Posted by: Preston Wheatley on: September 17, 2011
Posted by: Preston Wheatley on: September 1, 2011
Today’s post gives me the opportunity to introduce a new category for Bronze Age comics I’ve called: “Love for the Bronzer”.
You may not realize this, but Dr. Strange and the Man-Thing have have something in common: murderous Christians hate them.
I suppose in Strange’s case it makes a bit of sense. Since the Julio Claudian dynasty, paganism and Christianity have butted heads. Add a little Constantinian conversion, a bit of Julianian conservatism, and you’ve got a recipe that has left polytheism and monotheism standing on opposite sides of the Deity Dance Floor glaring one at the other for the last 2000 years. So when Marvel debuted their protagonist of polytheistic persuasion in Strange Tales #110, it was only a matter of time before Christianity took a stab at him, and in 1974 that’s exactly what it did. Enter the Silver Dagger, a knife-dipped-in-holy-water wielding ex-Cardinal who left the Church after being denied the Papacy. What was Dagger’s next move? Why, he became a sorcerer and took to killing off all practitioners of the mystic arts, of course!
And so it was that in Doctor Strange#1 this occult antagonist set his sights on Stephen Strange and the Sorcerer Supreme’s bombshell apprentice Clea. After three issues of fabulous story and gorgeous art the murderous mage was finally banished to unreality forever. Hooray!
What is a bit more – well – strange, is that exact same year the Man-Thing faced a similar foe. Man-Thing #s 3 & 4 featured the less poetically named Foolkiller as he attempted to rid the earth of fools and sinners with his Yahweh-bequeathed Purification gun. Foolkiller was a lost soul who got picked up in that hippie Christian Jesus Movement and found peace at last. Unfortunately, that peace was shattered when he walked in on his pastor getting drunk with some floozy. After being told to take life less seriously the Foolkiller went berserk, strangled the preacher, preserved his corpse in a shrine, received a laser gun from God (for some reason God armed this guy), loaded his gun and his shrine in a van and took off across America killing all the “fools” along the way. On one of his death quests, Foolkiller’s plot is foiled by the unwitting Man-Thing and from that point on Foolkiller has a score to settle.
Unfortunately for both Foolkiller and the Man-Thing, this swamp monster can’t exactly be killed. Foolkiller goes about his business of trying to get the local radio station to stop playing “blasphemous” music and is ultimately killed during a fight with Man-Thing when the Dead Preacher Shrine falls over and a large shard of glass pierces Foolkiller’s heart.
I don’t know if there is any connection between these two stories. The Jesus Movement was all over the US, and Protestants and Catholics were really going at it in Ireland around this time, but that’s all I can think might have inspired these two stories such a short time from each other. In any case I still effing love the Bronze Age of Comics and I’ve learned just how dangerous a knife dipped in holy water or a God-sent laser blaster can be, so it’s a win/win for me. It’s been a long time since anybody did a “Reviews & Booze” write up, so I’m gonna go ahead and recommend some red wine for this one.
Happy readings!
-Jonny
Posted by: Preston Wheatley on: August 31, 2011
I was catching up on Crisis on Infinite Earths tonight when I noticed this lovely Easter Egg. As a big Trekkie, and a fan of The Wrath of Khan in particular, this panel made me very happy.
It’s worth noting that Marv Wolfman actually wrote the Marvel Super Special comic adaptation of Star Trek: The Motion Picture in 1979 and edited the first 20 issues of DC Comics’ Star Trek from 1984 to 1985 (and doing sporadic color work thereafter) while George Perez did the covers for the first three issues of the DC Comics run.
Speaking of Wolfman and Perez, don’t forget that The New Teen Titans Omnibus Volume 1 is out today! I’m broke, but green with envy over all you who purchase it (insert your own Beast Boy joke here).
Happy readings!
-Jonny
Posted by: Robert Bazz on: August 26, 2011
IDW has always had a bad habit of taking their dirty franchise-licensing thumbs and jamming it into my pie of childhood nostalgia (terrible metaphor, but go with it). Every time I hear that there’s going to be a new comic based on something from my youth, I get super-excited until I see that it’s coming out on IDW. I don’t know if it’s because most of it seems a bit rushed (why does everybody in Jurassic Park look like a PS1 character?) or if it’s fear of the realization that, inevitably, they will shove zombies into it, but I seem to be constantly let down. This is why I had a sort of “aw, goddammit” moment when I learned that IDW had secured the rights to publish a Teenage Mutant Ninja Turtles comic (in partnership with current owners, Nickelodeon Studios/Viacom International). Even the promise of Kevin Eastman’s involvement wasn’t a guarantee (I think I’m one of the five people who read his TMNT: Bodycount).
First off, contrary to what every initial article about the series stated, this is not a continuation of the Mirage Comics stories (probably because, towards the end, Peter Laird had the turtles in their early-30s), but a reboot of the franchise. As with the first story arch of every other comic/TV show/movie incarnation of Teenage Mutant Ninja Turtles, this deals with the origin of the heroes. Unlike every other incarnation, however, this one seems a little different. April O’Neill is back in a lab assistant position (and a yellow jumpsuit!) working for Baxter Stockman (not a cyborg!), doing some sort of psychotropic drug testing on four turtles and a rat under the watchful eyes of the mysterious General Krang. The issue cuts back and forth between this story and the main one, involving Leonardo, Michelangelo, and Donatello fighting Old Hob, a mutant alley cat, and his gang while Raphael broods elsewhere.
Kevin Eastman (o.g. Teenage Mutant Ninja Turtles) and Tom Waltz (Silent Hill: Sinner’s Reward) do a wonderful job of making this feel like the old first volume issues. The dialogue is spot-on, straight down to the constant barrage of crappy one-liners which seamlessly segue in to more dramatic scenes. This series also blends the mythos of both the original Mirage run and the Archie Comics Teenage Mutant Ninja Turtles Adventures, utilizing characters from and multiple references to each. The newcomer artist Dan Duncan does a great job of calling back to the style of the Eastman/Laird days (unlike the anime-look that most Ninja Turtles publications seem to use nowadays).
For the first time since 8-year-old me was let down by the abomination known as Teenage Mutant Ninja Turtles III, I am genuinely psyched to follow my favorite childhood heroes again and, if you are a child of the 80′s, you should jump on this book immediately.
Posted by: Robert Bazz on: August 3, 2011
Look, baby, we know we’ve been distant lately. It’s just that, well, things looked like they were starting to get a bit stale. You know how we are! We had to go out! “Sow our wild oats” or whatever the expression is! But we realized that, after all that, the only place we really wanted to be was with you. So, internet, will you take us back? Will you forgive us for our… Ah, jeez, what do you call it… Wanderlust?
You DO? Aw, internet, you’ve made us the happiest blog in the world!
So, what exactly have we been up to since whenever the hell we last posted? Aside from constantly watching Spider-Man: The ’67 Collection and suffering from Flashpoint and Fear Itself-induced not-giving-a-shit, not a whole hell of a lot. Seriously, we didn’t even end up making it to SDCC this year or anything (I’m gonna go ahead and blame the cast of Glee and Hall H, which seems like the internet’s excuse du jour).
Basically, expect semi-regular posts picking back up within the next couple days or so… If I feel like it.
Posted by: Preston Wheatley on: May 7, 2011
Friends, I am amused! I was reading Adventure Comics #463 last night and noticed an Easter Egg in the midst of the JSA story. The adventure is called, “The Night of the Soul Thief”. Check it out:
Notice the lady’s shirt? “Hi! I’m Phyllis,” right there on the chest.
Who’s Phyllis? None of the credits help. Maybe somebody’s mother or girlfriend? I do love a good mystery. If any readers know about this Easter Egg I’d love to know.
Happy readings!
-Jonny
Posted by: Preston Wheatley on: March 20, 2011
I haven’t written for High Five in some time now. To be fair I never contribute too heavily and a disruption is measured in months not weeks, but really I haven’t been writing because I haven’t kept up with new comics. Sure, I hit the shop every week and often pick up a book or two, but for the most part the modern world isn’t grabbing me right now.
They say that 1985 is the year comics grew up. Well, I was born in ‘82 which means comics grew up before I did. Mine was a generation that had a kick-ass X-Men cartoon on TV, Superman died when we were still in grammar school, and most of us didn’t realize until later that Wolverine’s hair isn’t actually so out of control.
Since comics matured before I could form memories, my taste in comics has always been “grown up”. Writers like Moore, Ellis, Azarello, and Willingham dominate my bookshelf and before 2010 would have been quickly rattled off in reply had you asked who my favorite comic writers were; which is why I’ve taken a break from all this intensity and have spent the last 6-9 months reading Gold, Silver, and Bronze Age comics almost exclusively.
I’ll be the first to admit that this stuff is incredibly campy and many of the stories don’t make a whole ton of sense, but when you get past the modern bias against silliness a whole world of innocent amazement opens to you. At SDCC 2010 Grant Morrison pointedly remarked, “We’ve already got the real world. Why do you want comics to be like that one?” which sums up how I feel about comics right now. I ask you: what’s so great about “realistic” dialogue? Why should I read about characters going through intense emotional pain? Why not read about amazing people fighting fantastical fights as pure good battles pure evil with no grey areas to bog us down? Some of you will tell me I’m just unevolved, but seriously: isn’t there room for both? Does one really preclude the other?
Maybe I’m becoming cynical as I age, sinking into some horrid pessimism (or escapism), but I feel like the real world around me is pretty f***ed up most of the time and I’ve gotten tired of reading comics that depict a world equally f***ed up. Nobody is dying when I read Planet Comics, Len Wein could write Phantom Stranger stories that were mysterious without being disturbing, I read Jack Kirby without turning my stomach, and Walt Kelly is pure delight. I’m telling you guys, this is the magic that made comics great.
Don’t get me wrong; I’m not knocking the modern creators. I just read Outlaw Nation with much enjoyment and I swear I’m gonna finish 100 Bullets one of these days, but for now and the foreseeable future the world before 1985 is captivating my attention and I feel like I could never leave.
Happy readings,
-Jonny
Posted by: Brendan K. on: February 18, 2011
A charming curio from a time often better forgotten in both music and comics: The early 1990s.
I’m listening to Entombed’s “Wolverine Blues”, released in 1993 with an exclusive mini-comic starring everybody’s favorite Canucklehead.
Though sometimes noted by serious metal fans as less of a “true” death metal record than their previous records (remember, we’re talking about a genre with a disproportionately high percentage of “classic” first records), “Wolverine Blues” is nonetheless a standout and is frequently cited as one of the better and most enduring death metal albums of the 1990s.
That the album was not written or titled with comics’ most popular characters in mind was not a concern of Earache records, which seized upon the coincidence as an opportunity to make some quick scratch. When the album was released in North America with an alternate (one might even say “variant”) cover, Earache and Marvel’s cross-promotional venture managed to cash-in yet again. Given comics fans’ willingness to buy seemingly ANYTHING in the early 90s, and record’s eventual stature as one of the all-time greats in the history of Swedish death metal, nobody on either side of the deal seems to mind that Earache and Marvel basically succeeded in turning Entombed into a late 20th century version of the Banana Splits.
The borderline “berserker” aspect of Logan’s character has been a tension explored ad-nauseum ever since Chris Claremont renewed focus on the character in the late 70s and early 80s, and it’s not like the anthropomorphizing of a notoriously dangerous Midwestern quadruped isn’t the most subtle of metaphors to begin with. But that level of juvenility has always been what made both Logan and death metal itself so appealing to early-teenaged boys, as well as a natural commercial pairing.
On the title track, LG Petrov growls out the lyrics like he’s the best he is at what he does, and what he does is pretty stupid: “Vicious mammal/the blood is my call/pound for pound/I am the most vicious of all!”
Meanwhile, in the accompanying comic entitled “Just Don’t Look in its Eyes” (written by Ann Nocenti, art by John Bolton, originally printed as a back-up story in September 1988′s Classic X-Men #25), Logan continues his illustrious history of straight-murdering a grizzly bear out in the snow, spending between three and five panels feeling bad about it, and then proceeding to straight-murder the jerk who made him kill an innocent beast. Good times.
And even if it’s not, strictly speaking, the most over-the-top brutal offering Scandinavia might have offered, the death n’ roll on “Wolverine Blues” still makes for an appropriately nauseating soundtrack to enjoying comics’ most popular (and often silliest) psychopath.
BONUS! Despite the band not wanting the album to have anything to actually do with the Marvel character, Earache still managed to get them to do an entire music video with Wolverine all over it. Warning: it’s pretty terrible (so much so, it was featured on an episode of “Beavis and Butt-head” and largely ignored by the duo).