Showcase Original Shorts Collection, Superman/Shazam!: The Return of Black Adam (2010) is a true DC Showcase compilation, giving C-listers The Spectre, Green Arrow, and Jonah Hex 12 minutes each of well-deserved exposure using top animation and voice talent. All directed by Joaquim Dos Santos, each of the four shorts possess elements to recommend them individually.Taken as a singular viewing experience, the movie offers a broad sampler of DC Comics superheroes. While some may suggest that the title and cover of the DVD are misleading, as DC Comics most recognizable superhero, it makes sense that this release promotes the presence of Superman. While theirs is the longest segment, the DVD is much more than a Supes and Shazam show.

The featured short gives the viewer DC Comics mightiest heroes, Superman and Shazam (still called "Captain Marvel" when in superhero form here--a code name no longer used in the most recent comic book appearances) as they team up to battle the Wizard's greatest enemy, Black Adam. Serving as an introduction of Captain Marvel Shazam to modern fans, Clark Kent/Superman is used as a plot device to shepherd the updated origin, while allowing the short to maintain some of Shazam's more quirky character elements (such as Mister Tawky Tawney!).

An underutilized reality regarding the Superman character is that, given its near archetypal presence in our culture and the audience's familiarity with the him, there is a comfort in having the known "commodity" introduce us to the new guy. Superman's strong presence and It is established at the onset that protagonist (and future Shazam) Billy Batson has a deep appreciation and admiration of Superman, an appreciation that in many ways mirrors that of the viewer: he knows Supes is the good guy, and so do we, so there is no need for unnecessary back story. Clark/Superman serves as an excellent counterpoint to the newbie super hero that Billy becomes by invoking the Wizard's name.

A Freddy Krueger-esque "hero," the Spectre is NOT playing!

In all four shorts, the story jumps right into the action, wasting no time with back story: what you need to know about each is revealed through their actions and dialogue--as well as the occasional narration. This is a fine example of a filmmaker using a limited amount of time to maximize development of each character, even these as unfamiliar to the audience as the three included here. DC Showcase shorts respect the viewer's ability to figure out that which is important to understanding the important character flaws and strengths without being spoon-fed them. In many ways, these shorts suggest a wiser way for superhero films to be scripted by avoiding the redundant origins and understanding that in most cases, origin stories as formal introductions offer little that is new.

Visually, each short possess a slightly different tone or mood, often expressed in the music or, as is the case with the standout short featuring the Spectre, an aesthetic: where Superman/Shazam and Green Arrow are crisp clean and sharp in their presentation, the Spectre (reflecting the 1950s noir vibe) is grainy and washed out. Perhaps the greatest compliment I can pay DC Showcase is that previously, though I knew who each was I had minimal interest in The Spectre or Green Arrow ( I am a Hex fanboy), but came away from this movie with a renewed interest in at the very least exploring their monthly adventures in the comic books.

Superman/Shazam!: The Return of Black Adam (2010) is available for streaming on Netflix.

Superman, You're My Only Hope!

As I sit at home this Wednesday evening reviewing the booty of comic books I purchased today during my weekly "New Comics Wednesday" excursion to the local comic shop, I am reminded of a previous post in which I lamented the impending "twilight of my super hero comic book collection."



Masks #7, cover by
Alex Ross (2013).

The titles I have before me are pulp (Dynamite's Masks) or horror (Image's Revival) with nary a superhero in sight. In fact the closest I come is DC's declining All-Star Western featuring another in a spate of Booster Gold guest shots and Dark Horse's most recent Lobster Johnson one-shot which is decidedly more pulpy that super hero-y. Then there's a newly released issue of the only "real" super hero comic book I even purchase at all anymore, Batman Incorporated. Even this title, the most recent issue of which is a mediocre fill-in, is soon drawing to an official close (and honestly since SPOILER Damien's death END SPOILER my interest has wained) once Morrison wraps up loose end with a series concluding one-shot.

The Man of Steel cover
by John Byrne (1986).

While there has been much recent news regarding DC Comics and creative differences with creators--further weakening any faith one might have in an overall DC turnaround in the aftermath of the diminishing returns of the New 52 (I personally started the New 52 collecting ten titles and am now down to the one Bat-title and All-Star Western), there are a few things that offer hope.

But I have been fooled many times before.

Not too long ago, on the heels of the wonderful All-Star Superman, Grant Morrison was given the reigns of Action Comics to usher the Man of Steel into the New 52. Years (decades?) ago I was an avid Superman fan purchasing all four titles being published weekly at the time with little numbered continuity diamond on the cover, so I was am ready to be won over. But Action Comics written by Morrison failed to capture the imagination and eventually my dollars. Now he, too, is departing the mainstream DC New 52 Universe for Multiverses as yet unknown.


One thing the New 52 reboot did do well is lay the zeitgeist groundwork, in a small way, for the new movie Man of Steel (2013) directed by Zach Snyder. After John Byrne's The Man of Steel miniseries in 1986, that re-booted Superman's origin so successfully, the same trick has been tried often with less success. Even the New 52 is offering a reboot of sorts by putting another of there top remaining  writers, Scott Snyder, on the case. Snyder took over one corner of the Batman corner of the DC Universe for Morrison very effectively  and DC (and fans) hope he has another entertaining angle left to reinvigorate the Superman franchise.

While quality comic books in the wake of successful films is never an assurance, I still have a touch of confidence that the combination of Snyder's (along with mega artist Jim Lee) Superman Unchained title and Man of Steel will result in published products worthy of the financial investment of collecting.

For this one time superhero comic book fanboy, Superman may be my only hope...

Holy Gettysburg, Batman!

Civil War Batman as written by Elliot S. Maggin, with art and cover by Alan Weiss and
Jose Luis Garcia-Lopez had the rarest of all Bat-qualities: a sense of humor and a smile!

Not long after developing an fanboy affection for Man-of-Bats, the Native American Batman most recently seen in the pages of the fantastic monthly, Batman Incorporated, I began looking for appearances of other Western-themed "Batmen." There is, of course, Cowboy Batman from Grant Morrison's time-displaced Caped Crusader tale in Batman: The Return of Bruce Wayne, but fortunately there are some pretty cool comic books and one-shots available in the local comic shop's deep discount long box. It was there that I learned of President Abraham Lincoln and Colonel Bruce Wayne's friendship.

Who knows? Given the recent success of Bat-films and Lincoln biopics, it probably won't be long before someone options this comic as a potential summer tent pole, though Abraham Lincoln: Vampire Hunter may have killed that possibility...

In 1992, outside of their mainstream continuity, DC Comics creators would often play in that magical comic book world known as "Elseworlds," a place where decades old origins, settings and character takes could be cast aside in favor of interesting, fresh variations. Batman The Blue, The Grey, and the Bat (1992) was one such Bat-title, which seemingly never reached the "classic:" status of still widely read issues such as Batman Gotham by Gaslight featuring Victorian-era Batman tracking Jack the Ripper.

Who knows? Given the recent success of Bat-films and Lincoln biopics, it probably won't be long before someone options this comic as a potential summer tent pole, though Abraham Lincoln: Vampire Hunter may have killed that possibility...

Written by Elliot S. Maggin, with art and cover by Alan Weiss and Jose Luis Garcia-Lopez, Batman The Blue, The Grey, and the Bat is the story of how Abraham Lincoln sends the foppish Colonel Bruce Wayne, in his much more masculine disguise as Batman, on a secret mission in the American West during the Civil War. Wayne even credits the President with indirectly inspiring the costume and code name--it was a bat-through-the-window "omen" on the night he received Lincoln's request for assistance, that prompted the disguise. As Batman relentlessly pursues a threat to the Union, Batman, and his alter ego Bruce Wayne, encounter Samuel Clemens, Wild Bill Hickok and other luminaries of the Old West. His servant and friend, the ever-droll Alfred, makes his contribution to the action, as does the Bat-Man's Native American partner, Redbird (who nearly always seems to be smiling and posing).

A single issue one-shot, this Bat-story hearkens back to an older style Batman (not just Wild West old), when the character was written and drawn with equal parts fun and action rather than consistently being saddled with the dark, dreary sad sack version popular as a result of the Nolan film$. This Batman rides a horse, has a sense of humor, flirts with damsels, and relentlessly fights the good fight, just like his pal Honest Abe.

This "prestige format" comic book, with special ivory matte-textured stock, to give it that Old-Timey feeling, cost me almost less than half the original 1992 cover price of $5.95. Certainly worth picking up for Bat-fans and Western lovers alike.

Seen & Read It: Django Unchained (2012)

I may have missed this small exchange in the movie, but its inclusion in the comic book adds
a level of depth to both Dr. King Schultz's characterization and Django's comment later in the film that has
been widely featured in the television ads.

As a Spaghetti Western fan and appreciator of Quentin Tarantino's film aesthetic, I have been awaiting the Christmas Day release of Django Unchained (2012) for quite some time. After seeing the reviews (both positive and negative) there is not much else to say that hasn't already been offered by more cultured reviewers worldwide, though I will say that among Django Unchained's greatest accomplishments is that it made me like both Jamie Foxx, Leonardo Dicaprio and Samuel L. Jackson as incredibly gifted actors, rather than as simply celebrities. I also appreciated the bravery Tarantino showed in adhering to his vision of the film, which given overly sensitive studio (and societal) tastes, cannot have been easy. The film is violent, bloody, angry, raw, and thoroughly engaging as a piece of visual art. That being said, it is also definitely NOT for children or those who are unwillingly to see a filmmaker at his unflinching best.

Django Unchained is an unabashedly irreverent homage to the old school Spaghetti Westerns and, as such, it is only right that it, like many old traditional Western television shows of the past, have a comic book adaptation hitting the stands at the time of its release. Given the content of the film, and therefore the comic book, it is safe to say that few publishers could offer to present a "Director's Cut" of the film in comic book form like DC Comic's Vertigo imprint.

Featuring art by RM Guera (who recently concluded his run on the popular neo-Western-tinged Vertigo series Scalped), The first issue of the comic book came out two week's ago and has been sitting in my "To Read" pile until after I could see the film. In his foreword to the comic, Tarantino reminds the reader of his love of Western comic books and that the ability to do a comic book adaptation allows him to share with the fan the "ENTIRE SCRIPT," which if it were to be filmed would be almost "four hours in length. For fans of the film, Tarantino and just the editorial process, Django Unchained the comic book offers a view "the very first draft of the script." An excellent companion to the film, I enjoyed reading what Tarantino had not included in the film, but suspect some of it may turn up in a Director's Cut or as a Special Feature in some future Blue Ray release.

New Releases: DC Comics' G.I. Combat

Ghost tanks? Check. Nazi secret weapons? Check. G.I. Combat #7 has the goods!

Often the cliche that "the best is yet to come" proves valid too late. The same holds true in the comic book world, too. As yet another of the "Second Wave" of DC Comics New 52 initiative gets ready to bite the dust (translation: get canceled!), they actually publish an issue that does what one had been hoping the series (on the heels of the previously canceled "First Wave" title Men of War, which ran 8 issues) would do: in this case, take classic military-themed DC proprieties, modernize them in a way that is current and, most importantly, FUN.

While I've never read any of the previous iteration of G.I. Combat, The Haunted Tank or the basis for the series' first arc, The War That Time Forgot, I have seen the cool images of dinosaurs battling Army grunts or a confederate general driving a World War II tank and wondered to myself "Just how does that happen?"

The previous two issues of DC's G.I. Combat featured the build up to this most recent issue in which the Haunted Tank battles the Nazi War Wheel manned by the decaying body of Rommel (yes, the Desert Fox!). If the premise sounds ridiculous, it is, and marvelously so. The feature, written by Peter J. Tomasi (whose work I have previously read in the 2010-11 series Green Lantern Emerald Warriors) and legendary and controversial artist Howard Chaykin, is also occasionally violent, and heartwarming.

Much like the aforementioned Men of War the last issue of which featured a story of Frankenstein fighting in World War II, it would seem that G.I. Combat saved its best salvo for the final shot.

Doll Collector: DC Universe Classics Jonah Hex

Front of packaging: not sure about the slick, hip "superhero-esque" Hex logo to the lower left though.

I've long suggested that Jonah Hex should be required reading for comic book and Western aficionados alike. Of course, I've also espoused the virtues of doll action figure appreciation, so the weight of what I suggest could be called into question by those unwilling to embrace their imaginative side. Fortunately for me, last summer two those two "passions" came together in the toy aisle of my local Target.

Howdy, handsome!

When I find myself shopping at Target for clothing, dog food or school supplies, I will take advantage of the opportunity to peruse the toy department for any interesting developments in superhero toys. Fully aware that I am a 40+ year-old, I do my best to blend in and pretend to shop for my kids, while secretly scoping out any odd or unique figure or toy that had previously sold out at my local comic shop before I could reserve one.

One such figure, that I had heretofore been unaware was even available, was the Jonah Hex DC Universe Classics figure (seen above, and with facial close-up to the left)! From Mattel, "this exciting 7-inch scale Jonah Hex (comic style) action figure features brilliant colors, tons of detail, and plenty of articulation." It had me at "7-inch scale" which , in this day and age, is something of a throwback given the price of production. Another bonus is that the packaging rightly describes the "toy" as for the "Adult Collector." Must admit, that makes me smile.

Believe it or not, there are websites and blogs devoted to the review of action figures which go into the quality of the sculpt, sophistication of joint articulation, etceteras... all I can say is that this Hex is a three-dimensional depiction of a classic comic book character that meets any needs I might have had for its appearance. (One sort-of more serious review can be seen here.) Simply put, it's cool to look at and looks sharp on the bookshelf in our computer room. Released in February/March of 2011 by Mattel, Jonah Hex is just one of  seven figures, including a variant Robin, that comprised Wave 16 of the DC Universe Classics line. Hex, as one of the Collect and Connect series, was packaged with the right leg of Batman villain, Bane.

All-in-all I was very satisfied with this find, the last on the shelf, at my neighborhood Target!

Back of packaging with oddly no mention of Hex's hobbies: drinkin', whorin' and killin'!

Comic Book Beard: Superman

The Adventures of Superman #455 (1987) by Jerry Ordway and Dan Jurgens.

It was not the first or last time that Superman sported a beard in comics, but it was among my favorite runs in modern Superman Comics. So this edition of No Shave November Comic Book Beards allows me to reflect briefly on Supes circa 1987, while honoring the superest beard of them all...

From Superman (Vol 2) #32 (1987),
story by Roger Stern with
art by Kerry Gammill and Dennis Janke.

Though it had been previously established (thanks to Jim Croce) that one should definitely not tug on Superman's cape, there was also a brief moment in time when pulling on his whiskers would be a social faux pax, too. During my senior year in high school, the unimaginable occurred in the pages of all three Superman comics published by DC at the time (Superman, The Adventures of Superman and Action Comics) when Kal-El, while on a self-imposed exile in outer space, let his hippie flag fly and grew a beard.

I miss this Superman, the one brought to life by the writing of Jerry Ordway, Dan Jurgens, Roger Stern and others. A Superman who felt such an intense responsibility to humanity that he left Earth rather than stay due to the risk his own inner turmoil created. Upon leaving his adopted home planet, Kal-El found more adventure and action among the stars, first, battling on Mongul's War World and later getting further in touch with his Kryptonian roots by meeting the Cleric and finding the Eradicator. Sooo many seeds for great stories that followed were sewn in these issues.

Interestingly, Superman's beard runs contrary to many comic book facial hair growth in that his does not represent a descent into madness, but rather a return to clarity. The events leading up to his exile were initiated when Superman made the conscious choice, for the first and only time, to kill (by exposing three Kryptonian villains who had threatened to destroy our Earth after eliminating one from a pocket universe to Kryptonite). These events of John Byrne's classic Superman #22 (1987) led to schism his psyche resulting in the development of a second heroic persona. Ultimately, Supes left and found himself... and embraced his hairier side.

Upon returning to Earth he returned to his clean shaving ways, but at least we'll always have War World.

I, Vampire Bitten By Classic Lit Bug (Again)

An evocative combination of art, scripting and the Bard.

While it is all too common for writers of all stripes (be they comic book creators, script doctors or short story practitioners) to return to the Bard for inspiration, or flat out plot-lifting, few comics quote classic literature with the panache of DC Comics' I, Vampire. A lesser writer than Joshua Hale Fialkov could be accused of going to that well too frequently, but by craftily weaving the inclusion of Shakespeares' Sonnet 116 into the issue's most dramatic point (when our recently "turned" protagonist realizes he can no longer return to a normal life with his beloved), it remains fresh and impactful.

I, Vampire, Issue #0.

Because I, Vampire #0 is part of DC's month long "Zero Issue" initiative, and therefore traces the roots of characters we, the reader, already know well enough, the quote and image of star crossed lovers Andrew Bennett and Mary separted by both a physical doorway and figurative chasm, packs an even greater punch. It would be sad enough for Bennett to lose Mary in such a "romantic" fashion, but we have the additional insight to realize that she is destined to be bitten as well, and in being so taken, become the far more sinister Mary, Queen of Blood, Andrew's nemesis.

Adding to the impact of this issue's conclusion is Andrea Sorrentino's equally beautiful artwork. Throughout their run on this New 52 title, Fialkov and Sorrentino have made taking tired vampire tropes and lore, tweaking it just enough to make it newly compelling, look easy. The ability of a good writer to carefully choose diction and thereby have the setting of events mirror the internal emotional state of the character's is done here visually by Sorrentino, presumably from Fialkov's script. Andrew's dreams are shattered and Mary retreats, however briefly, to her cultured life. The irony is that we know this dynamic will soon shift again, and Mary will become the bestial hunter to Bennett's sophisticated vampire.

The ability to expertly call on Shakespeare to add a final exclamation to this important part of Andrew Bennett's "origin" speaks even more deeply to the delicate care Fialkov and Sorrentino have taken in building this seemingly throw-away reboot into a must buy title.

NBIM, Day 15: Bat Lash #2 (2007)

Bat Lash #2, Cover art by the legendary Walt Simonson.

Sorry for missing a few days of National Back Issue Month postings, but with school back in sessions it's not nearly as easy to sit down and write. For today's grand return, I've selected the second issue of the six issue Bat Lash miniseries published by DC Comics back in 2007. Like many of the Western titles I know have as part of my collection, it was one that I came to many years after its initial release, fortunate that the Western genre has not seen a bump in back issue costs.

One of the draws beyond the genre for me in purchasing this title, which more and more seems to be the case, was the creative team involved: co-writers Western novelist Peter Brandvold (Rogue Lawman, .45-Caliber Deathtrap) and Sergio Aragones (Mad Magazine, Groo), cover artist Walter Simonson (Thor, Fantastic Four), and interiors artist John Severin (Mad Magazine, Cracked, Sgt. Fury and His Howling Commandoes, to name just a few).

Mark off another box on the "Why does he...?" checklist.

The purpose of the miniseries was to  retell for a new generation the origin story of the most unusual cowboy of them all, a tough but tender young Bat Lash braves a corrupt sheriff and a greedy rancher just to woo a rancher's lovely daughter. Issue two provides the backstory for why Bat Lash wears a bright red flower in his hat band. This little character detail is also symbolic of Bat's romance fueled adventures in a comic book world of rough riders, tough guys and drunks. Despite his flowery hat, he he has a tendency to kick butt and take names wit the best of them... especially when there is an act of chivalry involved!

All six issues of the Bat Lash (2007) miniseries are likely available at cover price ($2.99) at your local comics store or at about a third of the price online. If you are a Western fan or simply an appreciator of fine comic book craftsmanship, you won't be disappointed.

Cataloguing Comics, Continued

Updated long boxes always being added to.

A few weeks ago I began the task of cataloguing my comic book collection, an activity for which the small details continue. Where as my initial goal was to get my 25+ year collection into order by genre (Western, Horror/Sci-Fi, Pulp and Hero), I eventually set about separating the "Hero" books by publisher (overwhelmingly DC and Marvel), and then further classify them by publishing company "universes" (DC has original continuity and New 52, Marvel has 616 and Ultimate). While I briefly experienced a degree of comic book overload, it has been an enjoyable experience going back through books I haven't read (in some cases) in decades.

"The Vault" contains copies of titles that no longer actively collect: but never say never!

Each time I stop at my local comic shop (lcs), I have habitually been purchasing cardboard dividers for use in separating each long box further by title. As I continue to acquire card board separators, I have been using post-it notes as temporary placeholders. Because many of the comics I have collected o late have been mini (3-8 issues) or maxi (9-12 issue) series titles, there is the need for quite a few dividers. As I have done since I was in high school (at first with pen and masking tape, and now with computer labels), I will further organize each long box by adhering to each divider a label in which I've recorded with the title, publisher, publication dates, and inclusive issues (if not an entire run).

As I've suggested previously, much like some folks may collect baseball cards, crochet, scarpbook or  or consume illegal substances to "stay sane," collecting comic books helps me stay focused and engaged in a way that I find very relaxing.

4 Shops in 4 Days

Quite a bit to read this week!

This past week, I had the rare (for me anyway) opportunity to shop in four different (relatively) local comic shops (lcs) over the span of roughly four days. The first was my go-to, hometown joint, Comics Etc. in the Village Gate Mall. I have been shopping there on-and-off for the past 20+ years. The other two shops were part of larger regional chains of shops in the New England area: Newbury Comics (we actually stopped in two separate locations in the greater Boston area) and New England Comics. As a run-of-the-mill fanboy, the best way for me to quickly share thoughts about each is to start with what I purchased there. So as to remain (only slightly) unbiased, I brought a willing accomplice with me (my stepson) as a gauge.
Without a doubt, the shop(s) my stepson was most interested in sharing with me was Newbury Comics. We visited both the shop in Harvard Square, as well as the larger (3 stories) location in the Quincey Market. My stepson was very excited to bring me there, and while I could definitely see why he liked it (and were I his age, I suspect I might too) for the middle-age collector who specializes (ie. can only afford) comic books and not the other chachki, it was a letdown.

There were indeed comic book themed merchandise, mixed in with much more video game and movie/television stuff, but remarkably few actual comic books for a place with the descriptors in its name. It was as if I'd entered hipster paradise with Notorious B.I.G. memorabilia mixed with Adventure Time tees, with a splash of OBEY goodies. What was primarily for sale was anime, action figures, posters, t-shirts, CDs, DVDs, and clothing for the wannabe fanboy or cool hipster. I was however excited to see my stepson excited about the Dr. Who collectibles and Walking Dead stuff (of which he bought a couple things), but he is also aware of these things being available at our lcs; a place he is always glad the time to come visit with me when his busy schedule allows.

Recent releases (books that came out this and last Wednesday) were displayed on racks, as well as trade paperback volumes for popular series', but there was not a longbox or back issue to be seen. We spent cumulatively about two hours in both places combined and I made a grand total purchase of nothing.

The second place we checked out, and this one was completely on a lark, was the Harvard Square location of New England Comics. It was located across the street from the hotel we were staying in and I had noticed the unassuming sign hanging in the window on our way into the Square. After the first day in Boston and being disappointed by Newbury, we decided to give it a go. I was pleasantly surprised to see that it was an actual comic shop with books (new and old), a smattering of collectibles, and a healthy rack of recent back issues at cover price (or less if you're willing to dig).

Maybe it was because it had much more of that lcs character that collectors know when they enter: new and old promo posters, stacks of books seemingly in disarray (but not really), and friendly folks working the counter (but not hounding you to buy-buy-buy). I had not been previously aware until later looking online, but NE Comics, like Newbury, is something of a megalo-mart for comic books, which is neither a good or bad thing but what is interesting is that NE Comics does a much better job either 1) masking its corporate nature or 2) staying true to its comic book collector roots. I'm going to suggest it's #2, as I did purchase the first three issues of the New 52 Action Comics (DC) to peruse on the ride home.

Comics Etc., despite the other shops being in and around the huge metropolitan area of Boston, Massachusetts, had the largest available collection, better accessibility to back issues and friendly customer service. I guess I had been wrongly seduced by the idea that larger cities would have better more complete stock available, but that was far from the case. I have a "pull list" at Comics Etc which means that each week the store pulls, or sets aside certain issues for my purchase. Most shops do this, and this past Wednesday was a particularly "heavy" one for me as many titles that I currently follow were released:

All Star Western #11 (DC)
American Vampire #29 (Vertigo)
Dark Avengers #178 (Marvel)
Debris #1 (Image)
ERB John Carter The Gods of Mars #5
Exile on the Planet of the Apes #4 (Boom Studios)
The Goon #40 (Dark Horse)
Hawken #5 (IDW)
I, Vampire (DC) #11
Justice League Dark #11 (DC)
Legend of Oz: The Wicked West #5 (Big Dog Ink)
New Edwardians #5 (Vertigo)
Planet of the Apes #16 (Boom Studios)
Prophet #27 (Image)
Transformers: More Than Meets the Eye #7 (IDW)
Ultimates #13 (Marvel)
Uncanny X-Force #28 (Marvel)

As evidenced by the HUGE list above, the overwhelming majority of my weekly comic book expenditures were used at the hometown shop--clearly the best of the four I visited in the past four days! Like Norm on Cheers, it is good to have a place to go where everyone (or at least the guys working the counter) know your name...