The Shadow #1
“The Fire of Creation, Part One”
In any case, I like what I see in this premier issue of The
Shadow. It is (unlike The Spider, apparently), set in its
proper world, that of the 1930s. It's graced with atmospheric art
illustrating a compelling story that is somehow connected with wider
world events than just contemporary New York, specifically the
atrocities being perpetrated during that period by the Japanese in
China. This issue is basically just set-up, introducing the
situation and the characters, but it accomplishes that very well.
One thing I was curious about is already answered here – this
version of the character seems, as far as I can tell, to be based
more on the radio show version than the pulp magazine version. I
can't say that I've read that many of my ever-growing collection of
Shadow stories, but it is my understanding that the more
notable supernatural aspects of the character were confined to the
radio plays. The pulp character was a highly effected cloaked and
vigilante lacking the radio version's abilities to “cloud men's
minds” and read a person's fate, both of which are in evidence
here. Even the Shadow's secret identity of Lamont Cranston (itself a
ruse in the pulps) seems an otherworldly figure here, and we get
hints of resulting trouble in the relationship between Cranston and
Margo Lane. That latter character, as I understand it introduced into the
radio show in the 1930s, did not appear in the pulps until relatively
late, sometime in the 1940s. I have not listened to more than a
handful of the radio shows, so don't know how many other pulp
supporting characters might occasionally appear on the air, but I did
recognize Moe Shrevnitz whom I only know from the print adventures.
In any case, whatever the pedigree of the elements that are put
together to make this latest comics version of the character, I am
pleased with the result. Maybe best of all, this title is authorized
by Condé
Nast, so we don't have some kind of legal challenge to look forward
to as has resulted from Dynamite's publishing of its Lord
of the Jungle and
Warlord of Mars
titles....
Lord
of the Jungle
#3
“3:
The Call of the Primitive”
[ previous
issue ]
This
issue continues the adaptation of Tarzan
of the Apes
from the ape man saving Jane and Esmeralda from the panther to the
aftermath of his saving Jane from the mad bull ape Turkoz. Is that
climactic sequence the first time we get translated “ape-speak”
in this title? It seems to me that previously its just been grunts
and so forth – which we also get in this issue. For instance, on
page 13 we witness Tarzan spying on Jane as she disrobes for bed –
“Oo” indeed! The art in this title is generally good, although I
find some of the characters drawn almost cartoonish (Professor
Porter), while I frankly find Castro's Tarzan himself a bit too
thuggish in his features, looking too much like Marvel's rendition of
the character in the mid 1970s series when they picked up the licence
from DC. I found John Buscema's Tarzan too much like his Conan.
One
thing I kind of like in this adaptation is that Nelson takes a little
space to expand on the characters. The standout beneficiary of this
is Jane's African-American maid Esmeralda, who is portrayed as the
smartest of the new stranded party. It is she who correctly
perceives that Tarzan and “White Skin” are one and the same –
that Tarzan taught himself to read and write English but does not
know how it is pronounced. Therefore he can write the meaning of his
name, “White Skin,” but pronounces it in the ape language as
“Tarzan.” To which insight Jane is plainly dismissive.
Similarly, Esmeralda recognizes the baby skeleton in the cabin as
nonhuman – and is again dismissed. And see her expression moments
before when she hears Professor Porter's comment about the two adult
“specimens [being] of the higher, white
race.” This is, of course, part of Nelson's effort to remove the
racial overtones of ERB's original story as he discusses in the
commentary
on the first issue linked from my previous blog entry, but it
works here except that Jane's reaction reflects very poorly on
herself.
All
in all, continuing to be a quite enjoyable treatment of an oft-told
story. (Although isn't that a rather unfortunate placement of the
“flap” of Tarzan's loincloth on the cover...?)
Warlord
of Mars
#17
“Gods
of Mars, Part 5! Helium Divided”
[ previous
issue ]
In
this continuing adaptation of the second John
Carter
book, news that John Carter has returned from the Barsoomian “heaven”
– which he boldly proclaims as “a
land of false hope!
A valley of torture and death” – splits Helium in a
confrontation with Zat Arras, the Zodangan who has established
himself as dictator in the absence of the Heliumite royal family.
But news of Dejah Thoris' capture along with Thuvia by Black Pirates
leads John Carter and his supporters to mount an invasion.
One
thing more apparent here is a distinct coloring contrast between the
white Earthman John Carter, his half-Barsoomian son Carthoris who has
a pinkish hue, and the very rest of the cast, very red Barsoomians
all – well, most, considering there are also green Tars Tarkas and
black (really grey) Dator Xodar.
Speaking
of Dator Xodar, we unfortunately get to revisit what I found to be
the objectionable addition to the story from last issue as Sola
relates meeting Thuvia and hearing “of her love for Jawn Kar-turr,”
and the Black Pirate can be seen in the background whispering in the
ear of Kantos Kan (who muffles a snicker, “Kk-kk!”) No … just
no. This is quite an annoying blemish on an otherwise fine rendition
of ERB's world.
I'm
not sure why, but this story has really felt rushed the past couple
of issues. Next issue brings the conclusion. I wonder if Dynamite
will continue directly into the third novel, which actually is
named The
Warlord of Mars?
At
some unspecified time between A
Princess of Mars
and The Gods of
Mars,
Dejah Thoris is teaching her son Carthoris history when he asks her
about a legendary “Battle of the Face of Barsoom.” The lack of
verifiable information despite a few surviving veterans who prove
surprisingly reticent inspires her to organize a “field trip” for
Carthoris and other “hatchlings” to conduct an archaeological
study of the battlefield. She and other women plus male guards
precede the main group to set up camp, but their airship breaks down
and strands them in a deserted city infested with feared white apes –
which proceed to slaughter the men while the women watch in horror
from hiding. And, we're promised, “Next Issue: It Gets Worse.”
I'm
not really sure what the point of this miniseries is, other than a
money-grab. Were I not an inveterately compulsive completist, I
think I would pass on it. The only thing mildly intriguing is the
possibility, based on the name of that battle, that we might
get to see the mysterious “Face” on Mars incorporated into these
tales of Barsoom.
A
couple of comments about the art. One very interesting feature of
the great cover by Brandon Peterson*:
“I
don't got / No belly-button!”
Makes sense, what with Barsoomians
being oviparous. Of course, inside the issue navels still abound.
The inside art is by Liu Antonio, who did much of A
Princess of Mars
in the early issues of the main Warlord
title. I have to say, I'd forgotten how: a) hatchet-faced his Dejah
Thoris is; b) how huge he draws her breasts; and c) that he “tips”
them with the smallest “pasties” ever, so that it looks more like
she has very small, golden nipples! Do I prefer other artists...?
Guess.
Oh,
and the double-page spread at the end of the issue, showing the
slaughter of the guards, is almost comical in its gruesomeness.
Nevertheless,
I'm in this for the long haul. Yes, it's another way Dynamite gets more of my money ... superfluous miniseries of properties I love.
Cheers!,
and Thanks for reading!
*
* *
*Who,
incidentally, did this wonderful sketch of Supergirl for me at Dallas
Comic-Con in August 2009:
No comments:
Post a Comment