Hey Kids! Comics! #1 - Image Comics

HEY KIDS! COMICS! No. 1, August 2018

Reading like a reality television show based upon the comic book industry of yesteryear, this opening instalment to Howard Chaykin’s “new creator-owned series filled with what he calls behind-the-scenes personal drama, lurid flimflammery, and just plain out and out larceny” is undoubtedly not for the faint of hearted with its formidable mixture of expletive-laden dialogue, word-heavy speech bubbles and frequent time hops around “a fictionalised history of more than half a century.” Indeed, for those readers disinterested in this story-telling medium’s dark and dirty past, back when the likes of Jack “King” Kirby and Steve Ditko were merely artists working for hire and Stanley Martin Lieberman still had an aspiration to be a ‘serious writer’, the New Jersey-born author’s narrative to Issue One of “Hey Kids! Comics!” will doubtless disappointingly strike them as a choppy, tediously dull series of set-pieces depicting little more than a group of people, predominantly men, smoking, drinking and swearing at one another whilst trying to figure “out what comes next” now “the mask and cape thing has seen its day.”

For those who have perhaps read Sean Howe’s “Marvel Comics: The Untold Story” multiple times however, this twenty-eight page periodical paints an enthralling flashback to the days when “aspiring artists climbed into business and bed with conmen and clowns, gainers and gangsters, to create the foundations of today’s biggest entertainment business”, and resultantly offers a fascinating insight into the harsh ‘hand-to-mouth’ job such Silver Age luminaries like Carmine Infantino, Gil Kane, Joe Kubert, Gene Colan, Jim Steranko and Neal Adams endured. Certainly it’s hard not to see comparisons between “some of the greatest comic book artists of their generation” and the Eagle Award winner’s fabricated pencilers Ray Clarke and Ted Whitman, nor sympathise with the unkempt Irwin when his creation “Powerhouse” opens up at the St. James Theatre on Broadway, and is forced to accept a begrudgingly given financial handout from the disheveled man’s former boss who is clearly living an extravagant lifestyle based upon his work; “Guy used to work for me, way back when. Him and his dead partner made the thing up.”

Chaykin’s own uniquely-styled artwork also adds to the engaging atmosphere of this publication, as its clear the illustrator learnt a lot when he once “lived in the same Queens apartment building as artists Allen Milgrom, Walter Simonson and Bernie Wrightson”. In fact, a good proportion of this book’s overall charm stems from Howard’s fantastic attention to detail for his leading cast’s facial features, as well as the similarities between them and the likes of Kirby’s famous pipe-smoking habit or Tom Hollenbeck’s evident financial success as a result of the “junk” his predecessors “made for a half-century” suddenly becoming “the culture…”

Writer & Artist: Howard Chaykin, Colorist: Wil Quintana, and Letterer: Ken Bruzenak

Stroper #3 - Stroper Store

STROPER No. 3, June 2018

Palpably pedestrian in its pace, at least until its titular character decides to tangibly intervene when two “knuckleheads bumped into my stuff”, Eddie Porter’s narrative for Issue Three of “Stroper” seems far more concerned with progressing its plot and introducing more mysterious inhabitants of his colourfully-populated Galactic Union, than the usual clichéd phaser firing obsessed antics some arguably lesser writers might have been tempted to employ in order to overtly place their lead protagonist in peril. In fact, nearly all of this digital only publication’s foreboding aura of jeopardy is actually created simply by the look upon Pak Booker’s well-illustrated face rather than any space-faring shenanigans, as the mullet-haired hunter helplessly watches the space police discover his criminal carry-ons and subsequently becomes embroils ever further into the bloated bureaucracy’s “deep corruption” by becoming one of the so-called law’s lackeys.

Such detailed visual story-telling won’t admittedly be to everyone’s taste, as the author’s reliance upon his highly-stylised artwork to ‘push things along’ instead of using a plethora of text-filled speech bubbles, could cause some readers to fleetingly skim through this periodical’s thirty-one pages at a disconcerting tempo which does little to no justice to the visual effects artist’s illustrations and probably left them feeling somewhat unsated. However, for those more willing to soak in the sheer breath-taking scope of the Red Moon of Banktar with its “walking mountains” or the cosmopolitan hubbub of “the sleaze pit of a place” known as the Dome, there’s a lot to see as an ever-blanching Booker continues upon his “journey for redemption” and becomes increasingly resigned to his hapless fate when he's gloatingly informed by the authorities that “you will be sent away for a long time.”

Just as enjoyable, though pulse-pounding in a far more physical way, is Pak’s rather one-sided punch-up with two “dirtbags” who seem intent on selling a bound young woman to the highest bidder simply due to her bloodline being “worth a lot of credits.” The ensuing fisticuffs are as savagely frenzied as the drawings dynamically animated, and alongside demonstrating that despite his increasing years, the “old man” is still clearly able to more than hold his own against two low-level thugs, also provides this comic's cliffhanger ending with a jolt of energy which should make many bibliophiles desperate to know just who this mysterious lady is who can apparently “handle a ray gun like any other swinging d#@k on this side of the galaxy”…

‘First published on the "Dawn of Comics" website.'

Writer & Illustrator: Eddie Porter

Doctor Strange [2015] #20 - Marvel Comics

DOCTOR STRANGE No. 20, August 2017

“The last issue of Doctor Strange by mortals Chris Bachalo and Jason Aaron”, this over-sized thirty-page periodical firmly focuses itself upon the dangers of casting magic within the Marvel Universe, whilst simultaneously providing plenty of pulse-pounding perils for its 31,497-strong readership, courtesy of its leading cast inadvertently crash-landing “in the place where lost things go” and having to fend off an attack from the formidable-looking Lava Men. In fact, just this title’s opening sequence alone, which somewhat humourlessly depicts a smart-talking beagle stealing the Wand of Xyggondo from the House Of Infernal Mysteries’ auction room in Barbados, perfectly demonstrates its Alabama-born writer’s thinking that “everything [which] Doctor Strange does… comes at a cost. You can’t tamper with the Mystic Arts… without there being some toll to be paid.”

Interestingly however, the narrative to “The Weird, The Weirder, And The Weirdest” actually places Zelma Stanton far more in the spotlight than the former preeminent surgeon, quickly depriving the Bronx librarian of her mighty mentor and leaving her somewhat defenceless upon Weirdworld. Admittedly, the soon-to-be sorcerer’s apprentice hasn’t actually been abandoned by the Defender, as he’s unconscious close by fighting off the lethal effects of a poisoned arrow deep inside a cave. But it is the young lady who has to daily hunt for tantalisingly tasty grubs and snails with which to feed the pair, as well as single-handedly face the Witch Queen Le Fay’s fiery warriors from the Kingdom of the Torch; “I put an arrow in the wizard, its point dipped in dragon bile poison. There’s no way he’s still breathing.”

In addition, Aaron’s plot also seemingly rids the Master of the Mystic Arts of his greatest supporter, Wong, who inexplicably departs the Sanctum Santorum having “served here for years” simply because “it’s time my life became more than just magic.” Considering all the trials and tribulations Strange has recently endured in order to save his long-time friend’s life, the first-born son of Hamir’s sudden decision to break his family tradition of servitude to the Sorcerer Supreme appears disconcertingly unconvincing, and a surprising plot twist which seems to disappointingly stem from a desire to shock as opposed to one which actually makes any logical sense.

Perhaps the strongest element to Issue Twenty of “Doctor Strange” therefore is in the combined artwork of regular Bachalo and intermittent cover illustrator Kevin Nowlan, who share pencilling duties dependent upon whether the publication’s narrative is taking place upon the normal world or inside the Bermuda Triangle. Chris’ open admission at the back of this comic that Stephen “was always a character that eluded me” and “wasn’t someone that I wanted to spend time with” must have come as something of a shock to this book’s audience considering just how his “quirky, cartoon-like style” suited the magic-user, as does the Canadian’s subsequent confession that he even “initially declined Jason’s offer to join him on the book.”

Writer: Jason Aaron, and Artists & Colorists: Chris Bachalo and Kevin Nowlan

Hal Jordan And The Green Lantern Corps #47 - DC Comics

HAL JORDAN AND THE GREEN LANTERN CORPS No. 47, August 2018

Absolutely action-packed with its depictions of Hal Jordan’s draining mental battle with Hector Hammond, Guy Gardner’s savage fisticuffs session with Arkillo and Kyle Rayner’s desperate escape from New Genesis, Robert Venditti’s script for Issue Forty Seven of “Hal Jordan And The Green Lantern Corps” demonstrates just why the imminent departure of the title’s longtime writer made such headlines when he first announced he was “about to exit his five-year run on the franchise”. Indeed, having penned a staggering ninety-seven editions focusing upon “the adventures of [the] outer space super-cop” it was probably hard for this comic’s 27,825 readers in June 2018 to imagine anyone else helming the “cosmic crusade”, especially when the Hollywood-raised writer’s “Corps Values” contains such a powerful message as to just why the former fighter pilot gained his power ring from the dying alien Abin Sur in the first place; “You just proved that you’d never do these things. You wouldn’t even let me do them. Your actions are what make you a Hero.”

Despite containing no actual physical altercation between the two combatants, this battle of wills between the titular character and “the God Brain” is arguably the publication’s highlight, focusing far more upon the Justice Leaguer’s inspirational ability to overpower his opponent’s truly formidable mind through sheer perseverance and an intuition as to what is just or wrong, rather than simply utilising a plethora of innovative light constructs. Devoid of his past knowledge, or even a basic understanding as to his personal identity, Jordan still heroically battles against Hammond’s tempting offer “to kill every villain in the universe” just because “that doesn’t sound right.”

Naturally however, any publication featuring the ever-aggressive Gardner is almost certainly going to contain an element of violence, and on this occasion Venditti manages his audience’s expectations ‘in spades’ by having the former Baltimore Police Officer batter a ringless Arkillo to within an inch of the Yellow Lantern’s life in a last-ditch effort for Gil Kane’s co-creation to free himself from the machinations of his recently donned Darkstar mantle. As with Hal’s aforementioned triumph over adversity, this pulse-pounding passage provides something of an emotional journey for both the participants and any perusing bibliophiles, courtesy of a truly emotional Guy tapping into the rage he felt towards his alcoholic “pop” for regularly beating him as a child, and artist Fernando Pasarin pencilling a series of awesome-looking, sense-shattering fight scenes.

The regular cover art of "HAL JORDAN AND THE GREEN LANTERN CORPS" No. 47 by Tyler Kirkham & Arif Prianto

Nemesis The Warlock #7 - Eagle Comics

NEMESIS THE WARLOCK No. 7, March 1985

Despite allowing renowned artist Kevin O’Neill plenty of pulse-pounding panels within which to depict a truly cataclysmic confrontation between the super-sized ancient automatons Torque-Armada and Mek-Quake, as well as the emotionally-charged, distressing death of the titular character’s wife Chira on the planet Gandarva, Pat Mills’ penmanship during Issue Seven of “Nemesis The Warlock” almost certainly sags during the reprint’s middle portion, potentially promoting the feeling that the “leading light in British comics” had inexplicably become somewhat bored in his exploration of the Siege of Ydrasill Castle, and simply wanted the Terminator’s assault upon Muzurphus’ fortress finished so he could concentrate on providing the “extremely powerful warlock” with a suitably dramatic demise; “Within hours, a group of my assassins will… kill them both and… never will revenge have tasted sweeter!”

This sense of listlessness sadly appears to start just as soon as the “symbol of Termight’s glory” fatally explodes having been inadvertently immobilised by the robot, Fire-Raiser, with the “anti-authoritarianism” author rather contrivingly depicting Sir Evric suddenly being all-too willing to come to an agreement with “the Evil One” simply because the commander is “sick with alien fever” and wishes he “wasn’t so old and tired.” Admittedly, the leader “loyal to Torquemada” is clearly unwell, having seen half his siege machines, including the imperial flag robot, turned into “a heap of scrap”. But there’s clearly still plenty of fire left in the aged warrior’s belly when he remonstrates with his “weirdo” son, Balin, over the adolescent impudently challenging him for being “all eaten up with hate and fear of the unknown!”

However, rather than attempt to kill the deviant, the creator of “2000 A.D.” instead has the soldier surprisingly accept his hated foe’s offer to give him the courage to stand up to Torquemada, a chest full of golden treasure, as well as a promise to make him young again, and dutifully raises the siege against the Basilisks so as to return home at once. Needless to say such a bargain does not ultimately go well for “the sinischal” as “the leader of the bigoted human Terminators” is transmogrified into a truly grotesque-looking young male Catoblepas and subsequently “paraded through the tunnels of Termight”, yet it also brings a presumably planet-wide invasion to an abrupt, unsatisfactory end as well…

Script: Pat Mills, Art: Kevin O'Neill, and Color: Kevin O'Neill

The Immortal Hulk #4 - Marvel Comics

IMMORTAL HULK No. 4, October 2018

Focusing far more upon the shenanigans of the slightly too-smug Walter Langkowski as opposed to this comic’s titular character, or even the green-skinned Goliath’s “puny” alter-ego, Al Ewing’s narrative for “Time Of Death” nonetheless still provided its audience with plenty of intriguing exposition as to Banner’s Pennsylvania State University college days using the “lab facilities Desert State didn’t” have and media reporter Jacqueline McGee’s determined investigation into Bruce’s recent resurrection as a terrifying supernatural engine of vengeance who seems “attracted to other gamma-powered individuals.”

Indeed, considering that the British author’s twenty-page long script contains both the Alpha Flight member’s horrifically savage death at the hands of a murderously manic drunk and subsequent restoration as the orange-furred great beast, Sasquatch, it was probably easy for any unfamiliar bibliophile perusing this comic on the spinner rack to incorrectly believe that the former Green Bay Packer was “The Immortal Hulk” rather than the purple pant-wearing physicist, especially when so much of the plot’s backstory also seemingly expands upon Langkowski’s “mission to duplicate what happened to Bruce.” This insight into Walter’s motivation to squander his fortune and accept both the “funding and encouragement from Department H, the Canadian super hero monitoring agency” is wonderfully summarised by the former “2000 A.D.” writer, and arguably helps his story-line portray far more obvious parallels between the adventure’s two leading men than has previously been printed before.

Of course, once Jennifer Walters’ cousin nonchalantly sits himself down beside an emotional Jackie at the local hospital and spells out to her that the Howling Commando affiliate’s “gamma signature is just like mine” the similarities between the pair are as evident as the implied danger to all those dwelling within the medical centre should the badly-injured patient die and inadvertently transform; “And now the sun’s gone down. It’s night. And the night, is his time. We need to evacuate the hospital.” Yet the way in which this relationship is slowly revealed through the reporter’s interview with Langkowski is superbly penned and genuinely creates an increasingly palpable, dramatic tension which only reaches a crescendo with this comic’s cliff-hanger conclusion…

Joe Bennett’s terrific pencilling and ability to bring “Ewing’s scripts to the page with stark, frightening clarity” also helps imbue this particular issue with a captivating energy which makes it hard to put the comic down until it ends with an incredibly bestial-looking Sasquatch menacing his unsuccessful surgeons with a truly dangerous glint in his feral eyes. True, fans of the Hulk won’t find the human mutate receiving much ‘screen time’ within the Brazilian’s panels on this occasion, but his wonderfully lanky rendition of Walter, complete with yellow mutton-chops, more than makes up for this omission.

The regular cover art of "IMMORTAL HULK" No. 4 by Alex Ross

The Amazing Spider-Man #794 - Marvel Comics

THE AMAZING SPIDER-MAN No. 794, March 2018

As ‘anniversary’ stories go, Dan Slott and Christos Gage’s script to “Last Chance” may well have provided its 51,412 readers with a modicum of entertainment courtesy of its insight as to where the most “dangerous, extranormal artefacts” on Earth are housed following the collapse of S.H.I.E.L.D.. This “Lock Box”, a top security facility hidden far beneath the waves on the bed of the Atlantic Ocean and dictatorially managed by Commander Hicks, provides a fascinatingly look at the naïve mix of super-weapon protection within a tight financial budget, and arguably could well have done with more exploratory ‘screen time’ as Miss Coleman and Mister Krane impressively ‘gun’ their way through several heavily-armed guards in order to locate the whereabouts of Carnage’s capsule.

Disappointingly though, the same fire-fighting fervour is perhaps not that evident within the rest of this periodical’s twenty-pages, despite “Marvel Worldwide” proclaiming this opening instalment to its creative team’s “Threat Level Red” event as featuring a “rematch” for which “the dangerous madman called Zodiac” has “had a whole year to prepare”. Indeed, considering all the trials and tribulations Vernon Jacob Fury has previously caused Spider-Man as the leader of “a terrorist organization with sights set on world domination”, his straightforward defeat at the hands of Mockingbird towards the conclusion of this particular publication is utterly underwhelming; “Damn you! You’ve stopped the upload. But all you’ve won is death! With my rage -- my mind controlling the key -- I’ll incinerate you! I’ll --KLOKK”

Naturally, that’s not to say Issue Seven Hundred And Ninety Four of “Amazing Spider-Man” doesn’t contain plenty of pulse pounding action, as Peter Parker’s plans to contain Scorpio’s presence within the Zodiac Vault in Greenwich, England go, unsurprisingly, horribly awry as the criminal businessman manages to breach the containment field supposedly imprisoning him with “an hour to go!” But the wall-crawler’s confrontation at the very top of Big Ben seems to have been stage-managed purely to provide artist Stuart Immonen with plenty of theatrical panels to pencil rather than ensure any believable plot progression. Unless any bibliophiles believe Fury’s contrived claim that his company purposely “installed a hidden transmitter made specifically for the key” into the clock tower some time in the past, in order to “send a master code to every satellite system” and further his nefarious ends..?

Writers: Dan Slott & Christos Gage, Penciler: Stuart Immonen, and Inker: Wade Von Grawbadger