You've Been Warned: Teen Titans Spotlight #7

This is a classic example of a missed opportunity. The character of Hawk, during this post-Ditko/pre-Armageddon 2001 period is really ripe for a little good natured fun. You've got this totally ridiculous character, who just doesn't fit the superhero mould, as he's more than happy to punch anyone who dares disagree with him. Mike Baron almost gets it - like when he alludes to the fact that the Titans do not endorse Hawk's attendance at an anti-terrorism conference. Of course, Hawk's champing at the bit for terrorist to strike so that he can work out some of his Daddy issues. Unfortunately, Baron isn't able to maintain the theme of having fun at Hawk's expense and the story descends into a typically dull and silly showdown. By the time we meet the enemy, a giant 4-legged insect named Arachnid (I kid you not), it feels like we're trapped in some sort of humourless Bizarro Tick universe. This is very early Jackson Guice, and it's really not my cup of tea. It's got that very poorly proportioned and angular look that haunted so many comics during this period. Avoid.

Steve Ditko Cover of the Week: Captain Atom #79

I love this cover. I think that it's the colours that do it for me. It's a much broader spectrum (forgive me) than one would usually find on a Charlton cover in the 60s. It's a more sophisticated look - in line with what DC and Marvel were publishing. As far as the cover design goes; I think it's very strong. Ditko has blocked the characters nicely, allowing adequate room for Doctor Spectro's crazy rainbow circle of horror. I won't mention the costume design - I imagine a good deal of bandwidth has been wasted on that elsewhere. The background characters are wonderfully posed as if they think they are appearing on the cover for a pre-hero Atlas monster book. I really like Rocco 'Rocke' Mastroserio as an inker for Ditko. There's some nice touches of depth added here, especially to Captain Atom. The only real flaw here is the caption, which takes up far too much room. Copying Marvel is not always a great idea.

Trade Marks: The Nobody

I picked this up yesterday and plowed through it last night. I should really review it next week when I've had some time to digest it, but I want to tap into my giddiness. Let me start off by saying that Jeff Lemire has joined the very, very short list of creators whose work I'll buy without without question and sight unseen. We're in Eisner and Moore territory here, folks. The Nobody proves that the Essex County Trilogy (reviewed by me last October) was no fluke, and confirms that Lemire is one of the strongest voices in the medium today. Sound like a lot of hyperbole? Well, until Lemire makes a misstep I'm keeping him in the upper echelon.

The Nobody uses Welles' The Invisible Man as a springboard to explore issues of loneliness, xenophobia and mob mentality in small town America. While the Griffin (Griffen here) character is certainly the main focus, the teenage narrator (I like the fact that she's female) really serves as the heart and soul of the story. The two develop a bit of an oddball and yet endearing relationship which is disturbed when Griffen's past and the town's collective suspicion collide. The action builds slowly, and Lemire wisely steers clear of the sight gags that make the film so entertaining. Although I do like the fact that the fate of the Kemp character was more in line with the film than the book. It's a terrific little story, made even more poignant by its somewhat ambiguous (at least to me) ending. Trade Mark: A

Single Issue Hall of Fame: Swamp Thing #53

Sure, there are a lot of great issues during Alan Moore's run on Swamp Thing, but this one deserves early entry into the Hall of Fame. There's a lot of great Man vs. Nature, Government vs. Individual Rights stuff going on here but, for me, much of the excitement of this issue is watching Gotham City's transformation. There's a beautiful lushness to the cityscape, and John Totleben sets a wonderful atmosphere throughout this giant-sized book. As much pathos as we feel for Swamp Thing himself, it's hard not to feel an equal amount for Batman and his desire to protect his city from a threat that is way beyond his skill set. In some many ways, I see this book as a real turning point in the series, as it comes across as a crescendo. At the same time, however, it doesn't seem like a bad starting point at all. A wonderful book, and one that should be in everyone's collection.

Charlton Notebook: Racket Squad in Action #22

I absolutely love this old Charlton series from the 50s. I have maybe a half-dozen issues and always have my eyes peeled for inexpensive copies. Each issue is a collection of short stories involving one old school scam or another, with the bad guys eventually getting their just desserts. This issue's 'rackets' include one about the pitfall of trying to get your hands on 'free' money, a shady mechanic and a supposedly blind street corner bookie. The lead story is incredible fun. It's about a great pickpocketing scam involving a decoy and and an artificial arm. The artwork is nothing to write home about (mostly Charles Nicholas and Bill Molno as far as I can tell), but the stories are nicely told. This series was a genre unto itself, and this issue is a good and inexpensive (I good a VG- copy for $3) place to start.

Highlighting House Ads: Strange Tales Annual #2

Here's a great ad from Fantastic Four Annual #1, letting readers know in full Marvel hyperbole about the Spidey vs. Torch battle beckoning to them from their local spinner rack. Considering that both characters had only been around 18 months or so at this time, just how 'long awaited' was this battle? In addition, just who said that Marvel Comics was 'top ranking' in 1963? Then again, Stan was never really one for empirical date. It's a pretty terrible image - Kirby's worst cover of the 60s? Nick Caputo states that it was likely inked by Syd Shores, and I'm not going to argue with him. The final product had a grey, rather than pink, background - but the spider emblem was still missing from Spidey's costume. Aside from the over the top caption in your typical ad, I don't find much to love in these Marvel house ads from the 60s. DC really outshone them in this department, especially toward the end of the decade.

Quick DVD Reviews

Son of Rambow
This one had the potential to be a bunch of sentimental crap. There’s something about lonely British boys that makes me cringe – too many Freddy Highmore movies, perhaps. The thing is, this one maintain enough intelligence and ironic fun to keep a viewer engaged. Everything from the early 80s setting to the uber cool, and yet strangely androgynous look French exchange student, helps to breathe some life into this funny and sad coming of age story. Sure, there are cloying moments – but they are few and far between. If you’re looking for a strong comedy with enough of a story to maintain your interest, you should check this one out. Grade: B+

Frost/Nixon
Wow. I absolutely loved this movie. I never thought that it would be so well paced. Like many, I’m often guilty of accusing Ron Howard of being merely a competent director, but he does an excellent job of translating the material from stage to screen. Both leads are tremendous, but I really feel that Michael Sheen was robbed at award nomination time. Grade: A-

Weeds – Season 3
I just flew through the season on DVD over the last couple of weeks. It’s got a much darker, more sinister vibe to it than the previous season. I’m not sure I love the More Thugs/Less Nealon math. All in all, I feel like the series is starting to spins its wheels. Andy has become 100% superfluous and I’m not sure if I can take another scene of Mary Louise Parker coming to the realization that she’s actually a drug dealer. The “Whichever Olsen Twin it was” stunt casting was a poor decision. Still, it’s a fun and unique series and I’ll likely stick with it until the end. Grade: B-

Star Trek (2009)
I am by no means much of a Trekkie/Trekker. I watched the original series in reruns here and there as a kid, read some of the Gold Key comics and my parents took me to see the Motionless Picture and Wrath of Khan in theatres when I was 6 and 9 respectively. Still, I think I have feel for the characters and the universe they inhabit. I wasn’t sure what to think of this remake, until I saw the trailer. I was blown away and couldn’t wait to see it. It totally lived up to my expectations. The casting was spot on, the script was updated without being too hip and the mixture of action, comedy and drama was just about perfect. If that that opening sequence doesn’t put a lump in your throat; you may not be human. I anxiously await the sequel. Grade: A

Trade Marks: Elephantmen - Wounded Animals

As you may have guessed by now, I don't read all that many new or newish books. I do try to keep up where time and budget allow. This volume was recommended to me, so I thought I'd check it out not knowing a thing about the series. It involves a collection of Dr. Moreauish animals trying to integrate into society, with varying degrees of success. It's a loose collection of stories and themes. There are moments of film noir as well as some pulpish sci-fi - but I must admit that it just didn't hang together for me. The rotating cast of characters, artists and story lines made this collection seem quite chopped up, and it was difficult to maintain the feeling of pathos that I imagine is supposed to flow throughout. Some of the art is quite nice, especially the issue by Tom Scioli who seemed to be channelling Keith Giffen channelling Jack Kirby, but much of it is a lots of flashy posing covering up weak storytelling. The more I read into this book, the less interested I became and I was complete gone by the time the pirate story rolled around. And I love pirates. It's a decent conceit and there are some good elements present, but all in all it doesn't add up. Trade Mark: C+

Hidden Gems: Our Army at War #201

Ok, so the obvious question is - how is a 1969 comic with a Kanigher/Kubert story a 'hidden' gem? Isn't it simply a 'gem'? Well, the hidden part is one of the back-up stories included in this issue. "Drummer of Waterloo" is notable for two reason. First, it is a wonderful Berni Krigstein-drawn story that first appeared in Our Army At War #14 (September, 1953). Secondly, this was the only time it was reprinted. DC did not give Greg Sadowski permission to reprint this story in his wonderful collection: B Krigstein Comics - even those it was cleaned up with a new colour job by the great Marie Severin. That seems like a shockingly stupid decision on DC's part, as the samples shown by Sadowski look amazing. For now, this is the only way to get the full story at a relatively inexpensive price (believe me - the 1969 version is much, much easier on the wallet than the original). If Kubert and Krigstein aren't quiet enough to convince you, there's also a 1956 Andru/Esposito tale thrown into the mix as well. Happy hunting!

Memoirs of a Bronze Age Baby: Marvel Two-In-One #96

I've always liked the Thing, but I must admit that both the Fantastic Four and Marvel Two in One were waaaaay down on my list of 'must buys' when I first started reading comics. In fact, I think that this was the only issue of this series that I ever bought off the rack. I'm pretty sure that I must have been sold on the cover, as it was pretty funny and promised appearances by Daredevil and Spider-Man, two characters I followed religiously at that point in time. It's a pretty funny book, and holds up just fine as a standalone story. Ben Grimm is nursing some serious injuries and most of the Marvel Universe's also-ran villains have decided to take a shot at his while he is infirm. This leads to a few, quick and funny showdowns with other heroes and culminates in one rather large battle royale. My only real wish is that that splash page with all the heroes and villains had been better executed; but that's splitting hairs. We end with a nice exchange between the Thing and Sandman with a nod to Casablanca. All in all, it's a goofy piece of comic book history and one that makes me smile every time I pick it up.

'Sunglasses' by Norman Saunders

A big 'thank you' to Jacque Nodell for confirming that cover to Young Romance #150 was indeed drawn by Mr. Pike. I also should have mentioned this particular illustration in my post about sunglasses covers. It's an amazing piece by the legendary Norman Saunders. The image was emailed to be by his daughter Blaine a few years ago. I don't know where this was published, or even if it was ever published but it's a real beauty. Blaine told me that the woman in the shades was based on her mother. The face of the attacker reflected in the lenses is truly creepy - borderline Rondo Hatton. This is such a great visual gimmick, but it takes a really talented artist to pull it off. Talent was something Mr. Saunders had oozing from his pores.

If I Were a Rich Man...

Heritage Auctions often has some pretty spectacular comic related items at auction. Their upcoming auction has a piece of original art that has me salivating on my keyboard. There are plenty of much more famous and iconic Berni Wrightson covers, but I've always loved his cover to Secrets of the Haunted House #5 from 1975. It's such a simple concept, but it's so brilliant. Another one of Wrightson's creepy goblins, but this time it's mostly hidden within this rather menacing pumpkin. Like many great horror covers, it leaves a lot to the imagination, and maybe that's why I've always found it to be so intriguing over the decades. The pumpkin's shadow on the floor is also perfectly executed, and seeing Wrightson's work in the original black and white is a real treat. I actually haven't seen that many Wrightston horror covers sold over the years, so I wouldn't be surprised if this one sold in the $7,500 to $10,000 range. That's more than the value of all my original artwork combined so count me out. Follow it here: http://comics.ha.com/common/view_item.php?Sale_No=7009&Lot_No=92280

You've Been Warned: Amazing Spider-Man #118

There are many great Amazing Spidey story arcs during the 1970s. This is not one of them. Why does everything from the cover to MJ's lame dialogue about a 'politician for the people' seem soooo 60s? Well, it's probably because this issue (and the two issues preceding this one) are re-worked reprints from the Spectacular Spider-Man magazine from 1968. This was a pretty bland story the first time around, and didn't age particularly well. It's quite a bit worse, as Gerry Conway has stretched things out over three issues, and many superfluous scenes are inserted. The plot is quite convoluted. We've got a populist politician, Richard Raleigh, gaining support throughout NYC. At the same time, the Smasher (formerly known as Man Monster, or something along those lines) is tearing apart NYC. In the original, there's no 'Disruptor' and the audiences is given much more info. Even so, the big surprise isn't really all that surprising. I must say, though, that after re-reading this - I was struck by the similarities to Batman's decision re. Harvey Dent/Two-Face's identity at the conclusion of the Dark Knight. Overall, it's a big bore - and shame on Marvel for regurgitating such a lame story just a few years later.

Sunglasses at Night Covers

In the world of cover themes, there are a few different sub genres of the reflective lens genres. One of my favourites is using sunglasses to tell the story. Let's take a look at a few.

The first one that came to mind is Irv Novick's cover to Batman #205 (September, 1968). This is a rather odd, multi-issue story written by Frank Robbins involving the Schemer and his army of 'blind' men. It's a very unique looking cover and I like the way the the logo has been tilted. You certainly couldn't have pulled this off during the Go-Go Checks era. I'm not entirely sure of the accuracy here, though. I'm far from an expert on this sort of thing, but wouldn't both lenses reflect exactly the same image? Does anyone know if Novick was inking his own covers during this period?

Next up is the Kevin Maguire/Joe Rubinstein cover for Justice League America #30 (September, 1989). I'm certainly not going to call this an 'attractive' cover, but it certainly is effective. One of the things I loved most about Kevin Maguire is how innovative he tried to be with his covers. This issue's story is entitled "Teenage Biker Mega-Death" so it seems very appropriate that Mister Miracle, Flame et al. are cowering in some punk's shades. A very fun cover from a very fun title. You know, I really, really like Joe Rubinstein as an inker. I don't think I've ever give the man sufficient props.

I love the very stylish cover to Young Romance #150 (October-November, 1967). I've pulled out plenty of hair trying to figure out who drew which DC Romance covers and stories - so I'm not even going to try really over think this one. I'll just say Jay Scott Pike as he's my default answer for that type of question. It's absolutely gorgeous - I love the choice of the colour green for the reflected lovers and I really like how DC's cover artists - working alongside Jack Adler, no less - were really filling up the entire cover. Obviously the question posed on this cover is rhetorical.

Dear people who think that Jack Sparling can't draw. Please check out the cover to Secrets of Sinister House #9 (February, 1973). I love painted covers, and DC had a few really nice ones scattered throughout their horror titles during the early 70s. It's too bad it didn't become a real trend. This is a very creepy image of the screaming victim reflected in the shades of the very calm vampire. The single, shocking white fang is a nice contrast to the greyness of the face. That single scar running down from the left eye adds a ton of mystery. There's so much that I want to know about this character, from this single image.

So, there's a few example of what I'm talking about. There are more out there, so slick your hair back, put on your Wayfarers and keep an eye out for them.

Steve Ditko Cover of the Week: Unusual Tales #9

Here's a rather moody cover from 1957 that many of you may not have seen before. As I've mentioned before, one of the things I love best about this period of Ditko's Charlton covers is his attention to detail. I often rave about his sense of motion and overall design, but when Ditko wants to get all detailed oriented, it can be quite amazing. Just look at the main male figure. He has a button on the cuff of his coat, a button on the cuff of his jacket and a cuff link on his shirt. That's something we wouldn't see in many 70s covers. There's also some wonderful texture to his gloves, from the use of blacks to the seams in the leather. I also like the two smaller figures approach the building - the glowing lights add a good deal of atmosphere. I'm not so sure about the rather dead space at the bottom left corner. It's meant to be the 'red snow', but the colour is quite weak. The 'Ditko' signature in the sign above the building is a really nice touch - I love it when cover artists some fun inserting their names. All in all, it's a very effective cover - I just wish the red snow was a bit more red.