Monthly Archives: January 2018

Here We Go Again…

Strangers in Paradise XXV #1
Writer/Artist/Cover artist: Terry Moore
Publisher: Abstract Studio
Price: $3.99 US

Everything Terry Moore writes and draws is something I want to see, and in recent years, I’ve enjoyed seeing him branch out into other genres. With Echo, it was a novel and grounded take on a super-hero. Rachel Rising saw him delve into horror. And with Motor Girl, he examined… well, I honestly couldn’t tell you exactly under what genre that book fell (which is one of the things that was so captivating about it). Strangers in Paradise is the drama that served to bring Moore to the industry’s attention, the foundation on which he built his career in comics and his success in self-publishing. At first glance, the past incarnations of the property were part of a relationship drama, even an unconventional romance. But like Motor Girl, it defied easy definition. It was a slapstick comedy. An international thriller. A coming-of-age story. The depth of his characters — especially when it came to Katchoo and Francine — no doubt made revisiting this familiar corner of the world he’s built after so long a relatively simple task for a storyteller with the vision, nuance and sensitivity of Moore, but I was surprised he chose to return to this corner of the world he’s built over the years. However, yet another strong and riveting script from this masterful writer/artist now has me eager to learn what’s happened with these characters and what’s in store for them.

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Alt Fight

Days of Hate #1
“Chapter One: America First”
Writer: Ales Kot
Artist/Cover artist: Danijel Zezelj
Colors: Jordie Bellaire
Letters: Aditya Bidikar
Publisher: Image Comics
Price: $3.99 US

Writer Ales Kot must have been nerve-wracked as he waited for this comic book to be released, wondering if the possible prophecies of his prose might come true, and I expect the experience will be a perpetual one throughout the 12-issue run. This story flows entirely from the socio-political upheaval in the United States right now and the emboldening of white supremacy in that country. Every day, there’s a new development in politics that would have been thought to be impossible in previous decades. But more than anything, I can’t help but wonder if the near-future Kot imagines in this story isn’t so much near but immediately impending. Days of Hate isn’t so much a piece of fiction, but a prediction if racism and the wealth gap are allowed to continue to grow, threatening to swallow what was once viewed as perhaps the most progressive and idealistic nation on the planet, rather than the shithole country many worry it’s in danger of becoming.

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Poster Parting Depression


During my junior year of university, the above image adorned one wall of my small dorm room. The massive piece of art, the noted Marvel Universe poster with art by penciller Ed Hannigan and inker Joe Rubenstein, was actually a collage of his cover artwork from the first 12 issues of the original Official Handbook of the Marvel Universe limited series, over the course of 1982 to 1984 (the total run was 15 issues, with the last three focusing on dead characters and weapons)..

The poster, measuring 50 inches by 50 inches (more than 16 square feet), would’ve been released in 1988 — oddly enough, after the followup index series, Official Handbook of the Marvel Universe Deluxe Edition had wrapped up. Of course, since different artists ultimately contributed cover artwork for that second series while Hannigan handled all of the covers for the original series, I suppose it made more sense to release his work as a poster (albeit updated to reflect some additions and costume changes).

Alas, sometime during my university days, or perhaps as they came to an end, I misplaced the poster, packed up safely in its original hard cardboard tube. I left it behind somewhere after one of my many moves.

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Flea Market Finds: Tomorrow’s Avengers Vol. 1

Guardians of the Galaxy: Tomorrow’s Avengers Volume 1 trade paperback
Writers: Arnold Drake, Steve Gerber, Roger Stern, Gerry Conway, Roger Slifer, Len Wein, Chris Claremont, Scott Edelman & Stan Lee
Pencils: Gene Colan, Sal Buscema, Don Heck, Al Milgrom & John Buscema
Inks: Mike Esposito, Frank Giacoia, Vince Colletta, Pablo Marcos, Al Milgrom, Howard Chaykin, Terry Austin, Bob Wiacek, Dave Hunt, John Tartaglione & Joe Sinnott
Colors: Stan Goldberg, Petra Goldberg, George Roussos, Irene Vartanoff, Al wenzel, Glynis Wein, Phil Rachelson, Janice Cohen & Don Warfield
Letters: Herb Cooper, Charlotte Jetter, Annette Kawecki, Dave Hunt, Karen Mantlo, Joe Rosen, John Costanza, Denise Wohl, Irving Watanabe, Jim Novak & Sam Rosen
Cover artist: Al Milgrom
Editors: Stan Lee, Roy Thomas, Len Wein, Marv Wolfman & Archie Goodwin
Publisher: Marvel Entertainment
Price: $39.99 US/$43.99 CAN

A few months ago, I got a chance to pick up this trade paperback and Tomorrow’s Avengers Volume 2 for a paltry $20 (total, not each). It was too good a deal to pass up, and I relished the chance to read this Silver and Bronze Age material. That sort of classic material is almost always entertaining, be it for its campiness, bombastic qualities and even as fine representations of the craft of comics. That’s what I hoped to find here, and there was some of that entertainment to be had. But unfortunately, what this book spotlighted more than anything was how the publisher and the creators tasked with these original Guardians comics really didn’t know what they wanted to do with these characters and concepts. The late Steve Gerber was known for his unconventional and avant-garde storytelling, but his scripts later in this book read like ham-fisted attempts at classic Star Trek episodes featuring few characters anyone’s going to like at all.

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Brought Together By Bingo

Bingo Love original graphic novel
Writer: Tee Franklin
Artist: Jenn St-Onge
Colors: Joy San
Letters: Cardinal Rae
Cover artist: Genevieve Eft
Editor: Erica Schultz
Publisher: Image Comics/Inclusive Press
Price: $9.99 US

Purely from a marketing perspective, this book has a lot going for it. The title is a striking one, evoking curiosity and bemusement, and the cute figures on the cover draws one in further as well. On top of that, the $10 price tag is an affordable and inviting one, so Bingo Love was poised to catch some eyes. But I suspect word of mouth would have been all these creators needed to attract an audience. This is a powerfully compelling and charming love story about being gay in America in the past and what it means to be gay today. It’s definitely a celebration of the progress in LGBTQ+ issues. But honestly, the story doesn’t draw its strength from that relevance and importance. Instead, it’s the touching and believable love story that grabs the reader and never lets go, along with the well-realized cast of characters. By the end of the book, this is a story about a family that adapts to the power and promise of love, putting happiness above prejudice and petty concerns.

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Post-Credits Digression

While Marvel Studios didn’t invent the post-credits scene in movies, it certainly embraced it to the point that it’s a signature of its brand now. Whenever I go to see a Marvel movie in theatres, I’m always shocked at the number of people who get up and leave as soon as the end credits begin. When the Marvel brand first started, most people left, with a handful of us remaining for the bonus. Now, I’d say almost half of the audience splits, and given how much fun those post-credits scenes can be and how well known the Marvel brand is for them, I find it incredibly puzzling.

You know what’s even more befuddling? Marvel Entertainment’s new attempt to adopt the post-credit scene in its comics. As of last week, the comics publisher has begun branding a handful of its titles with a “Where is Wolverine?” icon and promising the comic in question has such a bonus scene at the end of the book.

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Think Pink

Exit Stage Left: The Snagglepuss Chronicles #1
Writer: Mark Russell
Pencils: Mike Feehan
Inks: Mark Morales
Colors: Paul Mounts
Letters: Dave Sharpe
Cover artists: Ben Caldwell (regular)/Evan “Doc” Shaner (variant)
Editor: Marie Javins
Publisher: DC Comics
Price: $3.99 US

As many comics critics are still offering up their Best of 2017 lists, we’re faced with what may be the front runner for 2018’s finest right off the bat. I knew The Snagglepuss Chronicles would be great, given that it’s the brainchild of Mark Russell, the writer behind the surprising and relevant take on The Flintstones. Furthermore, we got a taste of his unconventional and innovative interpretation of Snagglepuss in last year’s Suicide Squad/Banana Splits Special last year. But even that sneak peek in that short backup story didn’t prepare me for the strength of his social commentary in this new title. This comic book is a fascinating piece of historical fiction that has the potential to spark an interest in 1950s creative culture, and at the same time, the writer offers a powerful perspective on the realities of 21st century America.

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Spidey on Trump’s Threads

It doesn’t matter where you are, what you’re doing or with whom you’re speaking — it’s next to impossible to avoid references to Donald Trump these days. From social media to social situations, from televised fiction to telephone conversations, Trump is everywhere. Of course, comics — and especially the super-hero genre — have always served as an escape for the masses.

An even safer bet for refuge in comics are back issues. I’ve been poring over dozens of older comics — dating back a couple of years to a couple of decades — as of late, finding some charming storytelling, some impressive work and some clunkers as well. I’ve been making my way through a stack of old Spectacular Spider-Man issues the last couple of days, enjoying the artistry of Sal Buscema.

And then I hit Page 6 of Spectacular Spider-Man #171, published in late 1990, and I was jolted from my escapist reverie.

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