A lucky find; I wish there were more of these as well!

We'll wrap up the week with another one that'd be tough to scan: from 1981, Shocking Tales Digest #1, cover by Ernie Colón, although some images might have been taken from Bob Powell and Jack Kirby.

This was a Harvey comics reprint digest, a one-off, made up of stories from the 1950's, from titles like Black Cat Comics, for Bob Powell's "Colorama!" Alarming Tales is also strongly represented, with nine Jack Kirby shorts, making up almost half the book! "The Cadmus Seed!" and "The Last Enemy! both seem like precursor, test versions of his later DC work: "Enemy" is very Kamandi. Despite the little "TERROR" skull in the corners, most of these aren't super scary; but still not bad. 

I hadn't seen this one before, but if you're ever somewhere with a bunch of Archie digests, give 'em the once-over: every so often you'll find an oddball like this! I think from the same shelf at EntertainMart I got a Disney digest a bit ago; I'm hoping I luck into say, DC's Plop! digests at some point.

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This is like the second time, just recently, that I grabbed a book from the quarter bin to blog, even though I thought I had a copy somewhere, only to be unfamiliar with it when I read it. Not an unpleasant surprise! From 2013, Marvel Universe Avengers Earth's Mightiest Heroes #11, featuring "With Friends Like These..." Written by Frank Tieri, pencils by Tim Levins, inks by Tom Palmer; and "The Last American Dream" Written by Joe Keatinge, pencils by Khoi Pham, inks by Chris Sotomayor.

Sadly, the Earth's Mightiest Heroes show didn't have time to bring in the Lion of Olympus, Hercules; so the comic will have to do! Herc shows up at Avengers' Mansion, for his traditional punch-up with Thor: Thor suggests, maybe in this time they have to set better examples, but Herc thinks maybe his old sparring partner was getting soft. The ensuing scuffle is broken up, when Hawkeye calls in the Hulk to shut it down. Wasp then has to play mom, and make the boys clean up their mess.

The second story, "The Last American Dream," features Captain America in a traditional trapped-in-a-dream plot, but with an unexpected guest-star: Sleepwalker! Yeah, a future with a happy Steve Rogers, and American Dream and a Capwolf? Of course that's too good to be true. Sleepy helps Cap break out from under Nightmare's grip, although when it's over it's not clear if Cap knows Sleepwalker had been real. Still, Sleepy seems glad to have helped out. Read more!

"Wings."

I think Elektra could take Gamora, but that might just be me. This is the What If? Gamora; I'm guessing I got a couple figures into the wave and wanted to build the Hydra Stomper.  Read more!

60 years, but I wish this one got a few more.

Today's the 60th anniversary of the premiere of Star Trek--unless you're Canadian, in which case you got it two days early! But it also feels like a weird time for the franchise: barring any secret projects, for the first time in almost a decade, there is no new Trek series in production. The current shows were either ending or not renewed, and the only thing left was the preschool-aimed Star Trek Scouts on YouTube. (I'm personally behind on both Strange New Worlds and Starfleet Academy, since Paramount/CBS sucks, and I don't want to give them money right now. Also, even the best of times that channel had Star Trek and maybe the occasional Spongebob rerun for me, and little else.) IDW is your best bet for Trek material right now, since they have two new series out shortly; one of which features Captain Seven of Nine and the Enterprise-G, which was set up after Star Trek: Picard and should've got a new show immediately. But with those series beginning, another is ending, and while I'm not sure if its run has been truncated, or if it was only intended as a short run, I wish it had gone further: from 2025, Star Trek: The Last Starship, written by Jackson Lanzing and Collin Kelly, art by Adrián Bonilla and Hernán González. Covers by Francesco Francavilla.

This series was set during a time mentioned but not seen on-screen, called the Burn. In 3069, most of the dilithium in the universe went inert, causing massive, simultaneous explosions of reactors both in starships and on planets. (I know I've seen the Star Trek: Discovery episodes involving, and later revealing, the cause of the Burn: I don't want to seem like I'm agreeing with a common criticism of that series, but the cause and the solution are both pretty much 'feelings.') Millions were killed during the disaster--a trillion dead is sited at one point, three trillion the next issue--and Starfleet was absolutely decimated, as every active ship in the fleet was destroyed, most with all hands. Captain Delacourt Sato of the Sagan was on the verge of finally bringing the Gorn into the Federation when both their ships were destroyed: only Sato and three other crewmen were saved, by the ship's Tholian engineer, who had felt the disaster coming but too late. The Federation is on its back foot all the way, as without dilithium, warp travel was lost; sociologists predicted the dissolution of the Federation within a year. Sato refuses that answer, arguing Starfleet needed to get a flagship out there, to show everyone the Federation still stood. How, though? Maybe with transwarp, a banned technology, that of the Borg: Sato enters into a partnership with Agnes Jurati from Picard, the last queen of the Borg. With her technology, Starfleet is able to field one ship, the U.S.S. Omega. Agnes says she's trying to repay a debt, but one of her conditions was access to a decommissioned and quarantined science project on Daystrom Station...

Agnes had been human once, but had crunched all the numbers, and the situation was not mathing out for the Federation, or anyone: every possible outcome was an unmitigated and extended disaster, so she went for a hail Mary. Project Phoenix had attempted to resurrect one of Starfleet's greatest captains but had stalled, but with Borg technology, Agnes was able to reach into the past (figuratively) and bring back James T. Kirk. Agnes felt the situation "couldn't be left to some Starfleet stuffed shirt who thinks he's living at the end of history," which may or may not be directed at Sato. Sato initially balks at involving 'Kirk,' since he had studied his career and felt he was a man of war. But, like it or not, war was coming: the Klingons had also suffered the burn, and feeling betrayed by the Federation and perhaps the concept of "peace" itself, the Blackest Fleet, of older Klingon ships, attacks earth, dropping their warp cores on several cities. Sato is forced to challenge and kill the Black Mind captain, then orders them back to Klingon space...where, in a fit of nihilism, the Klingon empire mostly kills itself. (Millions of Klingons had died in the Burn, without battle or honor, meaningless deaths; that largely broke them as a society.)

After that hit, Earth secedes from the Federation, and I found issue #4 insanely depressing: Sato's first officer, Wowie Carter, visits his family at different times, and watches the entire planet fall into a xenophobic siege mentality. Here feels like a cheat: Agnes explains, the Borg's transwarp broke lightspeed by "brute force," so their next mission to gather delegates for a new Babel conference would take four months on the Omega...and twenty-three years in real time. That handicap takes the mission from a risky gamble to doomed-from-the-start: it would be like taking them off the board for years; and I don't see how any peace conference would work for the delegates, since they would have to adjust to how their planets had been changed during the time they were travelling. (This was somewhat the opposite, perhaps an overcorrection, of why the Burn happened narratively: although Discovery was initially set before the original series, the ship would end up in the year 3189. Discovery's gimmick was the ship's teleportation "spore drive," and other ships had to be taken off the table to keep it special and plot-central.) The new Babel conference fails miserably: with too many worlds demanding the return of dilithium use, either for comfort or security or survival, it's the perfect opportunity for the Emerald Chain to move in. Moreso than they were on Discovery, the Ferengi are a large part of the Chain's forging here--I can see why they weren't on the show, as this massively undercuts Rom's efforts to change Ferengi society in Deep Space 9. But here they're needed to fully sell the Chain's argument: the 'soft' values of the Federation had failed everyone, and the universe would only be saved by capitalism. Sato's Ferengi doctor, the drug-enthusiast Zed, calls it out immediately as a protection racket; but the Chain had dilithium and was using it, the risk of another Burn or not.

Kirk nearly sacrifices himself, to stop the Chain, but is saved by Sato; who is able to convince an old friend to trust him momentarily, but not enough to return to the Federation. Feeling like there was little left to him but rage, Kirk offers to leave, but Sato stops him, since they might be all the Federation had left. By issue #7, only a year had passed for the crew of the Omega but it was fifty-seven years since the Burn: long enough to "watch the galaxy dissolve in fast-forward." Starfleet was all but gone, and while some worlds (like Bajor!) stayed Federation, many were lost; and the Emerald Chain exploited and enslaved more and more. But, a transmission from Deep Space Hope, might have found something, as they send a broadcast saying only "come and see the miracle." Unsurprisingly, it isn't: the Vulcans and Romulans there had lost it, and were feeding themselves into a black hole, as a noble and peaceful suicide. Worse, that situation causes Agnes to doubt her longshot with Kirk, and decide to go with the numbers: another "brute-force" situation, the reset of assimilation.

Confronting Agnes on her seeming betrayal, Kirk is let in on her new plan--assimilate everything, with Kirk as a Borg King--but he rejects it, saying he was a captain. But, they had to change the variables: Sato was locked in on playing defense, when Kirk felt the time had come to "fight for what's left." Diplomacy had been tried, but wasn't cutting it, and Kirk thought Sato was fading. Kirk commandeers the Omega, although I'm not sure how much of the crew sides with him: by #10, another twenty-five years later, a now more Borgish Kirk seems to have Agnes and a Klingon officer, Valqis, but that might be it. And Sato, in the new U.S.S. Challenger, was hunting him: partly stung by the perceived betrayal, but also to appease the Emerald Chain, who routinely murdered thousands to punish the Federation for Kirk's actions. Zed stops Sato before he finishes Kirk--correctly calling Sato's actions out as appeasal, and futile--arguing that they may never be a crew again...maybe they could be a fleet. If they can work together, before the Chain's final retaliation... 

There are only two issues of this left, and I'm almost positive it'll end with nu-Kirk dead; but I hope they prove me wrong. (He'll also probably have to lay down the phaser and go back to diplomacy, for reasons.) I also have a suspicion that this series, being a little grimdark for Trek, was being phased out early to make room for the more optimistic times of the early 25th century. And I'm disappointed, because I feel like there was still a lot to explore here: we see the broad strokes of the appeal of the return of capitalism, but not specifics; nor do we see the Emerald Chain speedrun to new heights of capitalism's worst applications. There's also not enough room for hope, for people to relearn how to not just circle the wagons in times of trouble, but also reach out, to help others and be helped in turn. And I wanted to see more of the optimism of the last chance: where everything is against you to the point that death seems like the only option, unless...

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Is it spooky-season yet? Well, I did have some picked-at-the-peak-of-freshness Boo Berry last week, so sure, why not? From 1978, Ripley's Believe It or Not #83. Cover by George Wilson, although it and the lead story are re-used from 1967's Ripley's #6.

In fact, this whole issue would be reprints, all from over ten years prior: pretty sure Gold Key assumed the readership would've turned over by that point, so why not? I had to look up if Ripley's was still a franchise: per Wikipedia, "To be included in Ripley's Believe It or Not books, museums or television shows, items must undergo scrutiny from the staff and be 100% authenticated" and they used to have research staff that worked like dogs to find interesting items. Aside from the 80's TV show, I would occasionally see the panel in newspapers when visiting relatives; but I assumed both were maybe 60-40 crap fiction to true facts. (Jack Palance's sinister hiss was like a challenge to "...believe it or not!") So, this series was ghost stories, presented as fact, because ostensibly somebody at the time believed it...or were they completely, made whole-cloth fiction? Let's see what the internet finds...honestly, lately the internet feels less trustworthy than a comic book old enough to get AARP mailings, but here goes.

"Testimony of the Ghost" features Joe Certa art, he also drew "The Dark Rider" and "Hounds of Death" here. And, a quick search did find the below video, regarding the murder of Mary Walker, and the testimony of her ghost against her murderer, her uncle. Hey, that's a good start!  

The titular "Ship of Doom" was the Great Eastern, which was real; but did it really have a jinx? Namely, a riveter and his mate (partner, in this case!) trapped inside the double-hull? Wikipedia does mention it, after more serious discussion about the engineering innovation and legacy of the ship, under "Trapped worker legend" and while experts downplay the possibility, either of it actually happening or later being covered up, the notion did enter the public consciousness. Sting sang a ballad about it! (Art by Tom Gill and John Verpoorten.)  

"The Dark Rider" is the tale of one of Napoleon's finest officers, Steingel, who predicted his own death before a battle: he claimed to have seen a "giant cuirassier," that was revealed to him as Death himself. Steingel went bravely to his fate, and was allegedly killed by a mounted cuirassier of unusual size, that was also allegedly not seen again. The story also, allegedly, haunted Napoleon for years.

"The Thing With Claws" is based on 50 Berkeley Square in London, which may to date still be considered the most haunted house in that city. Again, all the stories about it may be lies, but there were stories. This one reminds me of the Hammer classic, Quatermass and the Pit, or Five Million Years to Earth.

I did not find anything for "Hounds of Death," at least in a brief search: a farmer, fed up with the neighbor's hounds tearing through his fields, poisons them, then is later chased to his death by their ghosts. (At least, that's what rescuers said his wife said, so...) "The Haunted Villa" is based on a fairly well-known story, from Roman Pliny the Younger. A man stays in said villa, that had already supposedly driven several previous renters to madness and death; and he follows the ghost to his grave, where he had been buried in chains. The body is unchained and buried properly, seemingly freeing the ghost. ("The Haunted Villa" art by André LeBlanc.)

Finally, "The Lady in White" would have been another 'known' ghost, of the Hohenzollern castle, that allegedly appeared before the death of King Frederick William. The king did appear to be handier than most monarchs, as he built coffins for himself and his queen; which I'm pretty sure was a King of the Hill episode. (Art by Al McWilliams.) 

I'm mildly surprised most of these panned out as, if not 'true,' then at least based on supposedly real events. Or known lies, maybe. Perhaps it was DC's Ghosts title that was not as, shall we say, diligently sourced? It's up to you if the research method delivers better results than the tried-and-true 'make crap up' approach.

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Where was the real Black Racer during this? For that matter, where is that slacker now?

Damn--or rather, 'goddamn' in this case, I suppose--I thought I had a full set of these, but grabbed this one to blog and it wasn't familiar...unless, of course, the Anti-Life Equation wiped that knowledge from my mind. Well, guess that's what the blog is for! From 2001, Orion #15, "At the Edge of the Abyss" Story and art by Walter Simonson. (His birthday was just this week, and he's the best!)

With the Anti-Life Equation, Orion had brought peace to the universe...by controlling it. And yet he was still furious, as he discovers his father Darkseid was still alive: currently, along with Metron, they might have been the only free wills left in existence. Orion sends Lightray to find them, and he's able to even through their cloak, discovering Darkseid and Metron as they scrambled to work on a simulacrum replica of the Black Racer. Using the Equation, Orion is able to command Darkseid and Metron to appear before him, as well as to force answers from his father: Orion's mother, Tigra (not that one!) had tried to convince him that Darkseid wasn't his father, in the hopes that Orion would then kill him. Darkseid admits he was Orion's father; while irked at Tigra, Orion feels the deception had been unneccessary: he was more than willing to kill Darkseid. Darkseid warns--or perhaps blusters--that whoever killed him, would be cursed, and their children would be cursed, and their children's children, for a thousand generations. Orion scoffs at that: he was already cursed.

Back at the abandoned faux-Black Racer, an unseen figure (with green gloves...) uses a Mother Box, to disguise himself as the Racer. Meanwhile, Orion reviews Darkseid's history, as a sort of indictment. He then uses the Father Box he had received from his father's, ahem, "close personal friend," Mortalla; to create a gun to kill Darkseid. Orion pulls the trigger, on an empty chamber: a flourish, learned from years of watching Desaad. (Orion mentions, offhand, having killed and resurrected him with the Equation.) Figuring everyone's hands would be clean and uncursed if Darkseid was his own executioner, Orion gives him the now-loaded gun, and with the power of the Equation tells him to kill himself.

Before Darkseid can pull the trigger, the Black Racer interrupts them, claiming Orion had affected the cosmic balance in "setting (himself) up as the equal of fate." That could either be working from a script or prophecy, or a bit of improv; but also seems to imply Orion has to kill Darkseid himself and be cursed...(It's also why I'm always less than enthusiastic about stories with Superman or the Justice League fist-fighting Darkseid: they aren't part of that narrative!) The Racer then takes it to the gathered crowds, seemingly killing hundreds: Orion is furious over the loss of life, but the Racer points out Orion had taken their wills, so what was left? Tyranny. The Racer opens a Boom Tube, and Orion gives chase. After they disappear, the collected gods are freed from the Equation: Lightray thinks that means Orion was gone, perhaps dead; but Darkseid says their Racer had been a ploy, he wasn't sure what had happened. (We do see Desaad collapse with Orion's disappearance, seemingly returning to death.) The intent had been to lure Orion into a Boom Tube with no exit...and, it's noted, those supposedly killed by the Racer, were merely stunned. Darkseid gives truce for the day, in his son's memory; and the gods of New Genesis return home. (If there was still a New Genesis at this point, I forget!)

I love the little guys at the bottom of this page: I think Simonson did a metric ton of those, little throwaway background characters and cameos, for Orion #5. He could've put those on every page! Some distance away, the "Black Racer" removes his disguise, having escaped from the Boom Tube. (Escaped, you say...he also has a very distinctive cape and aerodiscs!) And Orion seemingly crashes somewhere else, that appears to be the roots of a massive tree...The last few issues here had very much been "absolute power corrupts absolutely," and while Orion had good intentions, he also was riddled with what charitably could be referred to as "anger issues." It's very telling, in that faced with a universe of everyone's problems, Orion's answer is, let's everyone shut the hell up for a minute.

Also this issue: another "Tales of the New Gods," "Greater Than/Less Than" Written by Kevin McCarthy, art by John Paul Leon. Canis Major had been one of Darkseid's mightiest Dog Soldiers, but his son Canis Minor, with the aid of a salvaged, damaged "Step"-Mother Box, had developed an interest in art. Having long feigned an interest in war, today Canis Minor rebels against his father, knocking him out, taking his armor, and leading the Dog Soldiers to a victory against New Genesis. Then, in the aftermath of battle, he frantically sculpts a rider slumped over his mount, to the roaring approval of the Dog Soldiers, who appreciate "the art of war." Unfortunately, Darkseid does not: "I may not know art, but I know what I like...and I don't like this." He orders Canis Minor killed, noting "sons have always plagued me." Ah, everybody's a critic.

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Last week I had been digging for a Hostess ad, hoping for one with the Coyote: I found one, but I also grabbed a few more old Gold Keys, probably fished from the same quarter box. This one did have a Hostess ad, but was sort of interesting itself! From 1976, Tragg and the Sky Gods #5, "Attack of the Man-Apes" Written by Don Glut, art by Dan Spiegle. Cover by Jesse Santos.

This series only ran nine issues or so, but appeared to be an attempt at a new man vs. dinosaurs book; which Gold Key had so much success with in Turok. It seemed built more on continuity than Turok though: Tragg and his girl Lorn were mutants, prehistoric cavemen altered by the alien Yargonians to a more modern sort. While they had sympathizers within the "sky gods" like Keera, most of the Yargonians were trying to conquer and enslave the primitive primates of earth. This issue, returning from helping Tragg the previous issue, Keera is caught by her betrothed Zorek, who had fairly quickly realized wherever Tragg wrecks his plans, Keera had been right there. (I had to look if Glut had ever written Captain Marvel, since this seemed like the old Una/Yon-Rogg subplot from the early days of that title. Which I never read, but still.)

Meanwhile, searching for another tribe to help them free their people, Tragg and Lorn encounter an ape-man, and save him from a dinosaur. The ape-man, that they somewhat hurtfully call "White Top," isn't grateful: he thought they had killed his god, that brought his people fire, since not knowing how to make it, they had to get it from a crack in the earth. Tragg tries to explain how to make fire--seriously, it's not rocket science, guys--but they get swarmed by apes, beaned with rocks, and fall into a crevice. Tragg and Lorn then have to escape from below the earth's surface, while White Top struggles to think, if he should help those that saved him.

A trapped and starving "acrocanthosaurus" (which I would've assumed was made up, but was real!) is a problem for a bit, but is eventually burned up in an oil pit. The apes are thrilled to have their "fire god" back, and won't listen to Tragg explain that wasn't a god. Tragg and Lorn say farewell to White Top, encouraging him to pass on what he had learned to his people, then press on in their quest. 

 This was part of the "ancient astronauts" fad of the era, which Kirby also tapped into for the Eternals; and the Inhumans were also the result of aliens monkeying around with...well, monkeys, I guess. But the ancient astronauts theory is often a bit condescending and racist, largely to the effect of "primitive people were dumb as crap, how could they have ever accomplished anything without help, the firm guiding hand of their betters?" Um, how about a really long period of trial-and-error; that might've done it. Oh, and this issue did have a Hostess ad, with Sylvester foregoing pursuit of Tweety for Hostess Cup Cakes. Those Cup Cakes have to be tastier than Tweety. Less bones, anyway.

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"Sickest."

Black Ant may be the first person to show up lately without a sword, but he's there in his role as Taskmaster's husband--if you don't follow Kim Hu on BlueSky, you probably should! Actually, I treat Black Ant as Tasky's hypeman, and for some reason they come across to me as the Mooninites from Aqua Teen Hunger Force: they're annoying, they insist they're better than you, and one or both is probably super-wasted. (EDIT: I also forgot I had this Taskmaster, but obviously found him: I thought I was going to have to go with the old Toy Biz one!)   

 I feel like I have seen, somewhere in Marvel continuity, where Hercules had to defend himself against a former student--or, I might be thinking of Marvel Super-Heroes #1, where Herc has to push through the bad memories and defeat a foe with archery, which he had kind of sworn off. That and I was watching Jason and the Argonauts again the other day, and spoiler alert: Herc's pal Hylas, gets himself squashed by Talos, and Herc leaves the Argonauts and their quest to find him, or really more in shame. Despite usually being portrayed as a partyboy lout, Hercules has a more tragic history than Thor, because he spent more time with mortals: I feel like most of his Marvel history was like Herc losing a spouse, moping for several years, finding love again, damn, losing that one too, and so on. Throw on top of that all the friends and foes he saw grow old and die; and you maybe see why Herc spends as little time thinking as he can get away with.

As usual in what passes for continuity around here, Deadpool is still Venompool! Partly because I love the figure, but also Pool and the symbiote might be good for each other? Now Pool's fourth-wall breaking non-sequiturs would seem like he's just talking to his 'Other.' If that doesn't just reek of sanity! Although, also in continuity here, Lady Deadpool knows Gwenpool, although this may or may not be the same Lady Deadpool: it's not the same figure, she got a new one in the recent Box wave. (A wave I didn't love, although I did want Marina and Box to shore up Alpha Flight!) I suspect Lady Deadpool got remade, to get her on the shelves the same time as some movie Deadpool figures, without having to go all-in on a movie styled version. 

And we again see Red She-Hulk, at least in the background: she has a big friggin' sword, I think from...Fear Itself? The event with all the hammers--wait, how'd she get a sword, then? Man, I wish Betty was still Red and not the Harpy or whatever now; she deserves better.

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If these had been the next issues...we probably wouldn't have the All-New All-Different era.

The quarter bin again comes through; since I don't think I recalled this series, and I'm usually more than game for whatever Alan Davis feels like doing. This one is set during a very specific window, though! From 2014, Savage Hulk #1, "The Man Within" Story and pencils by Alan Davis, inks by Mark Farmer.

The story is set immediately following X-Men #66, which had been the last issue of the series before it went to reprints from #67 to #93. The X-Men had a brief scuffle with the Hulk, with Jean Grey turning him back into Banner, so they could get a gamma device to resuscitate Professor Xavier. (Resuscitate him from...? Something? Look, nobody was reading X-Men then.) But, the Leader had been watching that fight, and reviewing the tapes, catches Bruce say the word "Xavier," and begins investigating for the device.

Meanwhile, out in the desert, the Hulk was getting shot at with advanced missiles from the Hulkbuster division of the United States army, that are probably the reason America can't afford healthcare; and he still ends the fight by throwing a big ol' rock at the launcher. Back at Xavier's school, the Professor was still fiddling with Banner's device, having determined it had been intended to cure the Hulk: Xavier still felt a psychic imprint of Banner's torment, and was determined to help him. (Davis draws an excellent tormented Xavier: you believe he's seen how much being the Hulk sucks and was compelled to save him by any means he could.) The Hulk, momentarily at peace in the desert, reverts to Banner, who later is taken in by an elderly couple for dinner. The X-Men--a full boat of them, the original five, plus Havok and Polaris--investigate Banner's desert lab, but when they then try to follow a gamma radiation source, they don't find the Hulk, but the Abomination! Who is getting shot at by missiles like those shot at the Hulk earlier. To be continued... 

This was a fun four issues, with gamma radiation affecting some of the X-Men in unusual ways, as they make a good effort to save Banner from the Hulk. Sure, it wasn't gonna happen, but still. The last two issues of the series were from Gabriel Hardman and Corinna Bechko, and were set post-Hulk #300, with the mindless Hulk banished to the Crossroads, then Dr. Strange is taken from testifying in front of Congress, to save an alien world from the Hulk. Those were pretty good too, glad I grabbed the lot!

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