Monday, April 13, 2015


Some time back, we checked out a Superman comics with some grisly deaths at the hands (or rather, laser-eyes...) of the Parasite. It occurred to me that there were a somewhat surprising number of grotesque kills in those old issues, so let's check out some more! From 1977, Superman #317, "The Killer with the Heart of Steel!" Written by Martin Pasko, art by Curt Swan and Dan Adkins, and a very dramatic cover from Neal Adams!

Inside State Caverns, the cyborg Metallo has defeated Superman, leaving him lying in the fragments of Metallo's shattered Kryptonite heart. Still, he can't hang out to watch Supes die, very busy, stuff to do, schedule to keep; and of course Superman is able to crawl to an underground stream and save himself by being floated away from the Kryptonite. Supes is somewhat at a loss as to what the endgame is here, though: several Skull agents (a super-crime organization) were murdered, their hearts seemingly teleported away and replaced by green-painted rocks--fake Kryptonite! Skull had created Metallo, but the presumed-dead cyborg returned with a vendetta against the organization and a lead mask protecting his identity. Throw in the disappearance of S.T.A.R. Labs scientist Dr. Albert Michaels and his mysterious secret invention, and Superman hadn't put all the puzzle pieces together yet. (That is a nice recap sequence, especially since I haven't read the prior issue!)

On his way back to Metropolis, late at night, Superman sees an armored car, suspiciously made of lead. Stopping the car, he finds two Skull agents, one of whom takes a shot with a bazooka. Superman is dismissive, until the agent explains the missile's warhead is anti-matter! As Superman stops the missile (which he says would have blown up the universe!) Metallo kills the agents using Michaels' invention, a matter-teleportation ray. Metallo wanted revenge on Skull for making him "a half-human monstrosity!" and Michaels had been a secret Skull agent. As Metallo finds Superman had escaped State Caverns, Superman examines the Skull agents' bodies and checks out the armored car: it's full of hundreds of pounds of Kryptonite, formed into ingots like gold bars!

Supes berates himself for not being Batman and figuring this all out yet, since his only clue seems to be that Metallo strikes between 4 and 6 AM. At the WGBS building, Clark Kent's new producer, Martin Korda, gives him the script for that night's newscast, but says the script will have to be updated with the news of the latest deaths. Meeting with Lois Lane, Clark realizes she just filed that story--but Korda knew about it an hour earlier! That, the books on heart transplants and cybernetics, and a chance remark by Lois help him come to the conclusion, or at least leap to a guess.

Later that night, at a secret base under a piano bar, three Skull agents meet at a secret base...with a sweet skull meeting table. These three were all that was left of Skull, although they tend to talk like they were still part of an organization, with larger plans involving Kryptonite falling to earth again...Metallo attacks Skull there, but is quickly met by Superman--which is according to Metallo's plan! Using the teleporter, he steals Superman's heart, replacing it with Kryptonite! As Superman's body turns green, both the just-arriving Lois and Metallo act as if the Kryptonite is what's killing Superman, not shock or his blood leaking into his chest where his heart was. Metallo even jokes no one could put the heart back, since you couldn't perform surgery on an invulnerable body.

Before Metallo can finish murdering the Skull agents, someone melts everyone's guns; then the cops that have surrounded the building follow Superman's instructions...and use their car-radios? Which works, as Metallo collapses, his robotic body seizing up. As Lois cries over Superman's corpse, he gets up and casually asks if he can wipe off the green makeup he put on at super-speed. Using a dead Kandorian's heart (!?) Superman used that speed to give Metallo's a Kryptonian heart and put his Kryptonite one in a lead box, then played dead. Supes had realized Metallo and the teleporter ray both were receiving power broadcasted from a central source, which is why the killings were late at night, and why Metallo had lured Superman to State Caverns: the better to avoid interference from radio and TV. I thought Metallo was running off Kryptonite power, but computers being what they were in the seventies, he may have needed outside operating support broadcast to him--except that doesn't explain how Metallo could've worked at WGBS in his assumed identity of Martin Korda! Metallo needed Lois's notes on Skull to track them down, but seems like bit of a plot hole there.

After Superman explains everything, one of the Skull agents grabs Lois, with his hold-out gun: Dr. Michaels! He escapes using the teleporter, swearing to rebuild Skull...and he would a couple of times, as he would later become the Atomic Skull!

The issue ends with Morgan Edge announcing at a staff meeting that the real Martin Korda had been found, and would be joining the staff after he had recovered. Oh, and Clark's new co-anchor for the six o'clock news would be...Lana Lang! Who called everyone "luv" during this period, and may have spoken with an affected, and fake, accent to hide the fact she was from Smallville like Clark. I don't think she came off especially well then.
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Friday, April 10, 2015

"Uncle Creeper."



I wasn't 100% thrilled with this one--too much tell, not enough show. Probably could've used another draft or six. If I worked with an artist, I'm sure I could give him some exciting, pain-in-the-ass to draw description to work with; but I am more limited here. But, still on vacation, although I should be back in the neighborhood on Monday!
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Thursday, April 09, 2015

"The Savage Sword of Spider-Man (2099)"


I don't know if it's intentional, but I like that Spider-Man 2099 came packed with Hobgoblin's flaming sword: it may be a callback to his first action figure, which came with a big flaming battle axe!
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"Nerfed."


Got a case of Spider-Man figures last week, but not much time to play with them yet. But Daredevil there isn't bad. He and Hellcat's batons, though...a bit limp.
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Wednesday, April 08, 2015

"Planet Hydra."


The corporal may have fast-counted the three minutes there, but I suppose it's not like he could shoot Pool too much, either.

We've seen mentioned before how Kurt tends to run into aliens who look more "human" than he does. Not to the point of getting a complex about it, but I suspect it both amuses and annoys him. The aliens the Hydra Section Leader (which is how I refer to the lone Captain America one!) lists are actual Marvel races, that are vaguely bluish.
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Tuesday, April 07, 2015

I'm not sure how someone who talks that hip wouldn't be recognized on the phone, either.


The hero going temporarily bad without even realizing it...is a pretty common Silver Age comic plot. Often it's the result of red Kryptonite, or a head injury, or exposure to chemicals, or in today's case, an element man's cure in chemical glop. From 1973's World's Finest Comics #219, "Tick Tick Boom Boom" Written by Bob Haney, art by John Calnan. A weird-sounding voice calls in bomb threats to Simon Stagg's bus terminal and park; and while Rex jokes there's a million people who would love to see Stagg blown to kingdom come, it's an unhinged and amnesiac Metamorpho leaving the bombs!

Stagg says Metamorpho's split personality is the result of the "glop cure" he put him in...I don't know either. Still, another dose cures Rex, but he doesn't remember where he planted his last bomb in Stagg's skyscraper, which could blow up with Sapphire in it! Although he saves Saphh and the building, the issue closes with another bomber calling in a threat to Stagg's yacht, which doesn't seem to be the laugh riot you'd expect. It occurs to me Metamorpho's good personality could've been planting the bombs, and his evil half defusing them: Stagg is that bad, people.
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Monday, April 06, 2015

The problem of escalation.


I haven't really loved Jonathan Hickman's Avengers run, even though if I see a copy in the quarter (dollar) bin I'll usually try it. Like today's book! New Avengers #30, "Beyonders" Written by Jonathan Hickman, pencils by Dalibor Talajic, inks by Rick Magyar.

Hank Pym, Yellowjacket, has returned to the 616-main Marvel universe, after a recon mission through the multiverse searching for "the destroyer," Rabum Alal. (He may not have had to search that far...) Instead, Hank found something much worse: "...the Ivory Kings...the white lords from wild space. The Beyonders." Although some of the heroes remember the Beyonder from the first two Secret Wars, these Beyonders are staggeringly more powerful than that "child unit." The Ivory Kings and their troops attracted the attention of the Builders and the Captain Britain Corps, but that was just bait for a trap. And neither the Builders nor the Corps were the target: their destruction is incidental, as the Beyonders destroy multiple universes worth of Celestials single-handedly, before finishing off heavyweight cosmic avatars like Infinity, Eternity, Lord Chaos and Master Order, and the Living Tribunal. Hank tells the assorted Avengers and Illuminati present that it's all over. Well, of course it's not, there's still all those Secret Wars books, man.

I do like how Hickman both gives Hank something to do that seems suited to him; and portrays him has having been damaged by what he's seen but still holding it together as best he can. This is mainly an exposition issue, setting up future events; so it's just a bunch of guys standing around talking about far-off events of cosmic import, but while it didn't grab me at first, Talajic's art is an interesting choice for it. It doesn't have the sense of "cosmic grandeur" that someone like Jim Starlin might bring, and the cosmic battles with the Beyonders and the Celestials are somewhat static, shooting beams out of their hands affairs; but that could be attributed to Hank trying to give an account of a "battle taking place in multiple realities" as clearly as possible. That and Talajic's Avengers all seem haggard, and small. The beards several heroes sport aren't sexy Stephen Amell-stubble, they denote men that have been working to the point they've stopped taking care of themselves.

On the other hand, I'm already having the same problem with the Beyonders that I do with DC's Anti-Monitor: even an infinity of them couldn't destroy several infinities worth of alternate realities. Wouldn't they be destroying other universes with other Beyonders or Anti-Monitors, too? But the question of over-escalation is what I'm worried about. The Celestials were Kirby-created, giant alien space gods. Eternity was a manifestation of the universe. Showing them get completely jobbed taken down definitely raises the stakes, but if the heroes win...what's next? Fighting Whirlwind again? This isn't to say you can't have good, even great stories with omnipotent villains like Korvac or Thanos; but they have to be used sparingly. (Thanos isn't always omnipotent, but you get the idea. I would say he's overused lately, but at least there's still some mileage to be gotten out of him, unlike Korvac. Although I've seen two separate cartoons with Korvac, which is not something I would've ever bet on. We may have to come back to that...) Grant Morrison has tried to continue escalation to the point that you the reader are involved, if not threatened, in the story; but I don't know if that would fit in with Marvel or the Avengers.

Let's see if I can get my point across with a counter-example: assuming the Avengers save the universe, after Hickman leaves the title, if I was writing Avengers? The first issue, the surviving heroes are coming down from their victory, with some characters staying with the team, others going on to something new. Meanwhile, Batroc breaks into Avengers Mansion (or Tower, or whatever their base is) on a mission to steal something--maybe info on the Beyonders or something--and completely clowns them. Everyone thinks, after facing multiverse-destroyers, a guy that kicks a lot shouldn't be a problem; but Batroc plays it smart (probably on someone else's game plan) and divides to conquer. He's not traditionally a weapons guy, but I'd cheat just a little, to give him one or two backer-supplied doodads to bench Thor, Hyperion, and/or Captain Marvel. Some Avenger--quite possibly Iron Man--would be stunned that after defeating super space-gods, someone with no powers would come at him; and consequently would get kicked in the face really, really hard.

Batroc might even get away with it. The message would be, every day is a different challenge, and none can be taken lightly. Also, some days you win, some you can still lose.
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Friday, April 03, 2015

"Bad Crowd."


And with that, I'm on vacation! Things will be on blog-o-pilot, so stuff will still post, but have a good week!
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Thursday, April 02, 2015

80-Page Thursdays: Superboy Annual #1!


This copy isn't GCD fresh, but still readable: from 1964, Superboy Annual #1, featuring stories by Otto Binder, Jerry Siegel, and Robert Bernstein; and art by John Sikela, Curt Swan, and George Papp.

The lead story is "a 3-part masterpiece...'The Voyage to New Krypton!'" Exposed to red Kryptonite, a feverish Superboy hallucinates his parents Jor-El and Lara escaping Krypton in a "time-ship," finding him on earth, then taking him and his adopted parents to a new planet, without the threat of Kryptonite...or their powers! A moon falling out of orbit threatens Superboy's new home, and losing both sets of parents shocks him out of his nightmare.

Krypto appears in two stories, serving as seeing-eye dog when Superboy gets diamond vision; and serving as an alien world's king. Briefly. There's a Superbaby story where he speaks in the mangled baby talk DC uses and visits Scotland Yard; Superboy meets Power-Boy, an earth boy who has powers on a smaller planet; and Clark trying to dodge getting a haircut and losing his secret identity.

King Krypto either sells the whole thing for you or not, actually.

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Wednesday, April 01, 2015

"Doomfile."


Hmm. What is in that file? We've mentioned the term MacGuffin before, and Alfred Hitchcock popularized if not invented the term: it's the object in the story everyone's after. Which is...to Hitchcock, not particularly important; what is important is that the characters think it is, want it, and act accordingly. George Lucas takes the opposing view, that the MacGuffin should be important, and that the audience should care about it. I first heard the term in an old Starlog magazine--#60--in a short piece on Nannaz, a film by Neal Adams!


I wonder if that was ever released anywhere...

I don't know if that's my favorite Doom figure, but he and Reed there are from the Ronan the Accuser Build-A-Figure wave. Still legitimately surprised I chanced into building him. I like the headsculpt on that Reed, but the permanently stretched limbs limit his usefulness. Still, we try to manage.

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