It sucks I'm never going to see the Capitol Building again without thinking of January 6.

Admittedly, I may have thought of this every time I saw it before: Anyway, today we have from 1980, Mystery in Space #111, cover by Joe Kubert.

This was a revival of the classic DC sci-fi title: the previous issue, MiS #110, had featured Ultra the Multi-Alien and was published in 1966. It still looked like they were in apocalypse mode, though: from 1979 to 1980 DC put out five big issues of Time Warp, which ran with the header "Doomsday Tales and Other Things." Time Warp #5 was on stands March 1980 and MiS #111 June 1980: vile speculation, but I wouldn't be surprised if these stories were originally meant for Time Warp, then DC maybe course-corrected from the larger book to standard-size. This is a roundabout way of pointing out the stories here were maybe gloomier than usual for the title, or DC's traditional sci-fi stuff. "Final Warning!" finds an earth ambassador risking his life to get a transmission back to earth, warning of an upcoming invasion...He dies sending it, only for it to be denied unread as "postage due." I...I feel like even in 1980 they should've known that wasn't really how 'electronic mail' was going to work. (Written by Gerald Brown, art by Dan Spiegle.)

In "Viewpoints," a robot in a distant, humanless future looks back through a time viewer at a prehistoric family, and sees itself back in the past. It tries to destroy the machine so it wouldn't get sent back in time, which of course makes it happen; but the humans have something to teach him. It has some dark moments, but gets to a happy ending. (Written by Charlie Boatner, art by Marshall Rogers.)

"Sure Things" is a groaner with the last man on earth, then a sci-fi tale with Jim Aparo art: "The Singling," also written by Gerald Brown. An alien invasion has wiped out humanity, seemingly to the last man; but he's not who you'd think. Hey, the Capitol again, and the Washington Post, being about as goddamn helpful as it is today. I wouldn't even wrap fish in it!

"Once Upon a Time Machine!" is almost a palette cleanser after the rest of the issue, as a young librarian steals a time machine for his research project, into the origins of fairy tales. The beardy jerks at the Temporal Research Center laughed at him, but he wasn't taking no for an answer! But, when you observe a phenomenon you might affect it; especially if you repeatedly affect things, like causing beans to grow a giant beanstalk, or waking an ailing sleeping beauty. Still, is there really magic in those tales...? (Story by Mike W. Barr, art by Steve Ditko.) Read more!

It'll be an Unexpected find in this box later, but that's probably true for the other books as well.

I'm more of a reader, than a collector: my collection is merely a build-up of reading material; and in that vein my organization would probably make most of you scream in frustration. I was just loading a number of books into a box that could only be described as "recently blogged," so yeah, bit of a crap-shoot. Then, I had double-check to make sure we hadn't seen this one already: from 1982, Unexpected #219, cover by Joe Kubert.

These later DC horror/sci-fi books were also crap-shoots, and the stories aren't A-list this time, but have some early work from a couple artists. Cover story "Boxed In!" finds alien visitors to earth, that find themselves not to scale, and their end is not surprising. (Story by Andy Helfer, pencils by Ric Estrada.) "They Don't Call Him Lucky Sam for Nothing!" is a shaggy dog of a sci-fi story, as a tramp spaceman signs a bum contract with an alien pirate; but it all turns out in the end for no reason. (Written by Sheldon Mayer, art by Jose Matucenio.)

"A Wild Tale" is told by a future teacher to her incredulous students, of a young girl rescued from an alien planet, who developed shape-changing powers. Could that be true? Well, let's just say nobody messes around in that class. (Story by George Kashdan, pencils by Trevor Von Eeden, inks by Ricardo Villamonte.) Lastly, in "Dust Devil," a small town in the Depression, on the verge of collapse, is offered an out by a devil. To make sure they don't get "a pig in a poke," one man asks for a trial period, and is given 12 hours to try their promised prosperity out. Kind of like the small-alien story; you pretty much know where this one's going; but it's got early Keith Giffen art that shows his Kirby influences. (Story by Gary Cohn.) 

Not a great one, but okay. I am blogging the cover though; so I don't buy it again! I feel like that cover's kind of well-recognized, probably seen by way more people than read this. 

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I picked up a McFarlane Super Powers Superman and Supermobile the other day, so apparently I was a little nostalgic for Superman stuff. Despite being from 2007, this one almost fits that bill: Action Comics Annual #10, written by Geoff Johns and Richard Donner, with art by Art Adams, Eric Wight, Joe Kubert, Rags Morales, Gary Frank, and more.

This felt a little like a recap, possibly intending to set up future stories: in "The Many Deaths of Superman" Lex Luthor cheerfully revisits the multiple ways the Man of Steel could die; after which he could get back to solving all the problems facing humanity. After. "Who Is Clark Kent's Big Brother?" really should have some credits for Robert Bernstein and George Papp's Superboy #89, as this is a pretty straight retelling of Mon-El's origin.

"Mystery Under the Blue Sun" is short, as a Thanagarian patrol tries to find why three of their patrol-ships have disappeared in this sector. Hint: it ain't the "thought-gluttons" from Rann! "The Criminals of Krypton" is maybe a bit of a retcon for Non, the silent brute of General Zod and Ursa's trio; but he wasn't always such. Non had been a brilliant scientist, who had worked with Jor-El and knew Krypton was doomed. Unfortunately, the ruling Science Council considered that heresy, and while eventually Zod and Ursa would come to believe him, someone on the Council had Non kidnapped and chunks of his brain removed. Zod tries to convince Jor-El to join them in open revolt, but he didn't think there was time for that, and Zod and company were a little too quick to murder for his tastes, anyway. The trio manages to kill some of the Council, before being captured: Jor-El argues they shouldn't die, and instead should be banished to the Phantom Zone. Zod, of course, swears vengeance, on Jor-El and his son.

Finally, in "The Deadliest Forms of Kryptonite," Lex runs down the assorted, relatively new, flavors of Kryptonite: most had been phased out post-Crisis, but were creeping back. Unsure which to use, Lex crams a bunch into the chest of an unwilling-looking Metallo, the first maybe not-willing member of Lex's new Revenge Squad...This felt a little like the pendulum swinging back, from Lex having some redeeming qualities, back to being a total dick. Read more!

Yeah, you're probably gonna have to be more specific there.

I know DC has tried a couple times to reboot or relaunch the Haunted Tank--Kurt Busiek gave it a go in the tail end of the Power Company, for one--but this cover made me imagine a tank not haunted by a Civil War general, but by the ghosts of those wrongfully killed by America. Be a bit crowded, then. From 1972, G.I. Combat #155, "The Long Journey" Written by Bob Kanigher, art by Sam Glanzman.

The interior story is nowhere near as dramatic as the cover; but seems instead to be the conclusion of a rare multi-issue story for the Haunted Tank: they had gone from being captured by the Nazis and exhibited in Berlin, to being hijacked by Polish fighters and were now in Russia! The tankers pick up a couple Russian guides (who won't make it nine pages in) but then get caught up in the Nazi siege of a Russian city. This doesn't go as hard into it as a Garth Ennis book, but it's made clear the Russians fought hard.

General Stuart warns Jeb, the tank would not make it back home in one piece: a somewhat ominous proclamation, that could've meant they would be fighting on the Russian front for the duration, which would've made more sense. Instead, after the tank helps out a bit, the Russians seem more than happy to help them on their way, dismantling the tank to sneak it home by wagon train. Wait, wait, wait: that looks like eleven wagons, but an earlier page mentioned the Russians were out of dogs and cats to eat and were down to rats: no way they would've had all those horses, even from "every village near!"

Also this issue: a reprint from 1958's Star-Spangled War Stories #67, "Ashcan Alley!" Written by Bob Haney, art by Joe Kubert. The Nazis throw everything but the kitchen sink at a frogman as he tries to free a sub from a mine. Read more!

It's pretty common for a comic character like Spider-Man or Batman to spend some time outside of their usual locales, often for just an issue or two. Seems like it would be a lot more work to do with Tarzan, though. From 1975, Tarzan #242, "Tarzan and the Castaways, part 3: Mayan Sacrifice" From an original story by Edgar Rice Burroughs, adaptation and pencils by Joe Kubert, finishes by Franc Reyes.

Tarzan rescues a girl from the aforementioned Mayan sacrifice in about four pages, before we get back to the castaways. The details are a little vague, but that's what happens when you come in late: assorted animals had been captured by a greedy hunter, probably leading to Tarzan's involvement, but their ship had crashed on an island that had been settled by Mayan explorers four hundred years prior. Tarzan had to save his animal pals--Tantor the elephant was there, as well as a couple orangutans that aren't named, but he does kill an angry tiger--while keeping the innocent castaways alive and making sure the smugglers and mutineers get theirs. He seems to have things pretty well handled, although a girl is surrounded by hyenas and wild dogs at the end here.

Would hyenas and wild dogs pack together? Is that what I'm having trouble believing? Actually, I didn't like the tiger-killing scene, but they were the jobbers of Tarzan's book: I picked up another random issue the same day, #228, and sure enough, he kills a sabre-tooth in that one. ("Trial by Blood!", story and art by Joe Kubert, maybe a smidge borrowed from King Kong.) I know Tarzan isn't acting out of malice, but I don't like to see animals get hurt for no reason. I'd probably read a comic with animals killing poachers, if anybody wants to get started on that.
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Amazing how what's scary when you're a kid is 'meh' when you're old...

The cover didn't ring any bells, but I do believe I read this one off of the spinner rack when I was nine years old. And it creeped me right out! From 1980, Mystery in Space #113, featuring "Trouble in Paradise" Written by George Kashdan, pencils by Michael Golden, inks by Bob Wiacek; "Passages" Written by Len Wein, art by Joe Staton; "The Eyes of the Bekkitt!" Written by J.M. DeMatteis, art by Jerry Grandenetti; "Gremlins" Written by Len Wein, art by Joe Kubert; and "Beasts of Burden" Written by George Kashdan, pencils by Trevor Von Eeden, inks by John Celardo.

The lead story, "Trouble in Paradise," is the one I remember: three computer specialists--a remarkably diverse trio for a 1980 comic--answer a want ad on the idyllic, advanced planetoid Orega. Their job is a breeze, the people are cheery, and their science super-advanced, yet there's still a few warning signs: everyone is too cheery, their job seems to involve robotics yet none are to be seen, and the science is able to patch up an injured member of the trio far too quickly. When they aren't allowed to leave Orega, the horrible truth is revealed...the people were immortal, true, but their brains had been "computerized" over time. They still needed a bit of human input here and there, hence the want ad. The trio live a long, long life on Orega; eventually placing a new ad...

Man, that brain-replacement bit made my skin crawl back then. Now I'm old and falling apart, you might as well replace large chunks of me...I didn't buy this back in 1980, possibly because of the creep factor; I'm not even sure I finished reading it since the other stories didn't ring a bell. "Gremlins" is the only one with a happy ending; but the twist on "Beasts of Burden" wasn't bad.
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In case the "Great Disaster" wasn't great enough for you:

I picked up most of this series for a buck an issue, but did have to order the last one: from 2013, Joe Kubert Presents #6, featuring stories and art from Joe Kubert, Henrik Jonsson, Sam Glanzman, and more. But my favorite this issue was a Kamandi eight-pager by Kubert and Brandon Vietti, "Devil's Play." It adds a couple new wrinkles to both Kamandi and the Great Disaster, as Kamandi here also works as a scientist, intent on discovering a cure to restore humanity's intelligence; and that there may have been even more to the Great Disaster than anyone could've possibly guessed. Namely, the involvement of the supernatural, personified by Etrigan the Demon!

This Etrigan seems full-on evil, and hints that maybe some force wanted the Great Disaster to happen. It's also a great-looking little story, and I wish it could be followed-up on.
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80-Page Thursdays: Ghosts #1!

80-Page Thursdays is still going to be a feature around here, just whenever the hell I get around to it or find another 80-pager. Like today's issue! From 2012 and Vertigo, Ghosts #1, featuring stories and art from Geoff Johns, Paul Pope, Gilbert Hernandez, John McCrea, and more.

Before stepping down as Vertigo's executive editor, Karen Berger asked Joe Kubert for a story for this anthology. Before he died, he had written and drawn "The Boy and the Old Man," which is presented here as the original pencils. It's pretty easily the best of the lot; although as someone who enjoys a bowl of chili every meal or so, I did like Neil Kleid and John McCrea's "A Bowl of Red."

Even though they were created by Neil Gaiman, the Dead Boy Detectives don't do much for me; and their eight pages was to be continued in some other anthology. Both Al Ewing and Rufus DayGlo's "The Night After I Took the Data Entry Job I Was Visited by My Own Ghost" and Cecil Castellucci and Amy Reeder's "Wallflower" aren't bad, examining the path not taken. The rest of the issue, particularly Paul Pope's "Treasure Lost" and Gilbert Hernandez's "The Dark Lady" didn't wow me.

This was another ninety-nine cent pickup, so for the price, not bad at all. Per the Beat's sale charts, Ghosts sold 16,574 copies; better than previous anthologies like Strange Adventures, Unexpected, or Mystery in Space. I should keep an eye out for those last two.


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Just Long Annotations: another big Justice League of America post:

Comics were delayed at my local shop a couple of weeks back (they were mistakenly sent by train, apparently) so they had a 15% off sale on back issues. I probably could've rooted around in the boxes for hours, if the kids hadn't been squirrelly as all get out. The Oldest likes to go to the shop, but gets what he needs and then is ready to go. The Youngest was trying to climb a shelf.

I did find an old Justice League of America with Adam Strange, but this makes at least the second time I've picked up a JLA back issue with Adam, only to get part 1 of a story, and to never find the conclusion. And I like Adam Strange, but he's played for a bit of a punk in both of these issues, presumably to triumphantly redeem himself, somehow, in the conclusion.

Then I found Justice League of America #200: a good copy, so it wasn't out of my comfort pricing. I was always a sucker for the double sized issues, and this one would've made it home on the strength of the artists alone, including Gil Kane, George Perez, Joe Kubert, and just to make you miss his interior work, Brian Bolland. Bolland's section, where Batman schools Black Canary and Green Arrow, is, well:

I don't usually run two pages together, but...

Holy hell, Brian Bolland can draw. Somewhere, I have a Judge Dredd reprint with a short Bolland page about why he doesn't draw Dredd anymore; and if he was burned out he at least had a sense of humor about it. Weirdly, I also picked Hellstrom: Prince of Lies #15 out of the quarter box the same day I bought this--I'm a big Ellis fan, and Leonardo Manco should be a bigger name. #15's cover was crap, but the letter's page promised a Bolland cover for the next issue, and it was featured on his entry in Wikipedia. Seems odd that Hellstrom and Lady Blackhawk are featured there rather than, say, Wonder Woman or Batman, but nothing wrong with that.

I love the Bat-dummy, too; it may be the Sensational Character Find of 1982. Green Arrow tries to play it off like they would've had Bats without the diversion, but I imagine he was long gone, and left the dummy just to mess with them. Whenever Batman doesn't seem to be doing much in a story, figure he's subbed in the dummy, and ditched out to get some real work done.

Aside from that, I was a little disappointed with this issue; if only because I've seen the Appellaxians, done better, at least three other times: I loved JLA: Year One wholeheartedly, the Secret Origins version is funny and charming, and both have the more endearing Black Canary instead of Wonder Woman, who appears in the original Justice League of America #9. (I only have a reprint of that one, of course, probably from a digest.)

Yes, I called Canary more endearing. Tell me Wonder Woman would be more fun to hang out with than Dinah, and I will call you a liar.

Back to the Appelaxians: usually I'd have no problems with the return of a bunch of cranky, warmongering aliens that included a tree guy and a blob-of-mercury guy. It's just that their return in this one is so...dumb. Even for comics. And they have kryptonite meteors and eyebeams because...because...Also, since their whole reason for coming to earth was to fight out who got to rule their homeworld; considering one Appelaxian is diamond and another is fire, the two that got glass and wood either drew the shorter straws, or were handicapped going in.

I have no problem with the original Leaguers hypnotised and fighting the others, though: I'm a Marvel fan, and that's practically mandatory. Hawkman gets the shaft on this one: he's supposed to stop Superman. Alone. Where's Shayera?

Hmm, I might not want my wife to see this, either, even if Joe Kubert drew it:

Hawkman takes out a couple Superman robots, before the big man himself knocks "the bird-man" into the stratosphere. Pretty sure a punch that hard would've turned Hawkman into a smear with feathers, except, um, doesn't Nth Metal give him a healing factor or some damn thing now? He didn't have it in the stories then, but OK...anyway, in low earth orbit, he's hit by a zeta-beam, and zapped to Rann.

Yeah, this is just to get Adam Strange a little page time in this issue, but he comes off as a little harsh: referring to the first Rann-Thanagar War (which I'm not sure I even knew about before) Adam beams Hawkman back "somewhere in earth orbit, near your satellite." Near? Ah, close enough. It gives Elongated Man a chance to shine, but there are a lot of questions: Can Hawkman survive in space? Would even a hypnotised Superman potentially kill someone? The very other issue of JLA I bought mentioned there were no more zeta-beams being sent to earth, so why did one hit Hawkman? (That was an older issue, Rann could very well have started again.) I like Adam's costume, but does he have to wear it all the time? (On further thought, yeah, I would too.)

It keeps coming: why doesn't Firestorm, or Professor Stein at least, recognize the Martian Manhunter? You'd think his picture would be there somewhere, or they'd mention the history of the League during orientation. Wasn't Snapper living in shame after betraying the League, yet he's back this issue like he'd just been out for coffee? The hypnotised Aquaman didn't remember his brutal recent past: losing his wife, son, etc. Wouldn't he be crushed, or super-pissed, when it came back to him?

In the end, the JLA splits into smaller teams, as usual, and kicks the hell out of the Appelaxians pretty quickly, as usual. On the last page, as J'onn J'onzz and Snapper Carr depart again; Green Arrow has a change of heart and rejoins the League. So, there's at least one (semi-)lasting change this issue at least.

From Justice League of America #200, "A League Divided" Written by Gerry Conway, framing sections art by George Perez and Brett Breeding, and Roy Thomas credited as technical advisor. Individual chapters by Jim Aparo, Terry Austin, Brian Bolland, Pat Broderick, Frank Giacoia, Dick Giordano, Carmine Infantino, Gil Kane, and Joe Kubert. Read more!