Người đăng: Unknown on Thứ Sáu, 13 tháng 11, 2009


Number 628



Bubbles in the brain


Here's some more high-larity from the gang at the Sangor shop, where issues of Giggle, Ha Ha and Coo Coo Comics were produced.

Animator Hubie Karp wrote this funny story which comes from Coo Coo Comics #39. "Bubbles in the brain"; I love it. I wish I could do what Colonel Punchy Penguin does. Sometimes you've just gotta unscrew your lid and let out those bubbles.

My appreciation to Dave Miller, who scanned this story for us. Thank you, Dave.






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Trade Perspectives: Crossover Comparison - Final Crisis vs. Blackest Night collection

Người đăng: Unknown on Thứ Năm, 12 tháng 11, 2009

Now that we're beginning to see some of the shape of how Blackest Night will be collected in trade, I thought it would be interesting to compare the collections with those of the most recent previous crossover, Final Crisis.

It bears comparing the way DC has collected recent crossovers because I dare say it's a work in progress. Consider that of the last four crossovers (defined as a major line-wide event where the main story took place in a minseries) before Identity Crisis -- Final Night, Genesis, DC One Million, and Day of Judgment -- only two of them have been collected at all, and certainly not to the extent that Infinite Crisis and many of its crossover issues were.

So let's look at Final Crisis and Blackest Night in the categories of lead-ins, the event, crossovers, and aftermath. I'll choose "winners" for each category, loosely based on which approach I favor or gives the most bang for the buck.

Lead-Ins:

Final Crisis had a whole year's worth of lead-in stories, Countdown to Final Crisis. Of course, if you consider that all the nearly fifty-plus issues of Geoff Johns' Green Lantern run have been leading in to Blackest Night, that's pretty hefty, too. It looks like ten Green Lantern trades versus four volumes of Countdown -- but then, for completists, there's Countdown to FInal Crisis: Lord Havok and the Extremists, The Search for Ray Palmer, Arena, and Countdown to Adventure, plus Salvation Run (and even Amazons Attack was involved), and none of the Countdown books have really been considered breakaway successes. Winner: Blackest Night

The Event:

Previously we examined all the issues going in to Blackest Night -- not only the eight issue miniseries, but also seven three-issue miniseries (another eighteen issues) plus seven "resurrected" titles -- thirty-six issues that are specifically titled Blackest Night. Final Crisis, in contrast, had seven issues, plus the Requiem, Resist, Submit, and Rage of the Red Lanterns specials, the Final Crisis Secret Files, the two-issue Superman Beyond, the three issue Rogues' Revenge, and the five-issue Revelations and Legion of Three Worlds -- twenty-seven issues total, and some of them extra-sized. We had thought Blackest Night was a behemoth as compared to Final Crisis, but it actually looks a little more even.

In terms of collections, Final Crisis had the main hardcover (which included some of the specials), the Final Crisis Companion, Revelations, Rogues' Revenge, and Legion of Three Worlds -- just four hardcovers and a paperback if you'd like to say you read the whole thing. At this writing, however, Blackest NIght has the main hardcover plus Rise of the Black Lanterns, Black Lantern Corps volumes one and two, and Blackest Night: Tales of Corps volume one and two. That's five hardcovers (so far) to Final Crisis's four. Winner: Final Crisis

Crossovers:

Final Crisis distinguished itself by a general lack of crossovers, though there were some: Justice League of America #21 and #31 dealt specifically with the fallout of Final Crisis, as did Titans #16; we also can't forget the "Last Rites" story that appeared in Batman after Batman RIP. Mostly, however, we can agree that Final Crisis kept to itself. Not so Blackest Night. I count at least sixteen issues of regular DC Comics series with ties to Blackest Night (and I probably missed some), plus at least eight issues each of Green Lantern and Green Lantern Corps. Some of these will likely be collected in the hardcovers above, but if you're going for the complete Blackest Night picture, you'll probably be updating your collection with a good wide swath of the DC Comics Universe. Winner: Final Crisis

Aftermath:

Of course, it's hard to judge the aftermath of Blackest Night given that we don't know what will be released yet (though more hardcover Green Lantern volumes are sure to come). Final Crisis saw in its wake four six-issue miniseries, Run!, Dance, Escape, and Ink, all of which will be collected in softcover. As contrast, Infinite Crisis only had two follow-ups specifically labeled as "aftermaths": Crisis Aftermath: The Battle for Bludhaven (really a very early Final Crisis prelude) and Crisis Aftermath: The Spectre. We'd be surprised if the upward trend didn't continue with at least four miniseries coming out of Blackest Night. Winner: To be determined

Summary:

It surprises me that Final Crisis "wins" above, because I prefer how much more Blackest Night is tied into the DC Universe. One thing that sticks out to me, however, is the question of crossovers into monthly titles.

As I mentioned, Final Crisis has a lot of "fallout" -- that is, not monthly titles that cross over into the main event as with Infinite Crisis and Blackest Night -- but rather its effects are felt later in Teen Titans, Robin, Nightwing, and the like, and you get a complete story even if you only read the Final Crisis miniseries.

This reminds me of Identity Crisis, "the crossover that wasn't" -- as I understand it, Identity Crisis didn't start out as a crossover, but as it gained attention, writers began incorporating it into their stories and eventually it became a cornerstone of Infinite Crisis. I think this is how I'd like crossovers to be -- there's some thrill to seeing issues co-branded with Blackest Night, but something more organic like Identity Crisis and Final Crisis (or even how Blue Beetle and Teen Titans eventually crossed over with Sinestro Corps War) seems a better hedge against event fatigue.

Love when a crossover involves your favorite monthly? Wish those pesky events would stay in their place? Let me know in the comments!
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Người đăng: Unknown on Thứ Tư, 11 tháng 11, 2009


Number 627


South Seas Girl


I can't resist another jungle goddess, this time drawn by Matt Baker.

Alani was the South Seas Girl, not proprietress of some African jungle domain, so that made her somewhat unique. Maybe she was a response to sarong-wearing Dorothy Lamour's movie popularity. Alani normally appeared in Seven Seas Comics, a rip-roaring postwar comic. This particular printing was from an unusual place, Tales of Voodoo Vol. 2 Number 3, 1969, published by the bad boys at Eerie Publications. Besides the presence of a guillotine I presume retitling it "The Bloody Ax" and painting some blood onto the artwork qualifies it as a horror comic.









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Review: Ocean trade paperback (Wildstorm/DC Comics)

Người đăng: Unknown on Thứ Hai, 9 tháng 11, 2009

[This review comes from Collected Editions reader David Tobin]

Ocean is a 2004 series from writer Warren Ellis and Chris Sprouse released under the Wildstorm banner. Set one hundred years in the future, Ocean follows U.N. Weapons Inspector Nathan Kane as he undertakes a mission to Europa, one of Jupiter’s moons. A U.N. exploratory station called Cold Harbour has been investigating the oceans on Europa and has discovered the remnants of an ancient civilization, which include countless coffins and weapons capable of planetary-scale destruction. Kane is sent in to assess the situation and keep the weapons and technology out of the wrong hands.

The cast of the book is very well written and Ellis really gives each character their own voice. Each character has an anecdotal moment tied to the main narrative which helps define their personality. Kane, for example, is completely averse to guns of all kinds after his parents were shot and killed, spurring him to become a U.N. weapons inspector.

The dialogue really shines strongly throughout the entire collection, in particular the quieter scenes between Kane and Fadia, any scene engineer Siobhan is in, and the confrontations with the schizophrenic Doors Station Manager who attempts to undermine the U.N. research. The only misgiving I would have with the characters is that I feel Kane can sometimes feel as if he is a watered-down version of Planetary’s Elijah Snow, especially in the action scenes that could have been lifted wholesale from that book.

Ellis portrays technology and science in a very interesting and tangible way by making every advancement tied to a reasonable current-day practice or theory. This one-step-removed way of looking at an advanced civilization is humorously played upon by the character of Kane at the book’s beginning and ending. The technology gives the entire narrative a Hollywood blockbuster feel with giant flying saucers, advanced weapons and ballistics, as well as the book's antagonists, the Doors company.

Doors is the only real mis-step in the book. The ideas of the imprinted human workers and the hive-like structure to the company is interesting and well handled, but the pointed jokes portraying Doors as Microsoft really take you out of the story. Painfully obvious puns like “I mean, could you ever get Doors 98 to work?” are so heavy-handed and out of place. The idea here is interesting but Ellis doesn’t really ever do the concept justice.

Chris Sprouse does an amazing job as always. His clean lines and great sense of design bring Ellis’ ideas to life and have a good coherence between technologies and the clutter of the world. His storytelling is strong and there is never a wasted line. I’ve always been a huge fan of Sprouse, his Tom Strong run with Alan Moore in particular, and I’m amazed that he is still not getting the mainstream recognition he so rightly deserves.

Overall, Ocean is an excellent read. Art and script are excellent despite the niggling issues I pointed out. Anyone who’s read any of Ellis’ Planetary or Authority will love the popcorn movie spectacle and fully fleshed out world.
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Người đăng: Unknown


Number 626



This song's a killer!


"Record of Doom" from DC's Tales of the Unexpected #2, 1956, reminds me of the backwards masking scandal of a couple decades ago. You remember when recording artists were accused of sending hidden messages in their songs, backwards, subconsciously influencing their listeners. I couldn't understand what they were saying consciously, much less subconsciously.

The story is drawn by Bill Ely, a longtime comic book journeyman who came into the industry in the 1930s. For DC Comics he later drew Rip Hunter, Time Master.

The suicide theme of the story seems morbid for a Comics Code-approved story, especially so soon after the Code was adopted. (However, in the pre-Code days the guilty party would have done his own killing.) Also, the cops in this story are pretty dumb. They don't notice until several people have taken the plunge that the suicide notes are all in the same comic book lettering. It makes me think of Jack Webb's Dragnet. In my head I replaced the comic book cops with Frank Smith and Joe Friday. Panel 5 and 6, page 5:. "Look at this letter "O", Frank. Notice the break in it on every single note?" "What are you getting at, Joe?" "They were all written by one man."

Dramatic Dragnet theme music rises: DOMM-DA-DOMM DOMM!






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Người đăng: Unknown on Chủ Nhật, 8 tháng 11, 2009


Number 625


The comic book civics lesson


If a United States senator is having a tough time getting his bill passed through the regular American lawmaking process he can always resort to what the villains in "Forged Faces" did in Uncle Sam Quarterly #1, Autumn 1941. Just replace the senators and congressmen--even the President--with lookalikes.

In this comic book civics lesson from the Will Eisner crew the Bill of Rights can be changed by mere votes, instead of a Constitutional amendment. Tsk tsk. It's a good thing it's not that easy to change the Constitution or those rights would've been gone years ago.

Despite its silliness I like this story. I'm not sure that Uncle Sam, an enduring American symbol, was a good comic book character. Maybe it's because he was already a symbol before Eisner and Co. got ahold of him. He's still a symbol, and although he was revived by DC with a bunch of other Quality Comics heroes in the 1970s he didn't last past the end of the war in his own title (which became Blackhawk), or his lead spot in National Comics.

According to the Grand Comics Database Eisner did the splash page and may have written the story, and Dan Zolnerowich pencilled pages 2-16. The inker is unknown.
















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Người đăng: Unknown on Thứ Sáu, 6 tháng 11, 2009


Number 624



Edgar Allan Ditko


Hear that scratching? It's the sound of fingernails feebly trying to get out of a casket with six feet of earth on top of it. Yes, it's the old Premature Burial plot by Poe, reworked as a nice little 6-pager by Steve Ditko from Black Magic Volume 4 Number 4 (whole number 28), Jan.-Feb. 1954.

Yes, I know that Halloween was last week, but I still have plenty of stale Tootsie Rolls left in my trick or treat bowl. You can come on over if you don't mind making your way through the razor wire strung across my front yard. I tried to discourage the kiddies, you see...and one of these days I've got to go out into the yard and retrieve the two who couldn't be deterred.






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