Tom Strong’s Terrific Tales Book 1

Tom Strong's Terrific Tales Book 1 

By Alan Moore & Various (America’s Best Comics)
ISBN: 1-4012-0030-3

Supplementing the monthly adventures of Superman of Science Tom Strong was a monthly anthology title dedicated to short tales from that hero’s long and chequered career, including his youth on the lost island of Attabar Teru. Alongside were the well-upholstered adventures of Jonni Future, with the occasional comics experiment from some of the biggest names in comics.

This collection starts with an arctic thriller set in 1950, illustrated by the superb Paul Rivoche and scripted by Moore himself, as was the silent, whimsical romp ‘Tesla Time’ with pictures by Jaime Hernandez. Young Tom Strong ‘And the Fiend from the Forgotten Shore’ is a ghost story of sorts from artist Alan Weiss and British comics writer Steve “no relation” Moore, who also writes the traditionally evocative science bimbo Jonni Future, an outrageously pneumatic heroine who travels to the end of time via ‘The Halfway House’. The art here is Adams, Art Adams.

Alan and Paul return in issue #2 with ‘Live Culture’ as Strong and soviet counterpart Svetlana X thwart a multi-dimensional invasion on a space station, Steve and Arthur bring you Jonni Future and the ‘Moth-Women of the Myriad Moons’, and Steve and Mr. Weiss pit Young Tom against ‘The Thunderbirds of Attabar Teru’.

Jerry Ordway illustrates Alan Moore’s ‘The Rule of the Robo-Saveen’, and the usual suspects bring us Jonni Future and ‘The Seraglio of the Stars’ and Young Tom Strong ‘And the View Beyond the Veil’ in the third issue collected here.

Paul Rivoche returns for ‘Leap of Faith’, and Steve Moore writes ‘The Witch of the World’s End’ for Arthur Adams and ‘The Fairy of the Foam’ for Alan Weiss, whose regular assignments are Jonni Future and Young Tom Strong respectively.

Issue #5 brought the wonderfully experimental ‘Collect the Set’ from Alan Moore and Jason Pearson, wherein this entire tale of the Tom Strong Family is about and told in bubble-gum cards. The hero’s sapient Gorilla assistant stars in ‘King Solomon Pines’ by Leah Moore –actually a relation – and cartooning icon Sergio Aragones, and the issue concludes with a sharply funny tale of sexual exploration for Young Tom Strong in ‘The Mysteries of Chukulteh’ by the ever-popular S. Moore and A. Weiss.

The final issue features Tom Strong (by Alan Moore and Jerry Ordway), in the mind-bending ‘Goloka: the Heroic Dose’, Jonni Future visits ‘The Garden of the Sklin’ (S. Moore and Adams) and Young Tom Strong also visits the cerebral realms in ‘The Shadow of the Volcano’ (S. Moore and Weiss).

These tales are stuffed with nostalgic reinvention and familiar comic territories re-explored. Whether that has any meaning for new or young readers – and no, they aren’t necessarily the same thing – is largely irrelevant when the creators work this hard and are this good. Try it yourself and see.

© 2005 America’s Best Comics, LLC. All Rights Reserved.

Runaways: The Good Die Young

Runaways: The Good Die Young 

By Brian K Vaughan, Adrian Alphona & Craig Yeung (Marvel)
ISBN: 0-7851-1684-2

The third chapter in the saga of six teens on the run from parents who have been revealed as an evil coalition of mutants, alien, sorcerers and super-criminals kicks the tale into high gear as the youngsters stop escaping and start attacking.

In a positive flurry of activity, the Runaways discover the reason behind their parents’ acts, find the traitor in their own midst, save the world and even clear the way for a sequel — should sales warrant – in the best manner of bubblegum drama. There’s even room for plenty of fighting and vast bunches of snogging.

I am a weary old man and it’s ever so easy to be disparaging about a new(-ish) genre-form tailored to the young, hormonal, middle-class and socially advantaged, be it comic books, TV, clothes or music. Yet I’m fairly sure that my unease with much of the fodder aimed at these consumers is the old one of lacklustre creativity rather than merely cynical commercialism.

Soap operas are generally considered to be the ass-end of drama everywhere, and yet can often transcend their base origins to produce work of outstanding quality, shattering depth and lasting worth. And more so in comics where we’ve had this very argument for decades over not just the content but even the very form of our medium. I think I’m still just waiting for it to happen.

Runaways – at least by the end of this book – comes very close. For something that’s a hybridisation of so many strands that’s actually not such a bad thing. I’d advise you to read them and decide for yourselves.

© 2004, 2005 Marvel Characters, Inc. All Rights Reserved.

CSI: Dominos

CSI: Dominos 

By Kris Oprisko, Gabriel Rodriguez & Steven Perkins (Titan Books)
ISBN: 1-84576-056-5

The fourth adventure of the crack forensic team takes them on a whirlwind of slaughter as the survivor of a mob hit goes on a rampage of vengeance that leaves a stack of corpses littering the glitzy, tawdry environs of Las Vegas.

The previous volumes, written by novelist and crime comics heavyweight Max Allan Collins seem to have proven a hard act to follow, as scripter Kris Oprisko delivers a competent yet lacklustre story devoid of twists or surprises and which often descends into actual predictability.

However, the dual illustration approach of Gabriel Rodriguez and Steven Perkins adds a much needed frisson of tension to the proceedings.

All things considered, this series still provides solid entertainment value for comics fans with a soft spot for hard men and big scores.

© 2000-2005 CBS Broadcasting Inc. and Alliance Atlantis Productions, Inc. All Rights Reserved.

CSI: Demon House

CSI: Demon House 

By Max Allan Collins, Gabriel Rodriguez & Ashley Wood

ISBN: 1-84023-936-0

The third compilation from Collins, Rodriguez and Wood featuring that infallible band of criminalists takes them to the peculiarly American venue of a spooky “Inspirational” theme park run by a Fundamentalist, Conservative/Family Values group attempting to scare misspending youths back onto the straight and narrow.

When a robbery and suspicious gun death impinge on each other on the park grounds, the team is faced with a unique challenge. And how does an ongoing convenience-store robbery spree connect to these crimes at the eponymous ‘Demon House’?

This is a compelling and entertaining thriller that is worthy of the attention of any crime fan as well as fans of the TV show it’s derived from.

© 2004 CBS Broadcasting Inc. and Alliance Atlantis Productions, Inc. All Rights Reserved.

Superman: The Man of Steel, vol 2

Superman: The Man of Steel, vol 2 

By various (DC Comics)
ISBN 1-84576-390-4

After the six issue miniseries (see Man of Steel ISBN: 1-84576-128-6), volume 2 begins the more or less (narrative permitting) chronological reprinting of the regular monthly titles, (Superman 1-3, Action 584-586 and Adventures of Superman 424-426) – plus relevant pages from the DC Who’s Who Update 1987.

Beginning with ‘Heart of Stone’, a new origin for Metallo, the Terminator-style Cyborg with a human brain and a Kryptonite heart (Superman vol. 2 #1), and rapidly progressing to a team-up with the Teen Titans (Action #584), the accent is completely on breakneck pace and action.

Superman #2 brings ‘The Secret Revealed’ as Luthor makes the biggest mistake of his life, and this is followed by Marv Wolfman and Jerry Ordway’s ‘Man O’ War’ and ‘Going the Gauntlet,’ which introduce the tragic Dr. Emil Hamilton to the mythology, from Adventures of Superman #424 and #425. These high-tech and socially aware dramas would become a truer and more lasting template for the modern Man of Steel after Byrne’s eventual retirement from the character.

The Phantom Stranger guests in ‘And the Graves Give Up Their Dead’ (from Action #585) before the last three chapters are given over to the Superman segment of the multi-part crossover event Legends. Superman #3 produced ‘Legends of the Darkside’, Adventures… #426 gave us an amnesiac Superman on Apokolips in ‘From the Dregs’ and the narrative concludes with ‘The Champion’, as Action Comics #586 guest stars Jack Kirby’s legendary New Gods.

As I’ve previously mentioned, a major problem that most non-fans have with super-hero comics (apart from them actually having super-heroes in them) is the insane convolutions of in-house continuity. This All-Readers-Start-Here opportunity to show doubters how good this genre can be is one all comics missionaries should exploit to the fullest.

So that’s your wife/partner/girl-friend/mother/dad/kid’s next present sorted then, no?

© 1987, 2005 DC Comics. All Rights Reserved.

The Silver Surfer

The Silver Surfer 

By Stan Lee & Jack Kirby (Fireside Books/Simon & Schuster 1978)
ISBN: 0-6712-4225-3

This possibly ranks as Marvel’s first ever graphic novel proper, and it’s no surprise that the old creative team supreme would reserve such treatment for their critically beloved but commercially disastrous Christ allegory from the stars.

In reworking the character for the “real-world” market place Lee and Kirby eschewed the hip and fabulous Marvel Universe continuity in favour of a stand-alone tale in many ways a prototype for the Lee/Moebius collaboration Parable nearly a decade later.

All the key elements are there. The Silver Surfer is the herald of the planet-devouring Galactus, charged with finding him worlds to eat. When he finds us, despite being appalled at our behaviour he rebels against his God and Master to save us all.

Sadly here is where it all falls apart. Despite defeating his traitorous minion, Galactus decides not to eat us after all but goes off to find his own lunch, then resolves to get the Surfer back by building him a perfect mate. Meanwhile the Surfer is trapped on Earth alternately avoiding humans and trying to become one. It’s a sorry admission to make but the story swiftly becomes a blithering mess, and the dialogue is some of the worst Lee has ever penned.

So why is this book being reviewed at all? Simple.

Comics are a visual medium, and this story comprises some of the greatest artwork ever produced by one of its greatest artists, and inked by Joe Sinnott, one of his greatest inkers. Ignore the word balloons after page 25 and just feast your eyes on graphic majesty.

© 1978 Stan Lee & Jack Kirby. All Rights Reserved.
The Silver Surfer is a Trademark of Marvel Characters Inc.

Shaun of the Dead

Shaun of the Dead 

By Chris Ryall & Zach Howard (Titan Books)
ISBN: 1-84576-160-X

This eminently readable adaptation of the surprise hit ROMantic ZOMbie COMedy movie is remarkably faithful to the source material, both in staging and in its prodigiously four-letter expletive enhanced script – so parents take note – and is therefore a sharp, blackly humorous horror tale about the bonds of friendship and the deep love of a man for his local (that’s a favoured public house, for overseas readers or natives of restricted social cognizance).

Funny, thrilling and spooky by turns, Ryall’s dialogue adapted from Simon Pegg and Edgar Wright’s original script, is complimented by Howard’s stylish pictures which never overwhelm the wit with gore and action.

A book well worth hunting down.

© 2005 Universal Studios Licensing LLLP. Shaun Of The Dead is © & ™ Universal Studios. All Rights Reserved.

Runaways: Teenage Wasteland

Runaways: Teenage Wasteland 

By Brian K. Vaughan, Adrian Alphona & Takeshi Miyazawa (Marvel Comics)
ISBN: 0-7851-1415-7

With the second collected edition (issues #7-12 — see the archives for previous tome) this title more readily shuffles into what’s left of the traditional Marvel Universe.

By way of recap: Six young kids who have nothing in common except that their parents hang out together are suddenly bosom buddies once they discover that those same adults are, in fact, a team of super-villains intent on world conquest. As all parents can’t be trusted anyway, the kids have no problem banding together to use the powers they didn’t know they had to bring them to justice. The evil adults have manipulative fingers in every pie, however. As the De Facto owners of the city of Los Angeles its takes little more than a phone call to perfectly frame the Runaways for kidnapping each other and for a particularly grisly murder.

As the kids find themselves a cool abandoned hide-out they rescue another boy with evil parents, only to fall foul of a timeless monster, and then do the classic Marvel Hero Dance, as super-heroes Cloak and Dagger first hunt (recruited by a cop in the pay of those ol’ evil parents to catch them), and then team up with them to stop said villains. Naturally, the parents brain-wipe the heroes as they go for reinforcements, otherwise the angst, soul searching, burgeoning hormones and infidelities, both real and imagined would promptly come to a premature close.

The teen market this is cynically aimed at doesn’t do solutions, it’s all about maintaining a constant level of social, sexual and physical tension, not to say jeopardy. This isn’t for you (possibly) or me (definitely), it’s for the same audiences that watch Neighbours, OC, Smallville and Hollyoaks, chockfull of whiny, precocious brats taking the puberty equals alienation theme to unequalled levels. The trick is simply to keep on going until you’re cancelled.

This isn’t to say that the series is without merit. Although the art is still too bland and nondescript for my tastes and the characters and plots seem pedestrian to me, maybe some of this is genuinely fresh to younger readers. Vaughan’s scripting is good, with some of the best dialogue I’ve seen outside of Buffy the Vampire Slayer (the TV show, not comic, cartoon or movie) and there actually is potential for improvement. It just needs to escape its own ghetto and say something original.

© 2003 Marvel Characters Inc. All Rights Reserved.

Superman: The Man of Steel

Superman: The Man of Steel 

By John Byrne & Dick Giordano (DC Comics)
ISBN: 1-84576-128-6

When DC Comics decided to rationalise and reconstruct their continuity with Crisis on Infinite Earths in 1985 (ISBN: 1-84023-267-6) they used the event to regenerate their key properties at the same time. The biggest gun they had was Superman and it’s hard to argued that the change was not before time.

The big guy was in a bit of a slump, but he’d weathered those before. So how could a root and branch retooling be anything but a pathetic marketing ploy that would alienate the real fans for a few fly-by-night Johnny-come-latelies who would jump ship as soon as the next fad surfaced? This new Superman was going to suck.

He didn’t. All the Superman titles were cancelled or suspended for three months, and yes, that did make the real world media sit-up and take notice of the character for the first time in decades. But there was method in this corporate madness.

Beginning with the six part miniseries Man of Steel, written and drawn by mainstream superstar John Byrne, and inked by venerated veteran Dick Giordano, the experiment was a huge and instant success. So much so that when it was first collected as a stand-alone graphic novel in the 1980s (now redesigned and re-released as volume 1 of an ongoing series) it became one of the industry’s premiere ‘break-out’ hits. From this overwhelming start the character returned to his suspended comic-book homes with the addition of a third monthly title premiering that same month.

Superman, Adventures of Superman, and Action Comics (which acted as a fan-pleasing team-up book that guest-starred other favourites of the DC Universe) were instant best-sellers. So successful was the relaunch that by the early 1990’s Superman would be able to sustain four monthly titles as well as Specials, Annuals guest shots and his regular appearances in titles such as Justice League. Quite a turnaround from the earlier heydays of the Man of Steel when editors were frantic about not over-exposing their meal-ticket.

The collection itself tells six stories from key points in Superman’s career, newly reconstructed in the wake of the aforementioned Crisis. Starting with his escape from Krypton, his years in Smallville and his first recorded exploit, then his first meeting with Lois Lane and joining the Daily Planet, we get a rapid re-education of what is and isn’t canon.

The third chapter recounts his first meeting with Batman, and the fourth introduces the new Lex Luthor. By the fifth issues Luthor was his greatest foe and this story deals with the creation of Bizarro as well as introducing Lois’ sister Lucy. The final chapter reveals to us and the Man of Steel himself, the secrets of his Kryptonian origin and affirms his dedication and connection to humanity.

John Byrne was a controversial choice at the time, but he magnificently recreated the exciting and visually compelling, contemporary and even socially aware slices of sheer exuberant, four-colour fantasy that was the original Superman, and made it possible to be a fan again, no matter your age or prejudice. Superman had always been great, but Byrne had once again made him thrilling. Rivetingly so. These stories are well worth your time and your money. A must have for any serious collector and reader.

© 1987, 2005 DC Comics. All Rights Reserved.

CSI: Bad Rap

CSI: Bad Rap 

By Max Allan Collins, Gabriel Rodriguez & Ashley Wood (Titan Books)
ISBN: 1-84023-799-6

The real world Sin City of Las Vegas is as much about show biz as it is gambling, so when a hot new Rap star kills a kid, but is himself murdered before he can be arrested, it’s a criminal matter, but is it also all about money and prestige?

The creative team once again puts the ensemble cast through its paces in an intriguing plot-driven whodunit, rife with twists and turns and, of course a mounting pile of fresh corpses. Fan of the TV show will welcome the cool efficiency of the protagonists, as do I, since it’s a welcome antidote to the overly emotive histrionics prevalent in many comics today.

Good to see crime comics in such a healthy condition, and this is a sharp argument for more licensed properties going the four-colour route.

© 2004 CBS Broadcasting Inc. and Alliance Atlantis Productions, Inc. All Rights Reserved.