By Bill Willingham, Matthew Sturges & various (DC Comics)
ISBN13: 978-1-84576-892-8
The third Shadowpact collection (reprinting issues #14-19 of the monthly comic-book series) advances the long-running Doctor Gotham plotline as the all-powerful sorcerer sets a trap and finally confronts the Supernatural Superteam in all-out combat. Written by Willingham, with art from Tom Derenick and Wayne Faucher, ‘The Redemption Contract’ is a truly epic, highly plausible and authentic confrontation. If wizards fought superheroes this is the way they would do it!
There’s even time to further examine the plight of Blue Devil, indentured to Hell but with Vatican exorcists and the slickest lawyer in America trying to get him out of his Infernal Contract. The deeply sardonic vein of humour is counterbalanced by blockbuster thrills and chills as Chicago is almost eradicated and the team’s roster is dramatically changed.
The sheer spectacle of this tale is followed by an impressive outing from writer Matthew Sturges who splits the team when a dimensional jaunt strands Nightmaster, Nightshade and Ragman in a dire otherworld populated by zombies and madmen (a tale to be concluded in the next volume) whilst remaining earthbound members Detective Chimp, Enchantress and Blue Devil’s replacement (ex-Justice Leaguer and actual Angel) Zauriel are left to face a slaughter-crazed magical construct who has complete control over women.
‘Darkness and Light’ is an atmospheric three-part tale magnificently illustrated by Doug Braithwaite, Derenick & Faucher and Phil Winslade, and the consistently high quality writing and art has made this series one of the very best new superhero sagas on the market.
Although the comic has gone now, hopefully these books (see also Infinite Crisis: Day of Vengeance – ISBN 1-84576-230-4, Shadowpact: the Pentacle Plot – ISBN: 1-84576-533-8 and Shadowpact: Cursed – ISBN13: 978-1-84576-738-9) will continue to find an appreciative audience and lead to a revival of this much-missed comic.
By Douglas Enefer, A. Tyson, John W. Elliott & various (World Distributors, Ltd.)
No ISBN
Here’s a question for all you dedicated Marvelites out there: do you remember how Ant-Man helped troubled boxer Danny Fury go straight? Or when the slaver Abdul Rey captured the Fantastic Four? How about the time Spider-Man captured the arsonists who were torching department stores?
If your memory fails you here it might not be four-colour overload but rather the singular fact that you’re neither old nor British. Please allow me to explain…
When Stan Lee rejuvenated the American comic-book industry in the early 1960s, his biggest advantage wasn’t the small but superb talent pool available, but rather a canny sense of marketing and promotion. DC, Dell/Gold Key and Charlton all had limited overseas licenses (usually in dedicated black-and-white anthologies liked the much beloved Alan Class Comics such as Suspense) but Lee – or his business managers – went further, sanctioning Marvel’s revolutionary early efforts in regular British weeklies like Pow!,Wham!, Smash! and even the venerable Eagle. There were two wholly Marvel-ised papers, Fantastic! and Terrific!, which ran from 1967 to 1968. These slick format comics featured a number of key Marvel properties, and, appearing every seven days, soon exhausted the back catalogue of the company.
Another factor to consider was the traditions of the UK market. US comics had been primarily strip based since the 1930s, but British weeklies had long provided Boy’s and Girl’s “papers†that were prose-based. In fact DC Thompson had persevered with illustrated text periodicals until well into the 1960s. So the seasonal annuals provided a vital sales peak of the publishing year and a guaranteed promotional push (see Alan Clark’s superb The Children’s Annual – ISBN 10: 1-85283-212-9 for more information). Any comic worth its salt needed a glossy hardback on the shelves over the Christmas period…
In future years UK Marvel Annuals would provide full colour reprint strip extravaganzas, but in 1966 the material just wasn’t there. Thus this peculiar novelty: a comforting 96 sturdy pages of bold illustrations, games, puzzles and prose stories featuring Marvel’s mightiest in exceedingly British tales of skulduggery and derring-do.
Back Cover
As well as Ant-man in ‘Fightin’ Fury’, the FF in ‘The Chains of Abdul Rey’ and Spidey against ‘The Fire Raisers’, Prince Namor the Sub-Mariner faced a ‘Howl in the Night’ and Iron Man faced the Bloated Bandit (one of the all-out daftest villains of all time!) in ‘A Cushioned Clash’. Captain America fought with the British Eighth Army in the World War II thriller ‘Tomb of Terror’ and Iron Man travelled to Australia to defeat ‘The Ghost of Ned Kelly’, whilst Doctor Strange rescued two pot-holers who were imperilled by ‘the Guardians of the Tomb’, far beneath the streets of Manchester and Oldham!
Along with many explanatory features providing origin info for the superheroes and related science features on ants and such-like, there’s even more thrills when the Fantastic Four faced ‘The Bull of Minos’, The Mighty Thor crushed pirates in modern day Scotland in ‘North Sea Wolf’, Doctor Strange visited mystic India on a ‘Flight into Danger’ and the book gloriously concludes with a fraught trip to Canada for Bruce Banner and Rick Jones that could lead to ‘The End of the Hulk!’
Behind superb covers by R. W. Smethurst, the interior illustrations are by M.K. Powell, J. Leeder and P. Limbert, ranging from adequate to great, but the stories, communally attributed to Douglas Enefer, A. Tyson and John W. Elliott are quirkily engaging and oddly enjoyable. This is probably hard to find, and might horrify dyed-in-the-wool fans, but I’d like to think that there’s enough of us who can temper our mania with a little nostalgic perspective to enjoy an innocent dip in rare waters, and muse on what might have been if this experiment had caught on…
A few years ago the “World’s Mightiest Heroes†were shut down and rebooted in a company-wide event known as Avengers Disassembled. Of course it was only to replace them with both The New- and The Young Avengers. Affiliated comic-books such as the Fantastic Four and Spectacular Spider-Man ran parallel but not necessarily interconnected story-arcs to accompany the Big Show.
To many fans Iron Man is the quintessential Avenger. A founding member, he has served with practically every incarnation of the team and in his other identity of billionaire technocrat Tony Stark, funds and arms the team. In this collection (re-presenting Iron Man Volume 3, #84-89) Stark is the current U.S, Secretary of Defense and his duty to the Administration is beginning to conflict with his role as a U.N. sanctioned Avenger.
When Secret Service men brief him that a World War II super weapon built by his father lies dormant beneath Avengers Mansion and a potential embarrassment to the government, Stark agrees to spy on his fellow heroes and covertly remove the Arsenal Weapon. Naturally it all goes cataclysmically wrong with lasting repercussions…
This two-part tale is by John Jackson Miller and Jorge Lucas, and annoyingly for the unprepared leads directly into Avengers #500 (for which you’ll need to have a copy of the companion volume Avengers: Disassembled ISBN: 0-7851-1482-3 to hand) before we resume with ‘the Singularity’.
Written by Mark Ricketts, drawn by Tony Harris and Scott Kolins with inks by Tom Feister and Charles Wallace this tale sees the hero’s life fall tragically apart as a component of the Big Show, wherein a sinister plot and betrayal drags the armoured hero to the brink of ultimate personal and professional disaster…
Despite the poor planning and editing this is a compelling tale that perfectly illustrates why Iron Man has remained such a popular character, and has a lot to recommend it, but for perfect clarity you really should have that Avengers book too.
By Eric Lustbader, Lee Moder & Scott Hanna (DC Comics)
ISBN: 1-56389-156-5
Great looking art from Lee Moder, but a rather disappointing tale from the acclaimed novelist. A Batman who’s much more welcome to the Gotham authorities hunts a killer, while crash victim Selina Kyle has bloody nightmares about being hunted by a jaguar.
As Catwoman she is obsessed and bored in equal measure, but with Gotham’s gangs seemingly at each other’s throats, a Mayan exhibition of the Bat God Balam is focusing everyone’s attention from where it needs to be. And her planned heist is just a catalyst for a repeat of the events that destroyed the Mayan Empire!
When the mask possesses Batman himself, Selina is forced into the uncharacteristic role of saviour…
With everybody playing a double game and such villains as Rupert Thorne and the Joker further muddying the waters, plus a lame subplot about Selina’s lost father, this overly-convoluted tale tries just a little too hard to be all things to all people, but it does have great pace and, as I’ve already said, a superlative art job from the under-appreciated Lee Moder.
By David B., translated by Kim Thompson (Fantagraphics Books and Coconino Press)
ISBN-13: 978-1-56097-809-1
The second release (I hesitate to call it a volume, as the format, though bold and wonderful, is more than a magazine but less than a book) from the eclectic and surreal ongoing masterpiece of French creator David B. continues the startling, intimate tale of the artist and his family through the most evocative years of recent history.
Printed using only black and red screens, the tale resumes with the artist recalling how, as children, he and his brother became obsessed with all the far-flung wars as seen in their grandfather’s old issues of Paris Match. Especially affecting were the pictures of the natives of Papua, New Guinea…
Years later, as a teenager he reads more of the Papuans and tries to apply their striking beliefs and convictions as he comes to terms with his brother’s crippling epilepsy. Via surreal and introspective diversions, the artist arrives at a point where he can picture how the Algerian conflict (ongoing during his childhood) might actually be unfolding…
David B is a founder member of the groundbreaking strip artists group L’Association, and has won numerous awards including the Alph’ Art for comics excellence and European Cartoonist of the Year (by the Comics Journal) in 1998. His seamless blending of artistic Primitivism, visual metaphor, and high and low cultural icons makes this work (the 8th book of his “Ignatz†saga) a mesmeric and darkly lyrical treat for anyone who needs more meat in their narrative.
Wrapped in a fabulous gate-fold wraparound cover with a fascinating strip exploring the cultural significance of the horse to the Native American (part of the Acta Zoolologica sequence that describes “psychopompic†animals) this is not a book for everyone, but for the open-minded it offers truly magical experiences.
By various (Marvel/Panini Publishing UK)
ISBN13: 978-1-90523-996-2
The British Invasion was a term coined in the 1980s to describe the influx and influence of a band of creators (most with 2000AD or Warrior credentials) that began working in and revolutionising the American comic-book industry. In this context, however, it’s simply a collection of work by British creators who have contributed to Marvel’s vast continuity.
This second volume of notable Bits By Brits has a much bolder and more varied selection than its predecessor (ISBN13: 978-1-933160-68-9), kicking off with an average tale illustrated by an unsung genius of the industry.
Lee Elias moved to America in 1925 (aged 6) and worked for all the major US publishing houses beginning in 1943 at Fiction House. With Jack Williamson he created the brilliant science fiction newspaper strip Beyond Mars (1952-1955) before returning to comic-books at National Comics/DC, most notably on the Green Arrow feature, although his runs on Tommy Tomorrow in Showcase (#41-42, 44, 46-47) and both Ultra, the Multi-Alien and Adam Strange in Mystery in Space (#92-110) are well-loved classics.
In the 1970s he moved over to Marvel before settling at Warren Publishing where he produced his best ever work on the Rook and the Goblin. From his time at the House of Ideas comes a capable psycho-drama from Peter Parker, the Spectacular Spider-Man #35 (1979) ‘Labyrinth’, scripted by Tony Isabella and inked by Mike Esposito.
John Bolton is a major creator who hopefully needs little introduction. His classically illustrative style added a fresh realism to the superhero genre in Classic X-Men as well as many Marvel Magazine and graphic novel projects. From the black and white magazine Bizarre Adventures # 32 (1982) comes ‘Sea of Destiny’, written by Alan Zelenetz, a mythical wonder featuring Mighty Thor and the Heroes Three, rendered in glorious wash tones.
Comics Renaissance Man Paul Neary began his career at Warren, art-directed and edited Marvel UK through its most creative years and illustrated a long run of Captain America and the landmark Nick Fury Vs S.H.I.E.L.D. miniseries before settling into a productive career as an inker. In 1986 he drew a solid superhero romp written by Bob Harras for Iron Man Annual #8, teaming the Armoured Avenger and the resurgent mutant Superteam X-Factor. ‘When Innocence Dies!’ is an effective and readable parable on intolerance, inked by Ian Akin and Brian Garvey.
Probably one of Britain’s most visible comics exports, Barry (Windsor) Smith made the jump straight to Marvel in 1969 after serving an apprenticeship producing pin-ups for the UK comics Fantastic and Terrific, published by Odhams Press and almost exclusively featuring Marvel reprints. After popping up all over the Marvel Universe he settled on the groundbreaking Conan the Barbarian title for a few years before beginning his own Fine Arts studio. On his return to comics he had his pick of projects and worked often with Chris Claremont on X-Men related tales. From Uncanny X-Men #214 (1987) ‘With Malice Towards All!’ stars Storm and Wolverine in pitched battle against a murderous disembodied mutant who can possess a victim’s body…
Alan Davis was discovered by Paul Neary, and his clean linear style captivated a whole generation of artists, just as he had in turn been galvanized by the work of Neal Adams. As well as a magnificent artist Davis is a superb writer, most often associated with Marvel’s X-books and has produced stunning work with Chris Claremont. One such example is 1987’s Uncanny X-Men Annual #11, inked by Neary. ‘Lost in the Funhouse’ features the mutant team (and Davis’ signature character Captain Britain) in combat with an omnipotent alien called Horde in a battle to save reality itself.
Comics Legend Dave Gibbons has done relatively little work for Marvel, but the Dr. Strange tale included here is possibly the best of them. Written by Walt Simonson, ‘Perchance to Dream’ from the experimental anthology title Marvel Fanfare (#41, 1988) finds the Sorcerer Supreme battling deadly dreams in an eerie netherworld. In this case, Gibbons also contributed a rare painted colour finish to the artwork.
Bryan Hitch also got his start thanks to Neary, graduating from Marvel UK’s licensed properties to the likes of StormWatch, the Authority, the Ultimates and Fantastic Four. Along the way he brought an elevated artistic standard to a few less well regarded titles. The Sensational She-Hulk volume 2, #24 featured the sometime Avenger in comedic combat with Freelance Peace-Keeping Agent (don’t call him bounty hunter) Death’s Head in an engaging little romp entitled ‘Priceless’, scripted by Simon Furman and inked by John Beatty.
Scottish superstar Frank Quitely has reached dizzying heights since he debuted in Glasgow adult comic Electric Soup, his lush, precise visuals and unique vision marrying the hyper-bizarre and ultra-mundane into an always credible graphic reality. Extracted here from a much longer saga – with concomitant loss of sense, regrettably, is ‘Imperial’ (New X-Men #122, 2002), scripted by long-time collaborator Grant Morrison, and inked by Tim Townsend, Perrotta and Florea. Pictorially stunning, this bridge between two much longer stories is virtually impenetrable to all but the most dedicated X-junkie, and commits the cardinal narrative sin of being a “middle†with neither beginning nor end.
The Punisher volume 4, #23 (2003) provides a fine example of the talented and inimitable Steve Dillon’s economical mastery of line, and as ‘Squid’ is written by fellow wise guy Garth Ennis there are plenty of the other sort of lines in this hugely funny revenge drama.
The volume concludes with one of the very best Spider-Man stories of the past decade, written by Paul Jenkins and illustrated in magical style by Mark Buckingham (with colours from old CCG comrade, D’Israeli), who’s equally at home with fights ‘n’ tights melodrama and cutting edge adult fare, such as the multi-award winning Fables. From Spectacular Spider-Man #27 (2005) comes a deeply moving moment as Peter Parker has a brief graveside conversation with his dead Uncle Ben; drawn as a tribute to the winter scenes of Bill Watterson’s legendary Calvin and Hobbes strip. Touching, illuminating and poignant enough to make a tombstone cry, this alone is worth the price of admission.
This collection is a much more balanced read and augmented by highly informative biographical features from Mike Conroy, is a Marvel primer that could win the company a lot of new fans, and even rekindle the lost magic for many older ones.
By Grant Morrison, Mark Millar, N. Steven Harris & various (DC Comics)
ISBN13: 978-1-84576-785-3
One of Grant Morrison and Mark Millar’s rare failures-to-launch, this was an attempt to create a new super-hero rather than tinker with or reset a previously named property (an increasingly rare thing itself in modern comics publishing).
Aztek is a perfect physical specimen trained from birth by a hidden society in the Andes, outfitted with a technologically advanced outfit and sent into the world to defeat the prophesied menace of the mythical shadow-god Tezcatlipoca.
Arriving in the fairly typical US city of Vanity – the predicted site of the god’s return – the new hero begins to settle in. Stealing – say rather, co-opting – a doctor’s identity under fairly unique conditions Aztek becomes Curtis Falconer, and joins the staff of undermanned, overstretched St Bartholomew’s hospital, swiftly becoming a media darling in a city stuffed to the brim with wannabe super-villains.
In short order he meets Green Lantern, Batman and Superman, defeating up-and coming bad-guys and such established menaces as Major Force, the Joker, Parasite and Lex Luthor. On the way he discovers the dark side of his mission and his mentors, and eventually ends up in the Justice League of America.
