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AICN COMICS! @$$Hole Reviews For You!!
Hi, everyone. "Moriarty" here with some Rumblings From The Lab...
I’m a tardy mofo this week on everything, so let’s make it short and sweet. Here’s the funny books.
Greetings, Cormorant here. This week we’ve got anoth-*THWAK!!!*
Move over Corm, or it’s another boot to the head for you. I’m taking over this week! Hey, turds and turdettes. I’m Ambush Bug from the Talkback League of @$$holes. To commemorate last week’s return of Keith Giffen’s Ambush Bug to the world of comic-bookdom, I’ve seized editorial control of @$$hole HQ. I’m providing you, the Faithful TalkBackers, another gaggle of reviews from the guys and gals who fluff and flog your favorite comics on a weekly basis. This week, Vroom Socko uses the word “butte” in his HULK: GREY review. I might allow Cormorant to spurt out a JLA: LIBERTY & JUSTICE review if he recovers from the boot simply because Alex Ross had the decency to include the Bug in the background of KINGDOM COME a few times. I pop in with a HUMAN TARGET review that hits the mark (ooo I’m such a punster), and then I come back and take a look at the return of my namesake in LOBO UNBOUND. Village Idiot steals Vroom Socko’s schtick at the end with a Superman-lovin' Tales from the Crevice, and how could I forget those Billy Barty-sized reviews that have become so popular these days? We call those cute lil’ guys Cheap Shots and we’ve got them coming up too. So scroll down and enjoy all of the @$$y goodness.
HULK: GREY #3 (of 6)
Jeph Loeb: Writer
Tim Sale: Artist
Marvel Comics: Publisher
Vroom Socko: Feeling Green
You have to wonder about Jeph Loeb. He’s a good writer, in fact he can be excellent at times, but he seems to have slipped into a sort of double grooved rut. Either he’s writing a thirteen issue Batman book that (were it to lose all the pointless cameos) could easily be told in three or four parts, or he’s retelling a Marvel character’s origin crossed with an ode to their dead lover.
With Hulk: Gray Loeb is definitely treading water story-wise. We’ve seen this before. Everyone’s seen this before. And much of what we haven’t seen doesn’t seem to work. The beginning of this issue even has the Hulk acting like Lenny from Of Mice and Men, for god’s sake. It’s ridiculous.
So why am I enjoying this book so much?
Part of it is definitely due to Bruce Jones. Now that the regular Hulk book is about a group of shadowy agent types enacting a convoluted conspiracy that even JFK assassination nuts have a hard time following, seeing a story focused on Banner’s internal emotional turmoil while The Hulk bounds across New Mexico smashing mountains to gravel is just so damned gratifying. There’s also this issue’s guest appearance of Tony Stark. Whoever decided that he should always have a glass of scotch in his hand is a fucking genius.
And as for Tim Sale… Whoa Mama! Tim Sale. I love his stuff. Love it. I’ve been a fan for decades, and yet he still surprises me. There’s one panel of the Hulk kneeling beside a lake that rocked my socks off. So did the two page spread at the beginning, where the Hulk’s this tiny figure hanging off the side of a butte. And that closing page? Damn.
So the book’s not the best work these two have done (FYI, their best is The Long Halloween). So it’s not even the best of their Marvel work (Daredevil: Yellow). But it’s got a behemoth running around the desert smashing things, and an Ahab-like army general, and a teenager caught in the middle, and everything else that the Hulk’s been missing for a good long while. And besides, it just feels fun. When was the last time anyone said that about the Hulk?
HUMAN TARGET #4
Writer: Peter Milligan
Artist: Javier Pulido
Publisher: DC Comics/ VERTIGO
Reviewer: Ambush Bug
Dammitalltohell! VERTIGO has done it to me again. I didn’t want to get into another VERTIGO series. I don’t make a mint being one of the comic book reviewing gurus here at AICN Comics. I don’t have the shekels to buy every damn comic out there. So why, oh why, does DC’s VERTIGO line have to publish so many damn good books? First we have the dynamic duo of VERTIGO: FABLES and Y: THE LAST MAN. Month after month, these books are filled with some of the best writing in the biz. Then there’s THE LOSERS, my little A-Team treat that supplies me with a heavy dose of both action and intrigue. I thought that was it for me. I was done. I was cool with my three stellar reads from VERTIGO, a line that continues to set the standard for greatness in the entire comic book industry. And then, on a lark, I picked up the first issue of Peter Milligan’s HUMAN TARGET. And now VERTIGO’s got me hooked on another series.
HUMAN TARGET tells the tale of Christopher Chance, who makes his living impersonating people who have been marked for death. For the right price, Chance can become anyone, mentally and physically. If Chance is in a person’s skin, not even his or her mother would know the difference. He’s that damn good. And so is this book. So far this series has been full of superb twists and turns, a semi-truckload of psychological drama, and more disguises and make-up than you could shake a fake mustache on a stick at. I wanted to review issue one when it came out because it was one of the strongest first issues I have read in a long time; fans of FIGHT CLUB and ADAPTATION would have loved this one. Peter Milligan took clichéd nuances from those films and deftly transferred them into sequential art form. If you giggle with kitschy glee at those moments in spy movies where the hero tears off his false face, you’d love HUMAN TARGET #1. And it just got better with the two part follow-up featuring Chance’s impersonation of a man who faked his death during 9-11. This short story arc dealt with issues of that tragic day, but didn’t once feel like some propaganda clad exercise in tedium; you know, the kind of “cutting edge/ripped from the headlines” story that we all have been inundated with since 9-12. None of that happened. In this story arc, 9-11 was a backdrop for an intense emotional drama between Chance, a man who should have died, and a family who believed he did.
Milligan continues to amaze me with his writing skills in issue four, entitled “Take Me Out To The Ball Game.” This issue was part one of a two-parter, where we find Chance impersonating a Major League baseball player in order to uncover a mystery. Chance is good at what he does, but can he play ball? The answer is hell no, Tonto. Chance hasn’t played baseball since he was a child and now he has to impersonate a Major Leaguer, which leads to one of the coolest cliff-hanger endings I’ve read in a long time.
This book’s strengths lie in the writing. Milligan not only gets you to care about Chance and whether he's going to get out of the pickle du jour, but he also surrounds our hero with three-dimensional characters with real problems - problems that can't always be fixed with a fake mustache and glasses. After Chance’s mysteries have been solved, the characters aren’t always happy, and since Chance impersonates every nuance of these problematic people, he experiences their pain and problems as well. If THE LOSERS is the A-TEAM of comics, then HUMAN TARGET is THE EQUALIZER or better yet, MCGUYVER with masks. HUMAN TARGET feels like a great TV show where the hero has a gimmick and that gimmick is smartly put to the test in every episode.
The art is another reason to immediately put this book on your pull list. Think a bit of Tim Sale, a bit of Allred, with a touch of Kyle Baker and you have the art of Javier Pulido. Great art throughout. There is a scene where Chance is attacked in an apartment. Two thugs pull some pistols on him and Chance has seconds to react. The following action scene is told with art not babbling word balloons. You can tell Milligan has full faith that his story will be told with Pulido’s pics. He lets the panels speak for themselves and doesn’t clutter it up with word balloons or captions. This is a book about action and the artist is more than qualified to render it.
So go. Now! To your comic store. Pick up HUMAN TARGET #4, and #3, and #2, and #1 if you can find them. You won’t be disappointed. I’m ashamed of myself for waiting until four issues into this series to write up a review on this phenomenal addition to an already phenomenal stable of VERTIGO books.
JLA – LIBERTY AND JUSTICE
Writer: Paul Dini
Artist: Alex Ross
Publisher: DC Comics
Reviewed by Cormorant
My favorite Alex Ross project is still the one that made him a recognized name: MARVELS. His photorealistic art style was just so perfectly suited to Kurt Busiek's tale of a photographer chronicling the great moments of classic Marvel comics…who could deny the genius of concept? Follow-up projects I liked far less, finding his realism to be a well-crafted novelty that nevertheless detracted more than it added to the grandeur of superheroes. Batman by Alex Ross or Neal Adams? Neal. Captain Marvel by Alex Ross or C.C. Beck? Beck. The characters of the EARTH X series by Alex Ross or…wait, wait – EARTH X was horrible, incestuous crap. Who cares who was drawing it?
Okay, so now that my biases are out of the way, I'm ready to confess that JLA – LIBERTY AND JUSTICE kicked my ass. Really. It's another one of those ROLLING STONE-sized collaborations between Ross and Paul "Batman: The Animated Series" Dini, and easily their finest hour together. At $9.95 for 96-pages in an oversized format, it's also practically a steal, so let's all take a moment to say thanks to DC for providing a price point so outrageously good that they can only be making it up with sales volume…which I suspect they'll get.
Readers of previous Ross/Dini collaborations know that the series has taken as its theme pitting classic DC icons against down-to-earth threats that just can't be beaten with a good right hook. For instance, child wish-fulfillment icon, Captain Marvel, went up against child abuse; the unstoppable Superman was brought low in his effort to end world hunger; Batman learned that the war on crime isn't something he can ever realistically win. So, okay, these somber all-ages projects weren't exactly an energetic good time, but Dini was trying to tell stories with heart that spoke to the central qualities of DC's icons. Cut the man some slack if they drifted a little into "After School Special" territory - I remind the jury that he did create Harley Quinn! And more to the point, JLA – LIBERTY AND JUSTICE, while it does have a mild subtext workin', is nowhere near as preachy as the volumes that preceded it. This immediately put it in my good graces.
The threat of the story is a mysterious, fast-spreading virus that may be extraterrestrial in origin. It strikes in Africa first, and the League is immediately called in by the Pentagon to investigate. And these are the Big Gun members, the Silver Age Leaguers: Wonder Woman, Batman, Superman, Aquaman, Martian Manhunter, The Flash (Barry Allen), and Green Lantern (Hal Jordan). Man, I love the icons when they're handled right, and Dini gives each of 'em several revealing moments in the spotlight. I'm not a fan of DC's modern legacy-themed stories, which have seen classic heroes like Barry Allen and Hal Jordan offed in favor of hep, young counterparts, and after reading Dini's smart takes on the classic characters in this volume, I'm more convinced than ever that their deaths in regular continuity were the wrong play. Dini cuts to the heart of Barry Allen's simple, Midwestern nobility, for example, when Barry makes a heart-wrenching "things'll be okay" call to his wife as he lies dying of the plague. And who can resist the nice touch of Hal Jordan using his Green Lantern ring to gently lower some enemy planes to the ground rather than destroy them? As Superman notes with amusement, "Once a test pilot, always a test pilot."
Yes! These classic characters aren't old and stagnant – they just need talents like Dini to chronicle their tales with heart and imagination. Hell, even Aquaman comes across as cool in this story – has the world turned upside-freakin'-down? But it's perpetual loner-within-the-team, Martian Manhunter, who's at the heart of the story. As a stranger in a strange land, he's like the immigrant who sees in America all the greatness the natives take for granted – it's just that his "America" happens to be the entire planet Earth. And it's through his eyes that the subtext of the story is revealed, as the JLA's radical, unsupervised actions leave many civilians wondering if these gods and aliens among them are worthy of their trust. It's tempting to read the story as a defense of unilateralism and trust in the government, but for the fact that it's so uniquely attuned to the Justice League, who we know are beyond reproach when it comes to trust. Therefore, I read the story more as Dini's tribute to the ideal of the superhero, the endearing fantasy of those in power wielding it to unquestionably altruistic ends.
Did I mention that there's action along the way? Fighting a virus – even a super virus – sounds a bit dry, but we've got heroes blowing up planes, Aquaman kicking the crap out of a Russian submarine, the Atom doing a "Fantastic Voyage" riff in the Flash's bloodstream, and all kinds of other coolness. Ross's art, for all that I find his photorealism a bit gimmicky, nevertheless exudes nobility and heroism. I could do without the seams on Batman's cape, but I loved the honest face Ross gave to buzz cut speedster, Barry Allen, the cool confidence coming off Hal Jordan, and the "don't piss me off" regal fierceness of Aquaman. There's also a nice timelessness to the backdrops, which feel modern, but also a touch retro (note the vintage computer screens in the Batcave and Atlantis). Perfect for a tribute of this order.
And the slight change in format from previous Ross/Dini get-togethers is what tips my appreciation for the project into full-blown fan love. See, what we got before was well-written picture books, but LIBERTY AND JUSTICE is very much a big ol' comic book - panels, word balloons and all. So we get more sophisticated staging, better action sequences, and just a stronger superhero vibe all around. Excellent call, guys. With wit and a non-ironic appreciation for pure heroism, you've put together a tribute to the stalwarts of the DC Universe that's as strong as any I've ever read.
LOBO UNBOUND #4
Writer: Keith Giffen
Artist: Alex Horley and Andy Kuhn
Publisher: DC Comics
Reviewer: It’s me, Ambush Bug!
2003 should be marked as the return of Keith Giffen. I thought the poor guy had lost it after his miserable attempt to resurrect the SUICIDE SQUAD concept last year. But Giffen chugged along and, within the last few months, has once again become one of my favorite writers. FORMERLY KNOWN AS JUSTICE LEAGUE has been continually great at inducing belly laughs and guffaws with its incessant barrage of in-fighting, in-jokes, and innuendo. Giffen has also brought back the man you love to frag, the main man, Lobo in LOBO UNBOUND. This hasn’t been the best mini-series, I admit. I have to really be in the mood for the lowest common denominator thrills that this series has provided. But it is what it is - Lobo, walking around beating the snot out of people and trying his damnedest to offend just about everyone.
FKATJL pokes fun at the spandex-clad, super groups that have become commonplace in comics. LOBO pokes fun at the grim and gritty, all-action, Rambo/WWF/Jackass types that crowd every book shelf. It seems that Giffen has made a name for himself by poking fun at all of the comic book standards. With all of Giffen’s old creations coming back for a good amount of mock and roll, how long would we have to wait for the return of the one character who poked fun at the entire comic book industry AND its fans? I’m talking about the green guy in the bug suit. The guy who knew he lived in a comic book and grew to hate every minute of it. The guy who drove Superman nuts, fought sentient argyle socks, and had a toy sidekick named Cheeks. I’m talking about the name I chose as a moniker at this wonderful site you have on the screen. Ambush Bug. A few months back, word got out that Ambush Bug was scheduled for a comeback and I was immediately filled with glee. I remember laughing my head off as a kid as I read Giffen’s AMBUSH BUG series. The non-adventures, the cut out WHO’s WHO pages, and the non-stop assaults on editor Jules Schwartz - there wasn’t a book out there that had more fun with the comic book industry. I recently re-read those great stories and they still hold up as pure comic book goodness.
Needless to say, I couldn’t wait till LOBO UNBOUND #4 came out. But wait I did. And waited. And waited. Finally, last week, it arrived and I read it. And I have to admit that it wasn’t half bad. Granted, given my handle, I may have a bit of a bias. Any issue with Ambush Bug in it is good in my book. Was this the funniest Ambush Bug story? No. Did it make me laugh? Hell yes.
Issue #4 starts out as a true-to-form LOBO book. Alex Horley’s art continues to remind me of my limited experience with the art of MAD and CRACKED magazines. His creatures and characters are more caricatures of Lobo and a bunch of aliens than realistic representations. It looks satirical, but since this story has been all gross-out satire, I guess it fits. Lobo is shown wheeled in Hannibal Lecter style. We think he’s been captured, but actually he is being transported to his reward…a harem. That’s right, Lobo gets laid in this issue, but before you ladies get all hot and bothered, I have to let you know it’s off panel. So while Lobo is bumpin’ Czarnian uglies, we are treated to an issue centering on Ambush Bug.
For those of you expecting to see Bug painted in Alex Horley’s real toon style, look elsewhere. He doesn’t paint Bug until the last panel and I wasn’t impressed by his rendition. I was impressed, though, by Andy Kuhn’s art in the extended Ambush Bug sequence of the book. Kuhn's stuff reminds me of Giffen’s art when he was drawing LEGION OF SUPER HEROES back in the day. All dark and atmospheric, but stylized to convey the comedy that occurs throughout.
But art schmart - I’m interested in the funny. And this book had enough of the funny to satisfy me. If you think circumcision jokes are funny, this is the book for you. If seeing Ambush Bug getting beaten repeatedly by a bunch of sheiks with clubs, then having them stop for a brief breather, only to have them start beating him again brings a smile to your face, then pick up this issue. But beware. The Ambush Bug that shows up in this issue is the cynical, depressed Bug that we saw later in the AMBUSH BUG mini-series, not the playful imp that drove Superman nuts every year back in the waaay-back days. Bug’s progression from plucky prankster to solemn, self-aware sad sack was well documented, but not as fun towards the end of Giffen’s run with the character. I was hoping for a return of the earlier Bug, but got the later version. But his story was still funny as hell, and like I said, any appearance by Ambush Bug is worth the price of admission.
I was never a huge fan of LOBO. I thought the character was pretty one-note and was a poor man’s Wolverine. But I cannot wait for the next issue of this series because it promises more Buggy goodness. There's a whole generation of comic book readers who haven’t read this character. If DC had any brains at all, they’d collect the AMBUSH BUG miniseries and appearances in one complete trade for all to enjoy. I hope, with the buzz behind this issue, Bug will someday have his own series again to go nutzo in. Last time, the industry was on the verge of a boom. Creators like Frank Miller and Alan Moore were stirring things up for the comic book industry, and Ambush Bug was there to make fun of it all. These days, we may not have comic book gold like DARK KNIGHT RETURNS or WATCHMEN to read, but there’s plenty of fodder for the Bug to make fun of. Once again, the industry is ripe to be Bugged and if this issue is any indication, Giffen still has what it takes to do it.
ELFQUEST ARCHIVES Vol.1
Writers: Wendy & Richard Pini
Artist: Wendy Pini
Publisher: DC Comics
Reviewed by Cormorant
A few months ago, DC comics released a spruced-up edition of the first issue of the legendary fantasy comic, ELFQUEST. The original series dates back to the swingin' year of 1978, but this edition had been re-colored, re-lettered, and was essentially a formal announcement that DC would be treating the newly-acquired Elfquest license right in the months to come. I reviewed it here, and really, that review encapsulates all that I love about the series, so give it a skim if you've a mind. This review, however, is specific to DC's new hardcover release of the first Elfquest trade, lavishly produced in DC's "archive" format (dust jacket and everything). It's been a long time since the classic Elfquest saga has seen print in color, so let's see if it lives up to the promise of that preview issue that wowed me.
First things first: this thing costs fifty bucks like all the DC Archives, so if you need to indulge in a Scooby Doo-style "GULP!" in response, please do so…now. Yes, it's a big ol' bite, especially if you're planning next year to nab the three subsequent hardcovers which will comprise the core ELFQUEST saga. For me, there was never any question. I ultimately dropped two hunnert an' fiddy bucks to pick up all six volumes of the AKIRA manga, and I bet you SANDMAN devotees have spent something close to that to take in the entirety of Neil Gaiman's beloved modern mythology. Bottom line: the good stuff is worth it. You might have to mow a few extra lawns, learn to count cards in Vegas, knock over a bank or two - whatever - but it's worth it.
Let's start with the visuals - there's a new cover of course, a lovely image of the series' big couple, Cutter and Leetah, embracing. It's a touch romantic for my tastes, and not very indicative of the epic adventure of the series, but no one can doubt that their relationship is one of the keys to the series, so no complaints. If I had to guess, I'd say the cover was designed to court the same burgeoning female audience flocking to romance-themed manga collections - not a bad idea by any means, as ELFQUEST is one of those rare comics with as strong an appeal to women as men. Think of it as comicdom's answer to THE PRINCESS BRIDE.
Next up we get a new introduction from a fantasy author that puts the series in historical context - nice, but nothing of note. Much cooler is the fact that after the intro you hit the first of many gorgeous pin-ups that continue to appear between each chapter. These pin-ups, all painted and mostly taken from front and back covers dating back to the series' initial run, have traditionally made their way into the Elfquest collections, but this is their classiest presentation to date.
Howsabout that new lettering? It's clean and it's nice, presunably computer generated. No doubt fixes a few typos, and I distinctly see where captions and word balloons have been moved around to better accommodate the art. That much I really like, but I prefer the original lettering simply because it felt a little more hand-crafted, and thus a touch more heartfelt. On the plus side, you know how older comics used to go a little crazy with emphasizing words in boldface? ELFQUEST had a few instances of that, and I notice they've been toned down here. I also noticed several cases of replacing exclamation points at the end of narrative captions with good old-fashioned periods. It reduces some of the over-the-top sense urgency the original captions used to have – you know, that Stan Lee narrative gusto - and to good effect.
Now the biggie: the re-coloring. Honestly…I'm a little disappointed overall. The new computer coloring is, in fact, excellent for the most part - perhaps a little dark on a few pages - but I miss the more "hand painted" look of the old Starblaze editions I grew up with. The coloring on the Starblaze editions had a stronger suggestion of texture - on hair and fur in particular - while the new coloring has a bit more of an airbrush/animation cel quality, reminiscent of the Warp Graphics versions of the trades (yes, this series has seen many different formats!). Is there anything actually bad about it? Absolutely not. Though Wendy Pini's amazing drafting skills are what most think of as her greatest talent, she's also one of the most gifted colorists in comics. These pages are still beautiful and amazingly lush, suggesting naturalism without slavish devotion to it. It just so happens that this longtime fan prefers the color stuff he first read.
Along with re-coloring, I noticed at least three pages of altered art and/or added scenes. For instance, there's a new scene of Nightfall comforting the dying Redlance after the tribe is forced to leave them behind in the desert. Is it completely new, or perhaps one of the scenes added in previous editions I missed? Couldn't say for sure, but it's a good scene. There are also a few panels added to the page where Cutter's tribe finds the desert village of Leetah's people, with the actual panel of discovery now replaced with a full splash page. Again, I like it. It's appropriately grandiose and makes the village look slightly larger than it used to, which better fits with the interior shots to come. Lastly, I caught some additional panels in the chapter where the tribe exchanges stories about Cutter's father, Bearclaw. As the tribe ritually names off the ten chiefs to come before Cutter and Bearclaw, the names are now accompanied by ethereal visuals of the chiefs. These are characters who got their own stories after the main Elfquest saga ended. I haven't read most of them, but I liked getting a hint of who these people were with the new images. Are there other new scenes? Probably. And it would've been nice if the collection had a bit of documentation to let longtime fans in on these details. All I know for sure is that the new scenes are good, minor additions. As noted in my previous review, there are no George Lucas excesses in these pages.
The book wraps with a new story that I really like. On the surface, it's a sensual romp as three lusty elf-girls vie for Skywise's affections, but it also touches on his deep friendship with Cutter, and how that's at least part of what prevents him from settling down for a lasting relationship. My only gripe? The new tale's not clearly separated from the last page of the main story, and so reads as sort of an epilogue - which it's not. Good story, but just a bonus really, not an epilogue. Then there are a few more pin-ups, some terrifically crisp cover art and bridging chapters from the time ELFQUEST spent as a Marvel property, and a thoughtful afterward from the Pinis.
If I have a few minor issues with this collection, they're mostly mitigated by the fact that only the longtime Elfquest reader would even catch them. This really is a sumptuous production, touched up exclusively by the original creators to mostly good effect, and featuring not one major slip-up in the process. Hell, most DVD special editions should be so lucky. Given that many folks have been waiting a loooong time for a new, definitive color edition of ELFQUEST, what else is there to say but…
"IT'S HERE!"
And if the price tag is still scaring you…well…don't hesitate to hint to your friends and loved ones that it'd make a helluva Christmas present.
CHEAP SHOTS!
RUNAWAYS #8: As the series hits the second issue of its second storyline, I'm beginning to get annoyed at some of Brian Vaughan's attempts to write catchy kids' dialogue. "Everybody, West Wing!" shouts quasi-leader, Alex, when the kids need to run from cops, the order explained to the new member as meaning, "Walk fast, talk fast." Quite the groaner, but sometimes the dialogue's pretty good: "Wow, you're...you're like a junior version of the A-Team." "What's an A-Team?" Much better. I've occasionally thought Brian Bendis should be the only person to write kids' dialogue for comics, but he wouldn't be able to bring the same energetic "Goonies"-style pacing that Vaughan does, so let's not be too hasty. We also get a new member for the team (isn't it a bit early for that?), shenanigans at the hideout, and a little angsty romance. Lightweight but still fun. - Cormorant
LEGION SECRET FILES 3003: At the end of my review for LEGION #26, I embarrassedly admitted I was looking forward to this week's LEGION SECRET FILES. ("SECRET FILES" being the comic book term for "useless money hole.") As it turns out, it wasn't what I was expecting -- it was a bit better. We actually get a chance to meet most of the Legion, in brief bios, yes, but mostly through the narrative as a futuristic Diane Sawyer shoots a news segment about the group. More edifying than you might expect. LEGION has recently embarked on a new story arc, an arc that, according to @$$hole reader Andrew Taylor, is patterned on "The Great Darkness Saga" from LEGION's pre-CRISIS heyday. For any new or newer readers beginning this new storyline, this book would be clearly helpful. - Village Idiot
EL CAZADOR #3: Chuck Dixon's gorgeously illustrated pirate comic continues to walk a slightly uneasy line between realism and escapist melodrama, but it's always redeemed by its strong moments. In this issue, that includes a band of pirates setting an aging galleon aflame and crashing it headlong into the docks to facilitate rescuing their captain from the gallows. Great concept, sliiiightly dry execution, but next issue promises the series first major ship-to-ship battle. I'll be there. - Cormorant
SCOOTER GIRL #4: This series has been quite a bit darker than I'm used to from Chynna. And yet, somehow, it's still got the same light humor that she does so well. The two shouldn't mix the way they do, but it works - I'll be damned if I know how or why. This issue actually is stolen away from Margaret and Ashton by Desmond, whose flashbacks walk that creepy/funny border like Philippe Petit on dental floss. - Vroom Socko
STREET FIGHTER #3: I remind readers that I'm not a duly-designated fan of Street Fighter, having never played any of the games (while confessing a fondness for TEKKEN and SOUL CALIBUR). Nevertheless, I finally watched the STREET FIGHTER movie, so I know a little more about the series' cheesy-but-fun mythology, and I say this comic is doing a fine job of capturing it and looking damn good in the process. This issue's highlighted by a Ken/Vega face-off seemingly inspired by the movie's Chun-Li/Vega face-off. Relentlessly hokey dialogue compliments the great actions scenes, making this book about perfect for its target audience. - Cormorant
WONDER WOMAN #198: As Wonder Woman's big 200th issue approaches, I come to realize that the major thrust of Rucka's new direction is the controversy Wonder Woman is finding herself in...for writing a book. Are we having fun yet? The book's a collection of essays and speeches from Wonder Woman in her role as DC's resident goodwill ambassador, and even as conservative political pundits go after it (ZZzzzzzz...), god of war, Ares, makes mischief by letting it slip to Zeus that he's the only god not mentioned in it. Okay, it's well-written if predictable fare, but Good Lord, do the benefits of this political approach - which does, if nothing else, make WONDER WOMAN a unique book - outweigh the fact that it's kind of boring as dirt? George Perez's relaunch, while it initiated Wonder Woman's new-agey role as peace-preachin' ambassador, never shied away from gory JASON AND THE ARGONAUTS-style action. It's seriously time for some more of that. - Cormorant
Hey everybody, Village Idiot here. Time for another one of those trips down memory lane that we like to call...
TALES FROM THE CREVICE! - BOOKS THAT FELL THROUGH THE CRACK
Here, look at this.
That was a picture from the cover of an upcoming issue of Jeph Loeb and Ed McGuiness's SUPERMAN/BATMAN, issue #6 to be exact. As you can see, Lex Luthor is in a big green and purple battle suit, laughing his head off. I can't tell you for sure what he's laughing about (although I'll bet it has something to do with those capes in his hands), but what I can tell you about is where that suit came from, at least historically, within the hallowed mythos of the DCU. That green battle suit first appeared in a story from a comic that is the focus of this week's TALES FROM THE CREVICE!, ACTION #544.
ACTION #544 is what some believe is one of comicland's rarities: a classic Superman comic. What makes it rarer still is that it's also one from the eighties, a few years before CRISIS ON INFINITE EARTHS and John Byrne's subsequent reboot; i.e., it's from an era not exactly considered one of the most glorious runs in the history of comics. Yet ACTION #544 is a key issue that introduced big changes to the Superman rogues gallery (Luthor AND Brainiac!), changes that are still remembered fondly today. Moreover, it's also an issue that had some stories that were pretty interesting in their own right, and pushed the boundaries of Superman comics for that time. Again, it's a classic. Now let's go into a little more detail as to why by looking at its first story, "Luthor Unleashed!" with the liberal use of hypertext so you can see what I'm talking about. It'll be like we're reading the issue together!
"Luthor Unleashed!" begins shortly after a major battle has taken place between Superman and Luthor - and Luthor hasn't come out so hot. Battered, broken, and near dead, he's taken by one of his retrieval robots to his lab and placed on a rocket set on autopilot for the planet Lexor. For those of you who don't know, Lexor is the planet where Lex is considered such a hero, they actually named the planet after the guy. (Those Lexorians really know how to show their gratitude.)
Once there, the Lexorians manage to patch Luthor up, and perhaps more importantly, Lex finds out his Lexorian wife has had his son since his last visit. (Lex never really made it out Lexor all that often.) Confronted with his new obligations as a parent, his beautiful and adoring wife, and not to mention a whole planet that's devoted to him, an emotional Lex decides to do the sensible thing and settle down on Lexor in peace and domestic tranquility.
And things go well, at least for a while. Lex turns out to be a loving father, and while nestled in the bosom of his family and community, he's able to pursue all his scientific interests freely. But unfortunately, as much as he tries to repress his old feelings anger and resentment, Lex finds himself thinking about Superman. In an unusually reflective moment, a tortured Lex tries to figure it all out:
"Was it this obsessive hatred of Superman that warped me into who I am - or do I hate the Kryptonian with an all-consuming rage that has been part of an evil nature he only brought to the surface? Is there no way I will ever be free of this curse?"
Luckily he finds a distraction after accidentally stumbling into an ancient underground Lexorian lab, with all kinds of mind-bogglingly advanced technology.
Soon after, someone in some sort of green and purple battlesuit has begun to terrorize the people of Lexor. Night after night, this Mystery Marauder takes to the skies creating all kinds of mayhem. Things reach such a state of crisis that the Lexorians turn to Lex, their greatest hero and benefactor, for help. Luthor agrees to help out, but something seems a little fishy; even Lex's wife Ardora picks up on it. But Lex assures Ardora with every shred of convincingness that a four color character can muster that he has nothing to do with it. And I think we really want to believe him. Here, look.
Meanwhile, after dealing with a few of Lex's lingering Earth-bound traps, Superman manages to trace Lex to Lexor. When Superman arrives, he soon finds Luthor and chases him across Lexor and into a secluded mountain. Suddenly, the battlesuit erupts from the mountain! Superman and the Marauder, now revealed to be Lex, have a terrific battle in the skies of Lexor, as Superman's powers begin to wane under Lexor's red sun, and as the aghast and disillusioned Lexorians look on. At a crucial moment, a blast from Lex's battlesuit is deflected off of Superman and onto Lexor's towering "Neutrarod," a huge pole that extends deep into the core of the planet. This sets off an apocalyptic chain reaction. Lex desperately tries to reach his wife and child - and they're almost within arm's reach - when Lexor erupts into a huge exploding fireball. Superman barely makes it out alive, as does Lex, who grief-strickenly claws his way across a chunk of Lexor to end the story.
"Luthor Unleashed!" was written by Cary Bates, a longtime writer of Superman whose imagination and characterization could often seem like vintage Ed Wood. There's plenty of Ed Wood to the story, which I'll touch on in a moment, but at the same time, I think Bates was able to stretch things in a new direction, especially concerning Lex Luthor's psychology. This was a side of Lex that we hadn't seen before, with his rehabilitation so close at hand. And he almost made it. Lex wants to go on the straight and narrow, and by all logic should go on the straight and narrow, but tragically, he just can't. He throws it all away. Lex's awareness of the situation and his struggle with it, and the almost cognitive dissonance of his duality gives the story unusual pathos. It's a tragedy.
Of course, the story still bears many of the telltale marks of DC writing of the era: melodramatic dialog, awkward plotting, improbable science, etc. In a moment of odd emotional disproportion following Lexor's annihilation, Superman's reaction seems a little blasé and ill-focused: "I always suspected that Luthor might become the victim of his own evil one day! But I never dreamed he'd blast an entire race into oblivion along with him!" Rather than commenting on the irony of the situation, I think a more appropriate reaction from Superman would be something along the lines of "HOLY F#@$ING SH*&, THAT WHOLE F#@$ING PLANET JUST BLEW UP!!! OH MY F#@$ING GOD!!!" Then again, everybody grieves in their own way.
The story was drawn by the pencil and inking team of Curt Swan and Murphy Anderson, collectively and affectionately known as "Swanderson." Curt Swan had been penciling Superman stories since the '50s, and from that time to when he all but retired in 1986, Anderson was often considered to be his best inker, with the pair producing some of the best artwork in the history of the character during their brief collaboration in the early to mid '70s. For the most part, their work in this book seems remarkably safe in comparison with the art you're likely to see today, and Swan's characters could always be a little stiff. But it's still genuinely effective, and like him or not, Swan's Superman was the definitive Superman for 30 years. This is the real stuff.
And, of course, there's the suit. Designed by George Perez (who drew the issue's pin-up for it), the ancient Lexorian battle suit gave Lex unprecedented powers and shifted the relationship between Luthor and Superman. Or at least it would have, if the writers had had more time to work with it. Unfortunately, CRISIS was just around the corner, and the suit would drop out of the story, only winding up as a sight gag in Byrne's MAN OF STEEL reboot. But in some of the stories immediately following ACTION #544, Lex admitted that he was only just beginning to learn what the suit could do, and it's not hard to imagine that the suit had New Gods-type power and technological prowess. It stands to reason that Lex and his suit would figure so prominently in Jack Kirby's later SUPER POWERS miniseries.
So there you have it -- "Luthor Unleashed!" and the origin of the green and purple battle suit. And that's just one of the stories in ACTION #544; the other deals with Brainiac's phantasmagorical transformation into a truly cool looking robot, and his declaration of war on God! Written by Marv Wolfman, drawn by Gil Kane, it's a freaky trip, lemme tell you; and I'll try to come back with a TALES FROM THE CREVICE about it in the coming weeks. In the meantime, here's a preview. Pretty cool, no?
Meanwhile, if you find yourself browsing around the quarter bins at your local comic shop, keep an eye out for ACTION #544, a classic Superman comic and another entry in the annals of the @$$hole's TALES FROM THE CREVICE!
And now for the Vroom Sockovian Question of the Week!:
Which is the better Luthor: Fiendish Mad Scientist Luthor or Omnipotent
Corporate Mogul Luthor? Why?
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they both suck. Superman comics have blown for the last ten years. First!!
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sheeit that am one cool comic!!
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The cover of BATMAN/SUPERMAN #6-- are those Romita, Jr. pencils? Sure looks like it to me. But I thought he was exclusively a Marvel boy....
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I suppose it's all a struggle between light and dark in the first place, isn't it? An untouchable mogul with little regard for the sanctity of life but his own is scarier in a way than a mad scientist. It's basically one of the windmills our society tilts at to begin with. It's also a better fit for Superman: he's basically got the power to exact our sociological wet dreams against the bastard, although a lot of the drama in the series comes from whether or not he can outwill Luthor or the other way around.
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I gotta give it up to Quesada for successfully making it seem like mutants could really exist in New York City. It was a smart move to avoid mentioning them at all until the end of issue #1, and the first introduction to them was a reference to the parallels between a speech by Charles Xavier and Martin Luther King, Jr.'s "I Have A Dream" speech. It seemed kind of out of place, but the environment itself had already been so firmly established as real that it just fit.
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At least when handled correctly. See, eg, Elliott S. Maggin's excellent "Last Son of Krypton" novel. Evil businessman Luthor has been going on for nearly 20 years now. Time to move on.
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The plotting mad scientist is about the lamest cliche in comic book history, and if you absolutely need your fix of it, look no further than Dr. Sivana (whilst Captain Marvel continues to do his classic Superman impression). Lex Luthor under the combined talents of John Byrne not only transcended that defining archtype, but in fact developed a personality that has eclipsed DC's flagship heroes' ever since. While Lex began his new life as a fairly blatant Miller Kingpin riff, subsequent work on the character yielded one of the most facinating and unique anti-heroes in the medium. If you look at each character's effect on Metropolis through objective eyes, you'll realize Lex Luthor is the city's most important benefactor. It was LexCorp that put Metropolis on the global map before Superman, and it's this company that sustains the city in a way Superman's showy heroics never could. Luthor built the city's economy, created technological wonder to defend the city, and has proven formitable enough to handle most any threat currentlty routed by the Man of Steel. This is in part due to the fact that Superman's villains are generally so inferior as to make conflicts with the S-Man dull as drying pain. The fun in reading a Superman comic, at least for me, is in viewing Lex as the protagonist struggling against the oppressive reign of an alien overlord who would dictate his personal morality to an entire world. Lex is a mere mortal who has built an empire with his genius, and his determination is enough to empower him to stare down even an earthbound god. While Luthor is certainly a flawed individual, watching his sadism and ambition play out in stories is far more entertaining than anything to come out of Clark Kent's tired existence. Tempered by the sympathatic turns and tragic history applied by folks like Dan Jurgens and Joe Kelly (typically lousy writers inspired to occasional greatness by their shiny-headed muse) obviously inspired "Smallville," yet another venue where Luthor outshines a series titular star. I'm anxiously awaiting Brian Azzarrello's work in "Man of Steel." While I was less than enthused by dreak like "Cage," I expect this character will reasonate with the scribe.
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I miss evil scientist Luthor, flat out. I like the evil Donald Trump Luthor, but miss the Evil Scientist version.
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I've been wondering where that suit comes from. I've noticed it in JLA: Earth 2 as well as in Superman For All Seasons.
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You're making me want to read a Superman book. Don't do that!!! hehehe
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Gene Hackman in Superman IV: The Quest For Peace. Being involved in that film is true evil. BTW, is Robert Loren Fleming dead? Ambush Bug just doesn't seem the same without him. sk
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..yet I hated them being friends as kids. That sucked. Are they trying to get that on again? How could they? Isn't the businessman Luthor like twenty years older than Supes? I don't read Superman, haven't since the late eighties. So, yeah, Mad Scientist Luthor, in that purple shirt/green pants 70s combo.
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I feel that the mad scientist Luthor was a character that preceded cliche, but he still became a shining example of the way a cliche can become omnipresent in comicdom. Corporate Luthor is genius. He is a modern take on the same character. Instead of trying to beat the unbeatable with a superior intellect that creates easily thwarted machines, He uses that intellect to establish himself in a corporate world, where by todays standards, one can make themselves invincible. I would LOVE to see an Enron-esque scandal befall Ol' double L. It would be a fantastic way to show the shaky foundation that crooked power establises, and also a way for Lex to get back to the gadgets and destroy all of those cliches! (Sorry for the rambling post...)
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Didn't this start as an ongoing title? When did it switch to a 6 issue mini?
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The Lex as evil businessman offers so much more story potential. Look at Lex as President! You could never have done that with the pre-revamp character.
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Let's reinvent him again!
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Did anyone else think that...not much of anything happened in JLA/Avengers #3? It was rather a letdown.
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So that's why the Super Powers action figures looked like that...
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I thought we weren't getting that until next year? And I liked Kingdom Come more than Marvels.
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This Luthor adds more depth to the Superman mythos and to the entire DCU as well. There's no way the mad scientist version could be as much a threat as Lex the Prez. LexCorp and Wayne Industries competition and Bruce and Lex's clashing worldviews is something which I would like to see further explored in Batman (maybe World's Finest will touch on this). Now that Diana is in the political game - Lex should be showing up in the pages of Wonder Woman. Lex is a manipulative character, but he could be either a friend or a foe depending on the mood he's in.
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...and while Maggin's LAST SON OF KRYPTON, when directed to me, did serve as a reminder at how much fun Luthor could be when it was his imagination & intellect versus Superman's powers, I still vote for CORPORATE LUTHOR. Why? A multitude of reasons, not the least of which is that Superman already has a sh*tload of villains who can match their imagination & intellect against his powers. Corporate Luthor isn't a question of battling brains versus brawn, or a variation thereof, often Corporate Luthor negates Superman's powers because the battle isn't just versus his intellect, but rather one fought on an intellectual plane. Also, CorpLuthor has menace that his pre-Crisis counterpart never did - for all Scientist Luthor's inventions, contraptions, and schemes, you know that Superman was ultimately there to save Lois from the laser or the Daily Planet from crumbling under the earthquake machine. But Corporate Luthor can strike at them in ways the Criminal couldn't - he could wipe out the White's pension fund, he could make Lois's sister dependent upon his company, etc. He's creepier, scarier than he's ever been (well, hypothetically speaking...the problem is that Corporate luthor is considerably harder to write, and since Byrne went crazy, few of the assigned writers seem to be up to the task), AND, most importantly, he adds a new dimension to Superman's rogues gallery, presents a unique challenge, a real challenge.
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As one of y'all said, bazillionaire Luthor can do everything Mad Scientist Luthor could do and then some. I love the irony of corporate Luthor. He's just a man but the most powerful superhero on DC Earth can't do jack about him. Sure, Superman could disentegrate him with his breath, but he's not going to do that so Lex can pretty much do what he wants. I like the concept of President Luthor. It'll make for good stories. Ex-President Luthor stories could blow, but what're ya gonna do? The problem with Corporate Luthor and with a lot of Superman's old rogues gallery is the lack of a powerful, physical, visual threat. I'm not the most knowledgable about Superman, but we have Mongol, Bizarro, Brainiac (whom I think is now a giant computer -- think visually, guys!), Metallo and few others. Doomsday, I guess. That can get boring. I like the idea of Superman as Darkseid's primary foe.
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...I feel fine.
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Dec 01, 2003 6:43:02 PM CST
Jesus, Luthor frickin' took over this place! Where's the love fo
by dave_f
You folks *did* buy it, right? I didn't mention this in my review, but I nearly didn't pick it up m'self because I thought it was gonna be another weepy message book like its predecessors. Seems Dini made a conscious effort to avoid that pitfall, and I can't thank him enough. It's interesting - it seems to me that the JLA has been on a downward slide since Morrison left, what with the mediocre creative teams and the 101 overpriced miniseries, but the group is ending the year on a helluva strong note. JLA/AVENGERS has 'em back in the spotlight, LIBERTY & JUSTICE is about as good a tribute to them as you could ask for, and everyone is telling me that the second season of the JLA 'toon is just kicking all kinds of ass. MUST SEE IT! All in all, not bad for a bunch of decades-old characters that often get written off as being hopelessly out of date by the hipster crowd and Marvel Zombies. So what'd you guys think of LIBERTY & JUSTICE? Any among my fellow @$$holes who read it?
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Actually Village Idiot turned out a helluva Tale From The Crevice there, so kudos to the ol' boy! Like UncleFucka, though, I'm a wee bit creeped out by it, because there's just something wrong when someone can get you enthused for a story featuring "Lexorians." =D Hey, V.I., any idea why this story wasn't featued in THE GREATEST SUPERMAN STORIES EVER TOLD? Man, that book was a poop-pie, and if I'd been the editor I think I could've made some space, easy. If only for the fantastic visuals of the Luthor battle armor and the redesigned Brainiac (always wanted that SUPER POWERS figure - the Lex one I've got!), it seems like a good candidate. I'm very impressed with Swan's art, too, which is a lot more lively than I figured it would be. Guess I was mostly just familiar with his 50's/60's stuff. Interestingly, I actually find Swan's rendition of the Lex-Suit much cooler than the Perez pin-up version. ******* V.I., I think I've come to understand some of your frustration at the lack of respect given classic Superman stories. Reading your tribute to this issue, I was reminded of my own fondness for some of the classic Hulk stories of the 70's & 80's (the Wein and Mantlo stuff), an era too often dismissed under the false impression that it was just issue after issue of the "dumb Hulk" punching shit. You remember that issue of INCREDIBLE HULK I wrote up for the stillborn @$$hole Hulk tribute? The issue where the High Evolutionary needs Hulk to destroy his self-preserving battle armor so he can committ suicide? Well, like your Luthor story, it's of course tinged with the more juvenile trappings of its era, but it's also a genuinely affecting tale. In some ways, the simplicity of delivery actually makes for a stronger tale than our more refined modern superhero comics. Works a little like a good Disney flick, or say, THE IRON GIANT, unabashedly wearing its heart on its sleeve, working on a pure emotional level, and remaining largely undiluted by adult shades of gray. Nothin' wrong with that. Now "Lexorians" on the other hand...
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A decent "old school" JLA tale, but one distinguished mostly by Ross's art, and a few character touches (such as the Barry and Hal ones mentioned). If there was a flaw, it was one that way too many writers have latched on to over the last 20 years, namely, this idea that Martian Manhunter is somehow the "heart and soul" of the original JLA. I hate to break it to these guys, but, as someone who's actually read JLA on and off since, oh, 1969, J'Onn wasn't a major player in the league for most of its history. If anything, Green Arrow and Hawkman (and their bickering) were the heart and soul (or heart and brains) of JLA for most of its original run.
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"Retirement" is when you decide stop working and take it easy. Swan did not decide to stop. DC decided for him, firing his ass from Superman to make room for Byrne and Ordway in 1986. Even Byrne commented at the time that DC should have given the man a really nice pension for the rest of his life (which, of course, they probably didn't).
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It's now one of the favourite bookc in my collection. Especially liked Aquaman and Barry Allen. And was it me, or did one of Aquaman or Barry make a joke about Wonder Woman's cleavage whilst in the Batcave ("nice view")?
My favourite bit, though, has to be when the double page spread when the woman drops out of sight over the edge of the bridge and then we see Superman rising into view holding the awestruck woman. One of those moments when a shiver runs down your spine. In the words of Tharg: "Thrillpower!" -
Dec 01, 2003 8:02:32 PM CST
Forgot to weigh in on the businessman v. mad scientist debate...
by dave_f
For the reasons cited by others, I'm going to tentatively cast my vote for the "untouchable businessman"...but only tentatively. I've a notion that the mad scientist version could be brought back very effectively as a sort of "ultimized" version. Imagine him as a criminal feared the world over - the villain whose mind is so powerful he's got a contingency for every situation. There'd be no situation he couldn't figure his way out of, and five minutes rooting around a janitor's closet would have him emerging with a one-shot weapon that would hurt Superman enough to give him time to escape. Picture someone who would work a scheme to bankrupt an entire *small country* just to bankroll his experiments. Who politicians would be afraid to speak up against because he's killed them in the past for a slighting him. In fact, just about everyone would be terrified to come face-to-face with this Lex Luthor. I see him as a hands-on guy, using a minimum of underlings and always wanting to be the guy who pushes the button, pulls the trigger, etc. He's definitely a murderer, but not a killer for pleasure - he just cuts down anyone who gets in his way (well, okay, with a little pleasure). I figure he's perpetually the most wanted man in America, if not the world, and it would be a major event if Superman were to capture him - probably something readers would see only every five, six years or so - a true rarity because he's such a wily bastard. Definite "yes" to the battlesuit on occasion, and yes to the purple and green jumpsuit when he's at one of his labs or safehouses, but I see him operating undercover a fair amount, using disguises to impersonate and psychologically manipulate his many pawns. In short, he'd be a scumbag so cool and effective it'd be hard not to root for him. Think "slightly less violent Hannibal Lecter" or "evil Doc Savage" and you've got the idea. Hell, I'd read it anyway!
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NYX - someone gimme the pitch on why they like this book. I read the first issue, found it to be a fairly depressing look at a shitty teen life. Had a few strong moments and a few dialogue groaners, but what struck me more than anything was that the realism was fairly joyless, and hardly what I want to see in a Marvel Universe book. What is it about the book that has people reading it and saying, "I like this"? Besides the art, I mean. ***** That's definitely a McGuinness cover on BATMAN/SUPERMAN #6. And I like McGuinness, especially some of his BATMAN/SUPERMAN covers, but that one's not a keeper. ***** Marco, nice analysis of the merits of evil, corporate Luthor, there. I'm dubious about Azzarello's idea of "Luthor the Hero", if only because I suspect it's born of Azzarello's inability to believe in Superman's pure benevolence, which, if that's the case...what the hell is he doing anywhere near the franchise? I'm getting a little tired of the need of certain writers to subvert the likes of Captain American and Superman. Just 'cause these jerk-offs have grown out of superheroes - which is perfectly fine - doesn't mean they should be allowed to tear these icons down. Still, just about anyone can appreciate a good "watchable" villain. Maybe Azzarello's Superman stories will surprise me. MAYBE. ***** Randalmcmurphy, kudos also to you for the idea of shaking Luthor from power to facilitate a return to the criminal mastermind of old. It's a good means of shaking up the status quo without resorting to "ultimazation." ***** Luthor as "crack whore"? Funniest line in this TalkBack yet. ***** Re: Martian Manhunter as "heart and soul" of the JLA - one presumes this stems from the fact that everyone wants to give J'onn his due for being one of the originals (just as odd-man-out, The Hulk, was a founding Avenger), but like the Hulk, he really can be a boring character if writers aren't on the ball. The "heart and soul" concept, despite its dubious historicity, does seem like a good way to set apart a guy who risks being a more stoic (and green) Superman. I kinda like it. ***** Lastly, I got a chill when Superman caught the girl, too, DeSelby. Dini's pretty adept at tugging at the heartstrings when he wants to, as seen in all those great Mr. Freeze episodes of the 90's Batman cartoon.
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One of the problems with making a truly threatening, overtly criminal Luthor is the need to vicious him up so much. Not that such a revamp is, by nature, bad, but it's just that we've seen it so many times before. Doc Ock moved into the lame-o category? Have him run a few people through with his tentacles & have the main characters talk about how vicious and deadly he is for a few panels. The nice thing about this Luthor is that he's able to remain threatening without some writer deciding that, to close the next big Luthor arc, he has to put a bullet through Lana Lang's spine or Mrs. White's brain. You still have that option with Corporate Luthor, I guess, but you can also see him threaten them on non-violent, non-physical levels. Besides, how long in today's market do you think they could write your proposed Luthor, doing these overtly corrupt and nasty and vicious things before even the most bleeding heart liberal in the DCU gets Joker-syndrome and says "jeez, just kill the bastard already. We'll forgive you this one. Quit putting him in an obviously inadequate revolving-door prison system already where he's just going to escape and murder a family of four in a month or two."
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1. Sorry about the bandwidth limitation for the hyperlinks. Not only did I have no idea they would reach the limit, I didn't even know there was a limit. But as you may have read when you clicked on them, they should be back up the following day, so come back tomorrow if you missed it today. I think it's worth it.__________2. Something I didn't get a chance to talk about in the piece was some of the few battle-suited Luthor stories following ACTION #544. In one of the stories, Lex is able to disengage from the armor and have it enclose itself on Superman, trapping him inside. THAT was a hairy predicament, lemme tell you.__________3. Corm, thanks for getting the Perez pin-up link into the article. You like Swan's version better? Interesting. Again, I find Swan to be a little on the stiff side sometimes, but I think Swan gets the job done, and then some, 9 time out of ten. I also think his inker makes a big difference; I think I may prefer Bob Oksner inking Swan over Anderson. But for most people, Anderson is the Gold Standard. (And special thanks to Bizarromark, wherever he is, for giving me a proper schooling in Curt Swan way back when.)__________4. G-Man, yeah, you're right, Swan was put out to pasture before he was ready, tossed a bone here and there with Superman after the reboot. But I was at the Swan symposium at the Comicon, and I got turned on to his 90's AQUAMAN work, specifically #1. After hearing Mark Waid wax poetic on it during the panel, I HAD to get it, and I found it in the cheap bins at my store pretty easily. Waid wasn't lying: It really IS a beautiful book, and I recommend it for anyone who's interested in Swan's work. Maybe it'll find itself in another Tales from the Crevice someday.__________5. The Len Wein Hulk comparison is interesting, Corm; I'll remember that. (Incidentally, Wein wrote a few Supermans too.) The thing about stories like "Luthor Unleashed!" is that when you read it for the first time, it's pretty easy to dismiss; it seems cornball and forgettable, maybe even disposable. And then you find yourself thinking about it during idle moments -- and you have to admit that there was something there. And the next thing you know, you're writing a Tales from the Crevice about it.
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I don't really like it, if you're referencing my praise for it. I just think that Quesada's done a good job of grounding it in reality.
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Dec 01, 2003 9:27:32 PM CST
Well, I'm not saying Luthor would just be carving up people in e
by dave_f
Like Doctor Doom, the ideal treatment would be such that deaths wouldn't always be "on screen", but you'd definitely get a sense that people who got in his path disappeared. But yeah, if an FBI agent got the drop on him, he'd press some little button on his belt to create a Predator-like distortion field around himself, grab the guy's gun, and kill him without a second thought. It's a matter of perception, though. You don't need to actually *see* many deaths like that to know that he's a dangerous S.O.B. - there's a lot to be said for implication and just the effect he has on people. Y'know how everyone in the DC Universe has been terrified of the Joker since the 80's, talking about him like he's the Jack The Ripper of our era or something? Well I *like* that perception most of the time, but it needn't be constantly bolstered by new atrocities. Sometimes, OFTENtimes maybe, the perception is enough. And if the occasional no-name cop or innocent bystander has to die as a reminder, I don't really have a problem with that as long as the writers don't rub the hero's nose in it (in other word, stop dwelling on the "revolving door" stuff and readers will forget about it - AS THEY SHOULD, these being perennial characters whose histories aren't meant to represent realism). No-names really are expendable, a nice means of bolstering villains' reputations because no-names are easily forgotten. Maybe it's wrong, but it's true - a good, workable device for melodrama. No one gives a shit that the Predator killed that one team of guerillas Arnie and company found skinned, but their deaths definitely let viewers know it meant *business*. So it should go for the Joker and a hypothetical hands-on Luthor. 'Sides, every once in a while Luthor would kill some *bad guys* who crossed him - say some Mafia types who inadvertantly hindered one of his plans. Thus, as with corrupt cop Vic Mackie on THE SHIELD, we find ourselves subconsciously giving him a little leeway. Would he absolutely have to get around to killing Perry or Lana one day to prove his worth? Nope. It seems like the obvious choice, because that's what lazy writers do so often, but consider...this Luthor might not even consider the Daily Planet a threat. Too small potatoes, and he's a guy who thinks big. Hell, maybe he even likes the Daily Planet. This is a guy who enjoys his evilness, so they could write the most scathing condemnation in the world and he'd just smile and think, "Yeah....aw yeah." The revolving door prison thing won't be a problem because this guy will rarely get captured, being as untouchable in his way as the corporate Luthor. Really, the Doctor Doom comparison is the one to stick with. Use the villain infrequently, make him a badass when he appears, and don't ever allow him to be 100% defeated. The rest is all in the details, and a good writer (hypothetical, but I hear they exist) should be able to pull that off. Hell, Marv Wolfman found a way to write 70 issues of TOMB OF DRACULA, a comic where a murderous vampire was basically the *main character* in almost every issue. My proposal isn't just "Lex becomes more violent," but also that Lex becomes a mad scientist who's fascinating to watch when he does appear, who instills a grudging admiration in readers because he's always got some freakishly cool contingency plan (like Priest's Black Panther, but eeeeeeeeevil). I don't think we've seen a villain like that in quite some time. I think it's time for the larger-than-life mastermind to make a modern day comeback as a hands-on guy ready to mix it up with the superheroes *directly*. That Luthor is powerless makes him that much cooler for confronting the likes of Superman physically.
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"Evil Doc Savage" has got to be the absolutely best and most iintriguing pitch for a story concept I have ever read. Damn boy, get in contact with DC already.
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Comorant-You hit the nail right on the head. We need a good villian that is mysterious and deadly. Take for example the original "super-villian" I speak of none other than Professor Moriarty-Sherlock Holmes equal. Many believe to this day, that the Professor was a constant presence in the Holmes series. In fact, he only appeared once..and not even in the entire story. Had Doyle had his way, Villian and Hero would perished together.******** It should be intresting to see what Loeb has in store...for Previews had the cover of Superman/Batman with President Lex Luthor IN THE SUIT!****** Lets put things in perspective. There are some great Comic Book Villians. To list the Top five.-(In no paticular order) 1)The Joker-the one villian that managed to survive his post code "funny badguy" makeover. Truelly a frightening character when handled by the right author-the randomness of his insanity should scare the strongest heart. 2)Doctor Doom-belovid leader, ruthless calculating foe-but with the perchant for honor. 3)Darksied-Again, with the right author-easily the most powerful and cunning villian DC has. 4)Kingpin-There is something classy about this thuggish man-Miller handled him right. 5) Lex Luthor. Even in both incarnation (ruthless buisnessman/mad scientist)-Lex was an intellegent foe, with the insane hatred against the hero Superman. This guy is the original, folks...the one that Sivana was patterned after...
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I didn't expect to, to be honest. I decided to give it six issues to prove itself. Yes, it's a real downer. Yes, there's a lot of movie-of-the-week melodrama (brother deals drugs, sister takes 'em, no visible dad, attempted suicide, etc.). Yeah, sometimes JQ's grasp of how the kids talk today is a bit off. BUT, BUT, BUT...a lot of the time, his dialogue is actually pretty good--definitely better than I was expecting. The world he's setting up in NYX, while perhaps not the "gutterpunk" NY kids he suggested at Wizard World Chicago, is certainly the most realistic, everyday portrayal of the lives of regular people I've ever read in an X-book. Those who like their comics all fantastical will say "who wants realistic X-men?" and they *may* have a point--I'll wait and see. What seems more likely at this point, though, is that JQ is trying to make the world as much like mine and yours (or at least the hapless schmucks from "NYPD Blue") as possible so that when somebody suddenly manifests a mutant ability you can really relate to them and their struggle. In the first two issues, he's really impressed me with his ability to do exactly that. I can actually relate to and feel for the main protagonist, which in this day and age is no mean feat. Will JQ be able to continue inspiring that empathy? Does he have enough ideas to carry the book as an ongoing title? I don't know, but we never do with a new book, do we? He's certainly impressed me with the first few issues, though, enough so that he'll get at least the full six issues from me, and he may even have a long-ter reader. Oh, and the luscious art sure doesn't hurt--since JQ doesn't have time to draw books right now, he went after the best talent he could find for his book, and I gotta say this Middleton guy's really got it. Hell, folks, you already buy tons o'crap, just like me--two or three issues where you get to find out if Marvel's top creative guy can cut it or not is worth the money, don'tcha think? I mean, it's not like you're buying MARVILLE or something...
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An amped-up Luthor would be a mistake of Jokerian proportions. Luthor is perfect at his existing power level, and his "hands off" approach is what makes him the perfect foil for Supes. Nobody can touch him, even though they know what a smarmy, manipulative bastard he is. When he becomes hands-on, he'll become fallible and much easier to take down. And every time they don't take him down or he gets out of it, it'll be a Jason Todd, or a Barbara Gordon, or a...what was Jim Gordon's wife's name? Anyway, you get the idea: anybody as powerful and dangerous as you describe would suffer in the hands of all but the best of writers, and it would ruin Superman's only decent rogue. His added strength would make him vulnerable, but in a "this is ridiculous and dull" way, not in a "they really added some depth" way. He's pretty much ideal as is.
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As for Azzarello's run, from what I heard him say at WWC it's not about him thinking Supes isn't squeaky clean. It's because he was trying to understand bidness Luthor's hatred of Supes, and he hit on the idea that to Luthor Superman is the most powerful, dangerous creature on the planet--and he's an alien. He figures Luthor views himself as the hero--a guy who will go to any lengths to keep the Earth and its people safe from alien incursions. No matter how good Clark's intentions are, Lex suspects he may be putting on a show as part of a plan for an invasion force, or at least to take over and run the show himself down here. A reasonable assumption, especially for someone surrounded by triple-crosses and backroom wheeling and dealing, and it could give us some insight into the character if written well enough. Honestly, the new creative teams are the first time I've heard anything about the Superfamily that interested me much in the last 20 years (other than Prez Lex, which I hear wasn't followed through on as well as it could have been).
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I don't care about anything else. The entire issue could have been utter crap, but I don't care. Why?....... Hal Jordan and Barry Allen fighting side-by-side with The Avengers. That made me love Kurt and George forever.
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Corm, I can't say I'll be reading Azzarrello on "Superman" proper. I see his hiring as a bid for NU DC buzz over artistic merit. I remember when Azz was being considered for the third Captain America relaunch, and was quoted as saying something along the lines of "I want to get Cap's hands bloody." This betrays such a basic lack of understanding of the character as to not only disqualify Azz from writing him, but casts doubt on his abilities as a professional writer. My feeling is that whether you like a character or not, you have to respect a company's property and the fan base they've cultivated when authoring their product. It's something like hiring David E. Kelly to write "Everybody Loves Raymond." It's not that Kelly isn't a talented writer, but if he can't cater his skills to the material (by not turning "Ray" into dramedy, for instance), then he shouldn't be involved with the show. Thankfully, since "Man of Steel" is intended to be a Lexcentric book, bias against Superman is downright welcome. Even if Azz drags the big red "S" through the mud there, it can all be chalked up to just reflecting Luthor's worldview. Something like what Ann Nocenti and Mike Baron did one month years past in an issue each of "Daredevil" and "The Punisher," a "Roshamon" thing. An aside: I don't see myself reading "Captain America" again anytime soon. Besides Bachalo's nauseating rendition, the preview of their first issue featured dialogue by Morales that seemed drafted by way of Miller's "Year One." Not that Miller's work wasn't a radical departure from Batman writers past, but aping a fifteen year old reimagining will hardly impress. I guess that groovy Dave Gibbons What If-style four-parter will stand as an enjoyable aberration in an otherwise abysmal volume.
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I'm one of the biggest Martian Manhunter fans on the face of this planet, so I of course will defend him unto death as the "Heart and Soul of the Justice League." Basically, one's interest in MM depends on their fidelity to the JLA. If you truly love the team like J'Onn does, you stuck through it over years as lousy and/or controversial as the Detroit era, the Giffen/DeMatteis international League, the painfully bad Jurgens/Vado/Jones years, and ill-conceived spin-offs like the Task Force. After surviving through all that, a fan realizes that the one thread holding all these disparate concepts together as a "Justice League" was J'Onn J'Onzz. Further, that character was usually the only one to remain roughly in character through all those incarnations, preserving his personal integrity, and safeguarding the League's. The reason why is simple--the League is J'Onn's adopted family, and he's become the grandfather of the clan. J'Onn has a deeper emotional investment in the League, in every variation and for each imdividual member, than any other hero in the DCU. His affection is apparent over time, and echoes the feelings of longtime fans. Therefore, J'Onn is not only the manufactered spirit of the team Post-Crisis, but also a surrogate for the veteran reader as honorary member of the team.
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I agree with JonQuixote about avoiding Joker-syndrome by keeping Lex corporate. Not only am I a big fan of putting The Joker to rest for the next decade or so, but after "Hannibal," I was highly receptive to shifting the focus toward Dollarhyde in "Red Dragon." Sustaining characters at that level of intensity is impossible without burning out both creators and readers. Most importantly, though, is the fact that the current take on Lex Luthor works, and I don't think you can say that about much else in the Superman franchise. I'd rather see "evil Doc Savage" applied to either an established 2nd rate villain (a powered-down Brainiac 4.0?) or that rarest of finds, a worthy new addition to the rogues gallery. I'd also like to echo Village Idiot's recommendation of the Giffen/Fleming/Swan Aquaman material. Eric Shanower's inks in the special accentuated the beauty and special nature of the first special, an Aquaman comic that was actually *gasp* good reading. The mini-series (with the Oksner inks) that followed was decent, but the spcial was so good it obviously inspired much of the later Peter David work on the character. Alright... sorry... enough out of me.
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Dec 02, 2003 6:35:28 AM CST
Marco, you have me vis a vis my failure to follow every incarnat
by the g-man
I note you seem to be referring to eras that are all from the mid-80s on. Fine. But that's not the era Ross and Dini were trying to invoke. They were trying to invoke the 1960s and 70s, when J'Onn was either absent or a minor player. My point was that, for much of the series' original run, and pretty much the run that Ross and Dini are trying to ape, J'Onn wasn't there. Hawkman and GA were.
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Sorry to go COMPLETELY off topic, but can anyone help me with a bit of info on the artist Rob Haynes? He drew the Daredevil:Ninja miniseries, and try as I might, I can't locate any information on anything else he's done. Was just seeing NYX mentioned; the art in that reminds me of 'Ninja' with the pleasant minimalism of line, wot? If anyone can help that'd be swell!
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...like a lot of folks who use Pre-Crisis history to slag off Manhunter's relevance, you forget that the character's later impact coupled with revised chronology heavily influences modern creators. In short, Dini and Ross aren't much older than me, and they read a lot of the same comics. Rather than being older fans who wondered "what is this third stringer doing here" throughout Manhunter's Silver Age slot in the roster, they most likely were caught up in the mystique of the character built up by his irregular appearances and founder status. While Manhunter rarely appeared in the 1970's, his role in stories of the time were quite intriguing. I believe it was either Steve Englehart or Len Wein who wrote a single issue story that revealed J'Onn J'Onzz had secretly created the Justice League himself. Couple that with a series of dynamic outings in both JLofA and elsewhere and the relatively little known about the character among general fandom (true to this day,) and it's easy to see how the character could fire the young imagination of future creators with a clear respect for comic book history. I think Ross himself was in his teens when J'Onn returned like the prodigal son to the JLA fold just prior to Crisis, and that arrival must have proven quite a revelation. Seeing as Barry Allen died right around the same time, it seems to me at least some of Ross' love of that hero would have to come from researching stories published before his time, coupled with the elevation to true iconic status Barry received in death. Likewise, J'Onzz's being treated like the singular mooring within the League in it's most chaotic years made an impression. Factor in Manhunter fan Mark Waid's influence from the Kingdom Come days, and it makes sense that Ross would be, as you might feel, unduly reverent of the character. Besides, while Dini and Ross might be invoking the 60's League through their choice of line-up, their being affected by very modern writing is readily apparent. A true 60's throwback would have lacked any real characterization, instead favor Gardner Fox's plot-dominated adventures. The fact that the heroes had distinctive personalities at all signals that they are working far past the original models, and their small touches (Superman's "test pilot" line, Barry's phone call) is of a purely Post-90's flavor. It only makes since to not only use Manhunter's far more appealing modern characterization, but to also employ him as the "voice" of the League as a whole. Every other featured member is a well-known soloist, many of which having already gotten a Dini/Ross special under their belts. How much more odd and biased would it be to use Aquaman as the narrator? J'Onn J'Onzz barely has an existence outside the JLA titles (Anyone read his short-lived solo series? Is their a single fan of his HoM feature out there?), so he more than anyone is defined by being a member of the Justice League.
I note you seem to be referring to eras that are all from the mid-80s on. Fine. But that's not the era Ross and Dini were trying to invoke. They were trying to invoke the 1960s and 70s, when J'Onn was either absent or a minor player. My point was that, for much of the series' original run, and pretty much the run that Ross and Dini are trying to ape, J'Onn wasn't there. Hawkman and GA were.
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A BIT MORE ON LUTHOR: The 60s scientist Luthor sure was a well-rounded character, when other DC guys were, let's be fair, blank slates. My fave is the one where he finally has a chance to kick non-powered Superman's ass, but THROWS THE FIGHT SO SUPERMAN WILL GO AND GET A PLANET SOME WATER. That was heavy shit for 1963.***
LIBERTY AND JUSTICE: That delivered, but what the fuck were Green Arrow and Canary mentioned as "associate members" for? Fuck, in the 70s, when this story is "set", they, Reddy and Ralph Dibny were ALWAYS in the spotlight, or so it seemed. And Ross, you're good, but STOP putting Captain Marvel and Plastic Man in the JLA all the time. They weren't there, okay? Do whine about DC changing Green Lantern, then make up your own old JLA line-up. That's called hypocrisy. I agree with G-Man: J'Onn J'Onnzz isn't a player to me. I got all the Satellite years issues and he ain't there. Except for two guest shots or whatever. He's not the "heart and soul" and if this book can have Wonder Woman, then J'onn should have been in the background. Final quibble: the blurb at the back calling the JLA "the first super-team". WTF? DC is a hive of sloppy shit like that these days. Fuck, the Green Arrows of the World predate them, let alone, the JSA, Seven Soldiers, Challengers etc. Other than those complaints, a perfect book.****
JL/AVENGERS: IS a perfect book.***
BATMAN: Azzarello is better than Hush, anyway. But then, I'm sick of Jeph Loeb and his twelve part, every-fuckin' villain, crappy whodunnits with shit endings.
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Perhaps they could do a take on the old Superman Red/Blue imaginary story from the 60s and have both Luthors: mad scientist & businessman.
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Dec 02, 2003 2:38:19 PM CST
Chris Claremont & Alan Davis to take over Uncanny X-Men...
by elliot_kane
Just announced :) Looks like Uncanny might actually be worth reading again...
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Not just for 'Formerly Known...' and Lobo, but also for the extremely well written Reign Of The Zodiac. And guess who will be taking over the writing chores on Thanos as of issue 8? None other than Keith Giffen! A good year indeed...
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is incredibly funny, taking the piss out of real life events, hip hop, and (In the last issue) Dan Didio, one of the top DC execs. I've always loved Lobo, particularly as written by either Giffen or Alan Grant.
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I know this is sort of off topic, but does anybody else wish that they'll take the old b/w magazine comics of Planet of the Apes and Conan and the like and put them in the "Essential" series? They are b/w and seems like a natural. I loved those old Planety of the Apes stories with Jason, Alexander, Brutus and the Lawgiver.
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WHYWHYWHY?!? I love Alan Grant's artwork, but dammit--Claremont? COME ON! He sucked on X-books in the '90s. He sucks on 'em now. Why give him back the flagship book? Jumpin' junipers, did you guys read his overwrought crap in FANTASTIC FOUR a few years ago? The guy is DONE. In fact, he's *overdone*. He can't write for crap anymore. Yeah, yeah, respect for what he did in 1987. Frikkin' WHATEVER. Try reading anything he's done in oh, say, the last DECADE and you'll hate yourself for it. Shit, he turned Willie Lumpkin into a hot blonde and gave Reed and Sue a warrior daughter from the future! Did *anybody* wanna see a female Cable?!? The guy ripped off his OWN CONCEPTS! The writing is dull and impenetrable, the characters are boring and cookie-cutter, their reactions are either impenetrable or incomprehensible--I mean, whut tha crap? Y'know, Davis had a damned fine little team book of his own there with ClanDestine, but then, he forgot to call it X-Clan X-Destine, so it never went anywhere. Grrrrr. So much for Nu-Marvel--it's now Old, Worn-Out, Rehashed Marvel. See? It's true: careful what you wish for. Say, who wants to bet I can get a full set of SOVEREIGN SEVEN on line for under 20 bucks?
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One of the most original new titles out there and nobody seems to care. Plus a collection of old issues of the Goon came out. Come on people!!!!!!!!
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But fat, out of shape, 20 years older than Clark, hand rotting from the Kryptonite ring, Lex Luthor. The sociopath who killed his parents to get their insurance money. The creep who hired the two kids who used to pick on him to be hired goons. Any of youse who've never read "Lex Luthor, The Unauthorized Biography" doesn't know what a villain is. It's the perfect companion piece to "The Killing Joke" and that's why it absolutely sickens me that they're ruining Luthor in Birhtright just to copy one of the gayest onscreen TV duos ever. yeech.
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...they implied on "Smallville" recently that Lex's daddy, Jon Glover, had actually burned his parents' tenement down, killing them in the process. It's like Jeph Loeb and a couple of the other consultants like the original material but wanna change it anyway. Clearly, they were going a different direction w/Lex and want him to be more sympathetic, so the whole "insurance money" angle didn't work. It sure helped make his dad look like an even bigger bastard, though, so why not use it?
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To Marco Xavier(great alias for a Martian Manhunter fan!): That issue you're thinking of, in which J'onn triggers the formation of the JLA, was _JLA_ # 144, by Steve Englehart, as you suggested. In it, an invasion by white Martians in 1959 sees J'onn, Supes, Bats, Flash, Aquaman & Wonder Woman, along with a couple of dozen other characters (including Congorilla if memory serves) fighting back.
Though J'onn proves himself to our heroes, the populace is panicked over Martians, so Supes & some of the others decide to join forces permanently, and after the panic has died down, introduce J'onn to the world as one of them, vouching for him and reassuring the public. Even then, it was odd to read a story in 1977 in which characters talk of their adventures being 18 years before; after the Crisis, of course, this all went by the board, since Supes was no longer a founding member of the League, and even if it hadn't, 1959 was just too dated to keep as an origin year. Fun story, though, with the Blackhawks & the Challs & Roy Raymond, TV Detective. *** You asked if there was even one fan of the _House of Mystery_ Martian Manhunter run. I wouldn't call myself a fan, precisely, but I do have fond memories of one issue...# 173, I think it was... Called "So You're Faceless!",it has J'onn infiltrating a secret organization by taking the identity of a member who's just been killed. But someone knows he's an impostor and it turns out to be Faceless, the head
of the organization. How does he know? Because he faked his own death, and J'onn is imitating him. Fairly clever and surprising, certainly more so than anything in other issues, or in this one, which ends with a lame fight & a bunch of explosions; but I still remember it as being one of the only times I was actually shocked at who was behind the mask when it got pulled off, so I've got to give it some props. -
Dec 04, 2003 1:24:17 PM CST
I was driving in my car the other day, listening to a CD and thi
by mortsleam
Something about a Coldplay song being a perfect match for a Watchmen trailer or some nonsense. Then it hit me. The CD I was listening to, Radiohead's "Hail to the Thief" IS the soundtrack to Watchmen -- The Musical. Just a thought. Hrm. Looks like I'll have to buy Elfquest again. This is getting worse than Evil Dead AND the White Album put together. grumblegrumble...
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Ultimates #12. Absolute bad ass. This is just about my favorite single comic of the year.
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Oh, man that was good. The first page made the wait worthwhile! And they've got Cap's personality DOWN. I love his no-nonsense military style in this book, and some of the art for his sections was superb (SPOILING! ...especially the backflip from the jet). Written brilliantly, drawn beautifully - I really can't praise Ultimates enough, in a guilty-Bruckheimer-movie sort of way... :)
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DO THIS THINK THIS LETTER ON MY HEAD STANDS FOR FRANCE? brilliant
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Right on Louis. Millar has nailed the good captain. This isn't some costumed superhero, he's a badass supersoldier that just woke up from the 1940s. I can't wait to see how many people whine about that France bit, without stopping to think that it is totally understandable that he would say that, having only been removed from the attitudes of the 40s for a few weeks or months. I hope they keep up this idea that Cap acts like he's never heard of political correctness, which he probably hasn't.
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Thanks for the info. I've really got to get my hands on that JLofA issue eventually. It sounds very cool. Also, while I'm interested only because of J'Onn, his early HoM run was a kitch delight. Zook's dialogue was inane to the point of pricelessness, and Professor Hugo was surprisingly brutal for the time. The VULTURE stuff was alright, but it became your standard book without the gonzo charm of the Diabolu period.
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