As I explained last week, my pal Jesse bought me a longbox packed with comics, many of which had five or six copies. I put what I had in alphabetical order, put them in my sliding-top coffee table and I’ll reach in, pull out comics at random and give them a read. Sometimes I discover a gem, sometimes, not so much.
First up, I read Mortal Kombat: BattleWave #4 from Malibu, which seems to have been purchased by Marvel at this point (1995). This comic was written by Charles Marshall and drawn by Patrick Rolo and it was surprisingly one of the best of the box so far. I figured I would be completely lost because I only ever rented Mortal Kombat games in the past. But, I actually found myself pretty interested in what’s going on.
I don’t know why the different people are fighting on their particular sides, but you’ve got Johnny Cage and Jax fighting Smoke and Jade on a crashing airplane. This is a tricky thing to write and some of the artwork is a little out of control, but I think it was handled really well. There’s other stuff I didn’t necesarrily get and a back-up story about a cat-man fighting Goro, but I was actually pretty intrigued by the world that Marshall was working with here. Iconic characters doing cool things in such a way that a new reader can understand is not a terrible thing.
Also, I dug Rolo’s art. I don’t I’m familiar with his work, but it’s got an almost cartoony, exaggerated nature that never looks too cartoony or exaggerated. In other words, I wouldn’t be upset if I found more MK comics by these guys in The Box. Bonus piece of info: Marvel editor Mark Paniccia edited this comic!
I had less fun reading Marvel’s Web Of Spider-Man #81 written by Kurt Busiek and drawn by Steve Butler. The story follows two brothers, one who decides to be a good person and goes to school while the other decides to become the oh-so-90s villain Bloodshed. It’s not a bad story, but it’s one I’ve read before. Actually, it’s one I’ve read from Busiek before in the pages of Astro City: Dark Ages Books 1 and 2 which set several miniseries’ worth of comics around this idea. So, seeing it done all in a compressed format with different characters just feels a little repetitive.
Mind you, this is not a slam against this comic. I’ve come to realize that there are certain kinds of stories you can read done plenty of different ways and others that you don’t. I feel like I read this idea done really well by the writer already and just didn’t feel the need to go through it again.
I will note that Butler, an artist I’m not very familiar with, did a great jon in the issue. His Spidey looks iconic, his characters bold (when they’re supposed to be) and he gets to work with several great facial expressions that he nails.
I do admit, there is a part of me that misses villains like Bloodshed. His motivations are the same as villains today, but that look is insane. He’s basically got enhanced strength and…spikes as well as a pink ponytail for some reason. In reality, if you saw this guy, you’d be torn between quivering in terror and snickering.
Lastly, I read Deathwatch 2000 Earth 4 #2 from Continuity Comics. I think that’s the title at least, I honestly can’t tell. I remember having a few Continuity books from various grab bags as a kid and never knowing what the hell was going on. That continues to be the case with this issue written by Neal Adams and Paul Stone with art by Aron Weisenfeld. Honestly, I can not tell you what happened. There’s one group of super people all with silly names like Urth and Fyre fighting another group and then a third shows up at some point.
There are some explanations along the way but they just wind up confusing more. I’m not the biggest fan of those basic information recap pages, like the ones that Marvel did in the mid-2000s, but it would have been immensely helpful in these comics, even more so considering these are brand new comics from a presumably brand new comic company. I didn’t do any research (yet) on Continuity or what was going on because I like to go in fresh, but I probably should have. The art doesn’t help matters any either. This was in the middle of the 90s heyday where nothing comes in a grid and all the panel lines look like they’ve been singed. It’s like mental color overload with stuff you’re not given enough information to care about. I think it’s also environmental, which makes it feel like a more “extreme” version Captain Planet, which I do not want to read.
Oh, I forgot to mention, this book was polybagged AND came with a trading card. Anyone want to trade for Firebat?