Sunday, May 12, 2013

It all started with the Big Bang, #1 pt. 1!

Big Bang Comics is one of those things that I like a lot, but can't begin to explain or understand just why. Basically, they're straight pastiches of Silver- and Golden-Age DC comics, with a handful of Marvel influences vaguely scattered in there. I remember Alan Moore, whose Supreme run had a lot of similar themes to this, saying this was one of the few comics he eagerly looked forward to every month, though.

Big Bang Comics was first published by Caliber Press, in a six-issue limited series that was meant to be a larger take on the various "ages" of comics -- gradually, the stories went from Golden Age to Silver Age to Bronze Age to "Dark Age." When the Big Bang ongoing turned up at Image, this was no longer the case, with the focus being solely on aping Golden and Silver age material. After issue #6, the comic was in black-and-white; evidently it wasn't selling enough for colors (!). During and after the ongoing were several one-shots featuring teams from the setting, particularly the Round Table of America. When Big Bang left Image, they started self-publishing Big Bang Presents In any case, I liked it, though VERY few of the names you'll see under the writing and art credits are going to be very familiar, I can promise you that.

The Image series made sporadic use of Image characters; in this issue, Mighty Man shows up in a Captain Marvel-esque story, despite the role of Captain Marvel being ably filled by Thunder Girl, In a later issue, a fake Silver Age Shadowhawk, along with his sidekick Squirrel, teams up with the Knight Watchman and Kid Galahad; Batman and Robin teaming up with Batman and Robin, basically. The Teenage Mutant Ninja Turtles, whose comic license Image had at the time, guest star in one issue, with a grown-up Kid Galahad appearing in their book as well. Savage Dragon was involved in the only plot thread that continued from issue to issue, as he traveled through time in the Big Bang universe and met up with almost every BB hero.


I'm doing the Image issues first, because at least those start with colors. Not to sound like a complete moron (too late), but black-and-white isn't my thing if I could have colors.

Anyway, Big Bang's big trademark, so to speak, was how slavish the imitation of SA/GA comics is and was.  I don't doubt that somebody out there read a Knight Watchman story and thought it was a Miracleman-style reprint of Batman. And, as you'll see, a layer of metafiction -- Knight Watchman stories are attributed to "Tom King", a fictionalized version of Tom Kane. This is taken to extremes in the three "History of Big Bang Comics" issues, which are text-based and document the fake history of the fake company and its fake characters.

Okay, before I turn this into an even more didactic lecture, let's just get underway. I'm going to try not to be too exhaustive/summarizing, but we'll see.





























After an introduction by Terrence Griep, Jr., we open with Mighty Man as he watches clothed funny animals robbing a bank. The lion in the suit is obviously based on Captain Marvel's old pal Mr. Tawky Tawny. As with a lot of stories from the period this is imitating, this is sort of a "clip" edited together from beats that occur later in the story -- our first stop chronologically is at a radio station, where the young Bobby Berman ends his program and is handed a check by his employer Phil. T Luker (oh do you see what they did there ahaha). Let me just say, kind of disturbed by the blond, blue-clad Billy Batson that is Bobby, my mind is going right to Miracleman, which is pretty much the opposite of this comic.

Anyway, Billy goes to the bank to deposit his check, only to find  that the long-haired gentleman in line in front of him is a talking lion, who holds the place up! Billy taps his wrists together, transforming into Mighty Man in a thunderous explosion. I'm not a huge massive fan of Savage Dragon (though I AM a fan), but is that always how that worked, was there always a dual Captain Marvel reference? Because, you know, Mar-Vell would tap his nega-bands together to switch places with Rick Jones. Incidentally, I can't help but notice that the bank teller saw Bobby turn into Mighty Man (or at least, saw Bobby disappear in an explosion that Mighty Man came out of). Probably one of those "not supposed to think about it" things, I guess.




















Mighty Man catches up to the lion and gives him a powerful punch. Afterwards, however, the creature starts acting, you know, like a lion, walking on all fours and trying to get out of the clothes it's wearing. Upon closer inspection, Mighty Man finds a radio receiver around the lion's neck. He decides to head to the zoo to get the whole story.

And, uh, the trip to the zoo isn't shown to us. In fact, it's implied that he ended up going twice, once as Mighty Man and then as Bobby, to ask employees questions and snoop around for clues, fruitlessly. Well, thanks for not showing us the pointless dead end lead, I guess.

In any case, a dejected Bobby bumps into a man while walking down the street. Turns out it's another thief, who stole a priceless painting. Turning into Mighty Man to give chase, he discovers the thief is another animal in clothes, this time a kangaroo. Oddly, the creature seems to recognize him.


As before, one punch renders the animal speechless, and returns it to its natural state. However, Mighty Man sees it also has a radio around its neck. Obviously, these thefts are connected -- though, if you think about it, it would have been a lot more bizarre if they weren't. Mighty Man flies the kangaroo to a veterinarian, who says that the kangaroo's larynx is normal; it couldn't possibly talk!

As Mighty Man flies back into town, he hears a cry for help, and bitterly notes that he may NEVER get to deposit that check. Such a selfish kid. A jewelry store is being robbed by a "big ape", who naturally really is a big ape, the gorilla from the first panel. Once again, the talking animal recognizes Mighty Man, who naturally doesn't understand what that's even about. The gorilla lays it on him, throwing punches and hitting him with furniture, but it's as if he were hitting Mighty Man with feathers!


After one blow from Mighty Man, the gorilla is a regular gorilla again. Mighty Man finally figured it out -- someone is controlling these creatures and doing the talking for them! It turns out to be a tiny "brain sucking leech" on the gorilla's neck

I was kind of curious about how you could alter Mr. Mind's character design, and the answer isn't JUST different eyes, no glasses, and big lips -- obviously making it a psuedo Nazi worm leech whatever was the way to go, replete with pauldrons (for no shoulders) and a gun he couldn't possibly use.

The Wicked Worm escapes Mighty Man's grasp by biting one of his fingers, and hides in a fruit bowl. Mighty Man starts juggling the fruit to scare him out, but the gorilla grabs the exact banana the worm was hiding in and bites him in two as he eats it.



With that, the adventure closes. Mighty Man brings his ape pal back to the zoo, and muses that now they'll never know what the hell was up with that worm. We'll see about that...

Tune in next time, when I check out the second half of Big Bang Comics #1, starring the Knight Watchman! I know Dr. Weird was also on the cover, but his feature's just a text story so whatever man.


Friday, May 10, 2013

The Creature Commandos (Weird War Tales #93)

I just recently come into possession of several of the later issues of Weird War Tales, DC's old war/horror anthology series featuring Death himself as the narrator. Understand: most of the things I know about life in general come straight from Who's Who, and that's true of the Creature Commandos specifically as well, however much they interested me. Unless you're like me, you've probably only seen them on that episode of the Brave and the Bold, which adapts WWT #100 and naturally puts Batman in it. Anyway, here we go with Weird War Tales #93, a semi-modern semi-classic starring semi-monsters!

Guns are for puny humans

One thing that grabbed my attention right away is that the Creature Commandos were created by none other than J.M. DeMatteis, whom most people know for his work with Keith Giffen on the various incarnations of the JLI (though I'm personally more a fan of his Hal-Jordan-as-the-Spirit). The copyright information dates this comic to Nov. 1980, and I had no idea DeMatteis was doing comics then. In fact, I expressed my incredulity on twitter, only for the man himself to explain that this was one of his first gigs, DC having put him on an anthology book much like an MLB team might sign a fresh face to their minor league affiliate. 


Anyway, moving on. As I said, Death is the star of the show, besides the Creature Commandos and later G.I. Robot, I guess. If you've ever read House of Mystery or House of Secrets, Death's role is very similar to that of Cain and Abel in those comics -- he introduces the stories at the beginning, then closes the book out in the end. In this case, each time he's wearing a different uniform, though this is one of fairly few times I've seen him with hair. He's wearing a helmet all of a sudden on the next page.

Our "heroes" -- Left to right, they're Sgt. Vincent Velcro, Lt. Matthew Shrieve, Pvt. Elliot "Lucky" Taylor, and Warren Griffith. Missing is Dr. Myrra Rhodes, a woman with living snakes for hair; she joins the group in  WWT #110 (which is only like five CC stories from now).

Not to spoil it right now, but while Shrieve is the ranking officer and leading man, the "hero" of the feature is probably Velcro or maybe even Lucky. In any case, the story opens in a Midwestern US Army base in 1942, where Shrieve, an agent of US Intelligence, presents some VIPs with the fruits of secret project "M." He claims, and this is going to get mentioned in every DeMatteis CC story, that the idea was to personify primal, archetypical fears that dwell within every human being. I find this a little silly -- the primal fear of Universal movie monsters? I get that they can be construed as representing primal fears of, uh, nasty killers, wild animals, and big scary guys, maybe, but just face it, they're just plain monsters, that's the psychological effect they have.

I have to stress that this is my one complaint about an otherwise really solid feature. Moving on, Shrieve profiles three individuals: Pvt. "Lucky" Taylor, a bumbler who was stitched back together after stepping on a land mine, Sgt. Vincent Velcro, who was looking at 30 years in prison if he didn't cooperate and basically had his every cell soaked with vampire bat blood, and Warren Griffith, a 4F farmboy who thought himself a wolf and was turned into one by scientists. The guys Shrieve is presenting to don't buy it one bit, thinking Shrieve is playing a sick joke on them, but they clam up pretty quick when he calls the boys in.


Things get off to a bad start when Velcro assaults a general for calling him a "Hollywood hoax", turning into a bat and back as he does so. Velcro now needs to ingest human (or animal) blood to survive, and thinks the general's will do nicely. That's when Shrieve sics Griffith on him. Griffith is the berzerker of the group, constantly itching for the chance to kill and never tiring of the sight of blood. However, the serum that gave him his wolf powers is unstable, and he'll randomly change back to his timid weakling human form. This is exactly what happens as he leaps at Velcro. Sorry if I'm kind of novelizing here, but this IS their first appearance, you can take all this stuff for granted later. Anyway, Lucky, who has no vocal cords ever since his accident, grabs Velcro and throws him clear across the room, defusing the situation. The general Velcro accosted is disgusted by the team's brutality -- which is why he thinks they're the perfect weapon.

So, blah, blah, shipped immediately to take a French castle from the Germans. Their plane gets kerblooeyed by German air patrols seconds after they jump out; Lucky cries for his fallen comrades. One thing I want to get out of the way: it's not clear just how intelligent Lucky is or isn't, but he's pretty much definitely not in the "mentally challenged" range like Shrieve thinks he is. Anyway, Griffith and Velcro scale the walls of the castle and take out the watchmen.

The Comics Code Authority HEARTILY ENDORSES deadly werewolf attacks

Then, with no explanation, all four men are together and it's not entirely clear just where they are. Okay, two complaints so far, still like this comic, eat me. So they barrel through a huge gaggle of guards and have Lucky smash open a reinforced door to find, and I'm serious, robot duplicates of Allied heads of state and military leaders. Then more German soldiers show up, along with the guy who spearheaded the "robot duplicate" thing. Naturally, the CCs take care of them with little trouble, though Lucky starts to cry again and Griffith eventually changes back to human form. Everyone makes a death-defying leap from a castle wall on Shrieve's order, and sees the castle explode behind them after running a bit. Turns out Shrieve had planted a bomb just in case things went sour -- a time bomb.
This is a common theme throughout the stories -- Shrieve represents humanity in the menagerie of monsters, and he's the most vile by far. He's the real monster, we're the real monsters. He's an insulting bully who hates the freaks he helped create. Velcro and Griffith aren't shy about the fact that they hate him, with Velcro being constantly thiiis close to killing him. 

Alright, stay tuned for more Creature Commandos!

Joe Casey, Comics' Most Perfect Writer, part 1: The Intimates

I just want to talk about one of my favorite writers in the business right now, Joe Casey.

There's little that Casey has written that I DON'T enjoy immensely (WildCATS 3.0, sadly, was pretty much the only incarnation of that book that I didn't like).

Take, for instance, The Intimates.

Too Cool for Super-School

There's a few themes that Casey seems to touch upon in virtually everything he writes, and this comic contains most of them -- namely, the self-destructive nature of teenage living. Often one of the most tumultuous periods in a person's life, blah blah, but this comic, set at the Seminary, a school for budding superheroes, is for you if you were ever or ever plan on becoming a teenager. There's a lot to love, including the fantastic art by Giuseppe Camuncoli (below; cover above by Jim Lee)


Furthermore, almost every page has an "infoscroll" at the bottom, featuring facts and statistics relating to the stuff on the page, background information on the characters, etc. One of the first things that gets mentioned at all in the series is that information isn't restricted at the Seminary, and it isn't in the comic, either -- you're constantly assaulted with more information, which is something that both tickles my fancy because I'm a huge nerd like that, and serves as a commentary on the information age.



Like a lot of cool comics, this one didn't last, being canceled with the 12th issue, but it remains a favorite of mine.


Blanket Comic Recommendation #1: Bedlam


Bedlam, a series out of Image that I've been following since around November, is a hell of a comic. The main character is Fillmore Press, a former mass murdering psychopath who was abducted by a mysterious doctor and conditioned/operated on until he was reasonably sane and non-violent.

He offers his services as a criminal profiler to the local police when a string of serial murders have them stumped, because he knows exactly how the criminally insane mind operates. And this is what fascinates me about the character and the book in general: you're following a man who wants to do better by himself, a former villain determined to keep himself on the side of the angels. I mean, not to spoil the whole comic or anything.




Jeez, looks like this is probably going to be a lot more work than I thought it was. In any case, I think if we're going to be friends, you need to understand something about me: I have an affinity for pastiche that I can't really explain. That's why I love Alan Moore's Supreme (or part of why, at least), and why I have so much affection for Big Bang Comics. 


Again, I have no idea why this could be, though I think it's kind of weird for me to care about why I enjoy something. The closest I can come up with is like this: There are tons of great Superman stories that will never be told with Superman, but could be told with Ultiman, or Supreme, or the Samaritan, or Hyperion.

Welcome to my thrall!

Hawkeye #2, Matt Fraction and David Aja

Hi, I'm Rex Kidd. Like comics? Then you're my friend. I've done a lot of talking about comics on twitter, and posting stuff from comics on imgur, and all that and all that, but now I've decided to just get into the comic blogosphere properly. I've been a big fan of Chris' Invincible Super Blog (the-isb.com) and Siskoid's Blog of Geekery (http://siskoid.blogspot.com/) for years, and I just feel like I have stuff to say about a lot of comics, too.

This will generally take the form of reviews of whatever I'm reading (or at least discussion of it), art that I like, that sort of thing.