I really can’t understate how influential Wizard was to me as a budding comics fan. I’d been going to the comic shop for a few years by the time I discovered the mag at a mall book store. I started out reading Superman and Batman comics and added other DC comics because I knew about them from the house ads, but it wasn’t until Wizard that I really began to learn more about comics as a whole. I’ve always been pretty risk-averse and budget conscious, so it took an extra push to spend my limited funds on something new. With Wizard, I found a group of writers who opened up my world to all sorts of new books I’d never heard of including, but not limited to Hellblazer and The Goon, both of which I’m writing about here today!
Five Fists Of Science (Image)
Written by Matt Fraction, drawn by Steven Sanders
A few weeks back, when writing about a trio of Marvel minis from the mid 2000s, I mentioned an intended shelf cleaning project before moving. I pulled a series of trades out of my collection to re-read and see if they continue to earn shelf space. Here’s two more of those reviews.
I scored this copy of Matt Fraction and Steven Sanders’ Image Comics OGN The Five Fists Of Science back in my early Wizard days. If there was a free trade sitting around, I was likely to grab it and give it a read, especially if it had a strange or interesting concept. And this book definitely fits the bill.
Five Fists revolves around Mark Twain teaming up with his good friend Nikola Tesla and his one-handed assistant Timothy Boone to create a giant, robotic war machine that can be sold to every nation on Earth to ensure peace (the ol’ mutually assured destruction concept). They join forces with Baroness Bertha Von Suttner who introduces them to all the right people. Meanwhile, a group including J.P. Morgan, Thomas Edison and Guglielmo Marconi are erecting a building to help bring demons into our realm. See what I meant when I said “strange” and “interesting?”
The book features a nice mix of historical characters, many of them who were quite eccentric even when not dealing with demons and robots, with made-up ones to tell the kind of story you’re just not going to get anywhere else. Though, for what it’s worth, I do think this would make a ridiculously fun movie int he vein of the Sherlock Holmes films. Anyway, Fraction did a great job of make this story fun, exciting, strange and adventurous, which gets the thumbs up in my book. My only complaint is that Sanders’ art comes through a bit muddy. I’m not sure if this was a printing, inking or coloring problem, but there were a few pages here and there that were difficult to parse. It’s possible this has been change in the new printing (linked above), but I don’t know for sure as I have the one from 2006. All in all though, I had a great time revisiting this book and will be keeping it in the collection. If you’re looking for something to pass to a friend who’s into science, this is definitely on the list of passable materials.
Billy the Kid’s Old Timey Oddities Volume 1 (Dark Horse)
Written by Eric Powell, drawn by Kyle Hotz
Collects Billy The Kid’s Old-Timey Oddities #1-4
Another Wizard acquisition, Billy The Kid’s Old Timey Oddities comes from Goon creator Eric Powell and artist Kyle Hotz. I believe this was the first book written by Powell that I actually read as it wound up taking me years to get around to The Goon: Fancy Pants Edition Volume 1.
This book finds a freak show owner approaching Billy the Kid, who’s supposed to be dead, and offering him a job accompanying some of his performers on a mission to Europe to recover a Gollum’s heart. Said performers include the Alligator Man, the Tattooed Woman, the Wolf Boy, Watta the Wild Man and the Miniature Boy. As it turns out, the artifact is currently in the possession of another character thought long-dead: Dr. Frankenstein, who has gotten even crazier in his experiments.
One of the most impressive elements of a book like this is how Powell sucked me into the story and got me to like these characters so quickly. I mean, you’re dealing with just four issues and yet, every time someone had a nice moment I smiled and every time someone wound up on the wrong side of a monster, I felt bad. That’s just darn good yarn-weaving, right there.
Hotz deserves a lot of the credit for that as well. He does an amazing job of conveying emotion, terror, humor and action all while rendering these fantastical and monstrous looking characters. To my mind, he’s got a Kelley Jones vibe (who I love), but with his own unique, sometimes grotesque style. He and Powell not only made a fun comic I’ll be holding onto, but also two more volumes I want to check out.
I’ve said time and time again here on the blog when talking about comics, especially DC Comics, that I was a hardcore continuity guy, especially when it came to Superman. Those are the books that got me into comics and taught me the most about the Man of Steel and the greater DC Universe. So, when Infinite Crisis went down and did some vague continuity edits that didn’t seem that well conveyed and I started reading Geoff Johns’ run on Action Comics, I was confused and angrier than I should have been. I was being over-reactionary and not really fair partly because of my bias, but also because I was so dedicated to the version of that character that I was so familiar with.
Since then, I’ve done more thinking about all this than I probably should have, but I go back to what I call the Puzzle Theory Of Corporate Comic Characters. The way I see it, every single existing Superman story is a puzzle piece that a new writer can come in and use. Take Batman for example. That character can work as the ultra-dark version seen in the Christopher Nolan movies or as the fun, upbeat version seen in the Brave and the Bold cartoon. It’s the same character with different past aspects highlighted by the creators. That’s the lens through which I checked out Johns run on Action Comics when I went back and re-read it recently. He’s more a fan of the Silver Age stuff than the books I read, so that’s what he highlighted. I’m doing the first three books here and will do the final two next week, then maybe get into the New Krypton stuff which he set up and then handed off to James Robinson, Greg Rucka and Sterling Gates.
So, Infinite Crisis changed the DCU a bit by making Clark Kent Superboy when he was a kid. That was the major difference for Supes, but they also took away his powers for a year leading into One Year Later and 52. Up, Up & Away is a crossover between Action Comics and Superman with Johns and Kurt Busiek trading off issues in an effort to set up the new world without a Superman and, of course, gradually bring him back. In the year since he lost his powers helping bring down Superboy Prime, Clark has been able to enjoy the finer aspects of being a regular person: getting really good at his job, being more present with his wife and savoring his more limited senses. But of course, it’s not meant to last. While Clark had most of his bases covered with Supergirl and other heroes watching over Metropolis, he didn’t account for Lex Luthor getting out of jail and going back to his mad scientist roots, gathering villains and wielding them as weapons against Metropolis and Superman once he does return.
I can’t say for sure, but I think I really liked these books when they came out and I liked it a lot on this read through. It seemed like both writers really got a good grasp of the character and did a few things that I really enjoyed, most of which had to do with Lex Luthor. When I started reading Superman books, he was the quintessential industrial bad guy, but I’m also a big fan of mad scientist Lex. Better than that, though, the book asked a question that I had never thought of until these issues: Why didn’t Lex put his genius to use curing cancer instead of going after Superman? I tended to think of Luthor in the sense that he was portrayed in the Lex Luthor: Man of Steel series as a good man trying to defend his people from what he saw as a threat, but that ignores the irresponsible and crazy aspects of the character that are also there. Why DIDN’T he cure cancer?! Cause he’s nuts. There are also stellar moments between Lois and Clark where she explains that, while she enjoyed her time with powerless Clark Kent, she knows he needs to be Superman for the world’s sake. This is my favorite relationship in comics.
The book ends and Superman’s back in the suit with the bad guys are vanquished. He’s even helping rebuild parts of the city and handing over the signal watch to Jimmy Olsen. It’s a cool ending that doesn’t really establish the new status quo of Superman or Clark Kent, but did give a cool feel for both before moving into the separate books.
I hope there’s a point in my comic reading career when I can completely separate my reading of a trade from the knowledge I have about how that series came out in a monthly format. It’s not much of a problem anymore because I don’t read many single issues anymore so lateness has very little meaning to me. If you don’t remember or weren’t around, the books in this collection were widely spread out, had fill-ins by completely different creative teams and didn’t actually get finalized until much later when the annual came out, allowing DC’s flagship title to continue on without as much interference. It was frustrating.
There was actually a lot that frustrated me about this book the first time around. It was assumed that the lateness came from then-new DC acquisition Adam Kubert. I don’t have much tolerance artist lateness, especially if it’s an artist I’m not into. I didn’t see what all the fuss was about and therefore wasn’t very forgiving when month after month passed and the story still hadn’t wrapped up. There were also a pair of story elements that bothered me. First, the book features Superman meeting the Phantom Zone villains for presumably the first time which I thought had already happened in the previous continuity. Second, I didn’t want Superman to have a kid.
However, this time, I was able to just take it all in at once. And you know what? I liked most of the story. I did my best to ignore the lateness and my continuity bias, instead just letting myself focus on this new story and it’s pretty good, though I’m still not a great big fan of Adam Kubert’s. Aside from some poorly constructed figures when zoomed out, my main problem with the art was that it looked like the figures were being photoshopped onto painted backgrounds. When artists do that kind of thing, it looks inorganic and distracts from the implication that you’re looking at a whole broken up into many panels.
As usual, I’m getting ahead of myself. This story kicks off with a young Kryptonian landing on Earth. He’s soon followed by Zod, Ursa and Non (better known as the bad guys from Superman II) who are actually using their son as a tether allowing them to escape the Negative Zone. Now Superman has to fight for the very survival of his adoptive planet and his new foster son in the face of overwhelming odds.
I dug the ins and outs of this story from the explanation of how Lor-Zod was conceived to Mon-El’s appearance and the Bizarro fight to the people Superman turns to for help in defeating his enemies. My only real problems this time around were still related to other comics, but not the ones I read as a kid, but instead Up, Up & Away. Somehow Clark Kent went from a confident guy wearing a Smallville jacket to a suit and tie-wearing doofus who felt the need to act as such to hide his secret identity. Doesn’t that seem weird? Wouldn’t that kind of big character change cause a lot of people to wonder what’s going on? However, as its own thing and the beginning of Johns’ solo run (he recently said on Kevin Smith’s Fat Man On Batman podcast that he basically hammered out the beats with his one-time boss Richard Donner and then scripted it himself), it works a lot better than it did as a monthly comic. One of the major negatives at the time was that Lor-Zod wound up spending months and months with Clark and Lois, basically spinning his wheels until everyone got their stuff together and gave him the proper send off which wound up being really emotional and well done.
While I might want to forget some elements of the previous books, I have only good memories and experiences with Escape From Bizarro World, which is a three issue story drawn by The Goon‘s Eric Powell. While working at Wizard, I was given the assignment of interviewing Powell for a sketchbook feature. You can actually see the sketches in the intro written by Brian K. Vaughan, but the amazing Darkseid one he did wasn’t included because he has nothing to do with the story. That image of Darkseid has become second only to Jack Kirby’s in my mind for iconic interpretations of the character. Powell was also a super nice guy to interview. He had a death in the family at the time and still took the time to help me with the article, something I don’t know if I could have focused on in his shoes. Good guy that Powell.
This story completely plays to Powell’s strengths as it takes place mostly on a planet that Bizarro smashed together and happens to be under a blue sun which has given him “Bizarro Vision,” the ability to create Bizarro clones. The downside? They hate him. Bizarro needs advice so he kidnaps Jonathan Kent which eventually brings Supes to the planet. Superman actually wants to just get out of there and leave Biz to his problems, but his dad is there to play moral compass and help the two figure out a way to change the status quo. It’s a great series of moments, but doesn’t hold a candle to the few scenes of Superman’s dad getting his son’s powers and understanding for a little while what that’s like. Better yet? The gift Bizarro gave him at the end. Man, that gave me a little lump in my throat!
It’s a quick story with all kinds of goodness on both ends of the comic spectrum. Johns and Donner weaved a wonderful story that ranks up there with some of my favorites. At the same time, Powell not only gets to draw backwards zombie-ish versions of the Justice League and Superman’s supporting cast, but also does a Superman so iconic I almost can’t stand that there’s only three issues.
To beef up the trade, DC did something pretty fun by including three different Bizarro issues from years’ past. Better than just including some basic stuff, though, they actually got Johns to pick issues that inspired him when writing the character. The writer even writes mini essays about why he included each issue which is pretty great. So, instead of reprinting Bizarro’s first appearance, he went with the one where Bizarro and Bizarro Lois Lane have a kid who’s normal and therefore a weirdo on their planet. This plays up on the themes of alienation that Johns used throughout all of his Superman stories.
Alright, I want to say one more thing while on the subject of how these books are collected. I understand it makes sense to collect the books by artist, but there are a few issues here and there from Johns’ run that weren’t collected in these books. I don’t have the exact issue numbers on hand, but I know there was a Toyman issue that got passed over for collection. I’m sure I’m not the only one to suggest this, but it would be nice to have a Geoff Johns Action Comics Omnibus. They’ve done that with his Teen Titans and Flash runs, so maybe we’re not far off from that with Superman.
UMBRELLA ACADEMY: DALLAS (Dark Horse)
Written by Gerard Way, drawn by Gabriel Ba
Collects UA: Dallas 1-6
Okay, here’s the the thing. I didn’t actually read the Dallas trade, but the single issues. This is how we used to do Bookshelf back in the Wizard days. Being in the research department it fell on me to go through the massive, unorganized comic book library and dig up all the single issues from so many months back. It was terrible and dusty and hot up there, but when I wasn’t forced to dig for comics, I would do that anyway because it’s the most well stocked comic library I’ve ever seen. Anyway, I was a big fan of the first Umbrella Academy series Apocalypse Suite. Who would have thought that a rock star would write such a rad story? Anyway, I picked up the single issues as they came out, but waited to read them all at once and had a great time. Dallas isn’t an easy story to explain, but it picks up shortly after the previous story with family members going their separate ways. The main thrust of the story has to do with time travel and what happened to the diminutive #5 on his way back from the far future in the previous story. Like Apocalypse Suite, Dallas covers all kinds of territory from the aforementioned time travel to heavy-duty sci-fi killers to cartoon-headed assassins. It’s got a kind of Grant Morrison feel to it, without being as confusing. And man, Ba’s art is just sick. Way gives him all kinds of fun things to draw and I love seeing how they work together. This probably isn’t a very informative review, but if you liked the original, you’ll like Dallas and if you haven’t read either, go pick them up. Stat. Did the trade have any cool extras? I’ll get it on my shelf eventually.
THE GOON FANCY PANTS EDITION VOL. 1 (Dark Horse)
Written & drawn by Eric Powell
Collects Goon #1, 2 (Albatross), Goon #1, 3, 5, 9 (DH)
It might be hard to imagine nowadays, but even just a few years ago, Wizard magazine had the ability to help boost a book into more readers’ consciousnesses. The Goon was one of those books. It was really popular around the Wizard offices and ended up getting some pretty good coverage in the mag which helped boost the book’s sales. As a thank you for the coverage, Dark Horse and/or Powell sent the Wizard office a big box of these hardcover Fancy Pants books. I actually came in towards the end of most of this, but I benefited from it on one of my first days when a buddy handed me this volume. For some reason it took me almost four years to actually read it. I think one of the big reasons I didn’t get to it sooner is because the book reprints everything in chronological order and not as the issues came out. You can see above that the issues skip around a lot. I know some people like to read comics that way, but it puts me off going in. But, my reading experience wasn’t hindered once I actually started into this book (which Powell signed!).
As it turns out, this book is completely up my alley and awesome. The Goon killed a mobster who killed his carnie family. Now he’s got the mobster’s debt book and goes around acting like he’s working for the mobster and keeping the money for himself. He’s also assisted by his little buddy Frankie who used to be a wuss and, kind of like the kid from Son Of Rambow, now loves violence. The world is a kind of dirty, rundown version of what you might think of a larger small town back in the 40s, but with zombies. So, in addition to laying into mobsters, Goon also gets to slice, dice and punch his way through armies of zombies. I have no idea how much this book costs now, but it makes me want to get either the regular trades or the next Fancy Pants volume.
MARVEL PREMIERE CLASSIC VOL. 10 IRON MAN: DOOMQUEST (Marvel)
Written by David Michelinie & Bob Layton, drawn by Bob Layton & John Romita Jr.
Collects Iron Man Vol. 1 #149-150, 249-250
My love of Michelinie and Layton’s Iron Man is well documented in my Iron Mongering posts (find them all in the drop down to the right). As such, my buddy Ben got me this book for Christmas last year, which was super nice of him.Doomquest is definitely an interesting book, especially because the two two-issue stories have 100 issues between them. The basic idea is that the first two issues send Iron Man and Dr. Doom back into the times of Camelot where they have to deal with King Arthur and Morgana Le Fey and all that. The second two issues have them rocketing into the future where King Arthur has been reborn as a kid (as legend says will happen) along with a much hipper Merlin. This really is a wild little book. M&L nail Dr. Doom’s character. He’s just as arrogant and conniving as you would expect him to be, but in both stories he’s thrown out of his elements and has to make allegeiances he normally wouldn’t. Of all their comics I’ve read, I think this one might be the easiest to just jump right in and read because of the time travel. Aside from some stuff in the very first issue, you’re pretty much in these vastly different settings the whole time, so you’re learning things as the characters do. Well, for the most part. Iron Man 2020 kind of shows up in the future stuff. That part is kind of a combination of Camelot 3000 and any other Marvel story set in the future of the 616 where the legacies of the heroes live on in weird ways. I loved the book, but it also really makes me wish Marvel would start putting out more complete M&L runs in a Visionaries kind of series.