I actually mentioned this a while back, that I took back up reading
my two library-bound volumes of this great 1990s series starring the
original Captain Marvel (and the entire Marvel Family, plus various
other Fawcett characters and cross-overs with contemporary DC
characters) about halfway through the first volume back when I was
down for a week with what I'm calling The Flu. It's wonderful.
While I could quibble with certain decisions that were made in the
updating (e.g., “CM3,” Mary Marvel as another “Captain Marvel,”
her white costume rather than red, the concept of the Power being
divided between however many of the three that have invoked it, to
name the most important “quibbles”), as far as I'm concerned this
is the best-ever “modernization” of the characters that DC has
ever managed to accomplish, largely due to the efforts of Jerry
Ordway. It certainly puts the current abomination appearing in
Justice League
to shame. It captures rather than turns-on-its-head the simple charm
of the original, albeit in a way that easily satisfies the modern
comics reader.
One
of these days, I hope that Jerry Ordway comes to a convention that I
can make, and that I can ask him to sketch Cap as a frontispiece to
volume one, and Mary and Junior in volume two. As it is, this series
is graced with Ordway's painted
covers (in fact, the opening graphic novel that began the series is
fully
painted) that are themselves worth the price of admission –
absolutely stunning.
I
had virtually no history with the super-heroes of the Archie Comics
group in any of their iterations, whether the original 1940s
characters or the 1960s or 1980s attempted revivals, or DC's licensed
attempts in the 1990s and the 2000s. Well, maybe
I picked up a few of the 1980s Mighty
Crusaders,
given how well I remember the cover, at least, of issue #1. I was
dipping into various of the new “independent” comics publishers
rising and falling during that period.
But
somehow or another last year I came across this most recent attempt,
by Archie themselves, under the “Red Circle” imprint as a digital
comic and was immediately hooked. I purchased the first several
issues digitally, and liked it so much that I immediately preordered
the softcover collection when it was offered. I really like the
angle that they're taking here, that basically all
of the old adventures happened, but that this new series focuses on a
new generation of heroes, the heirs of the original Crusaders, led by
the sole survivor of their parents' generation, the Shield, who is
training them to take their parents' place in a world that
unexpectedly does
still contain the evil which their parents were believed to have
defeated. Along with a talking alien space-monkey. The stories are
at once engaging and accessible, I think, for all ages, with a clean
artistic style that reminds me greatly of such things as the animated
Justice League
and Young Justice.
Moreso than just
about
anything currently being published by DC or anybody else, this is
what I would immediately and unhesitatingly hand over to a youngster
interested in comics.
I gave a full write-up to volume one of Archer and Armstrong a while back. I liked that so
much that I immediately ordered the other three volume ones that were
available, and am now preordering any Valiant collections that are
offered. I'm not going to get into individual detail, but I find
them uniformly well-written and -drawn. I really think Valiant could
be the next big success story in new comics companies. I highly
recommend them.
Last
summer, after initially holding off on the Green
Lantern
franchise within the New 52, I picked up the first collection of the
main title, Green
Lantern
vol. 1: Sinestro
– and thoroughly enjoyed it. So I added that title back into my
monthly pull list. Well, for whatever reason (and I'm at least
partially attributing it to Geoff Johns' deteriorating skills as a
writer of issues as opposed to long story arcs), I did not care for
the individual issues and dropped them after only a couple of months.
Green Lantern
is just so
much more satisfying a read in collected format. Granted, the
stories are so decompressed that there's really not much here, but
six or seven issues do make for a good enough story, and with my
on-line vendor's typical initial-solicit discount of often fifty
percent, I don't feel like I'm not getting my money's worth. That's
less of a consideration with Green
Lantern Corps,
I find – I really like Tomasi's writing both here and on Batman
and Robin,
but the Green
Lantern
franchise titles are so intertwined periodically (the various and
inevitable cross-overs), that it would make no sense to read what is
frankly a subsidiary title month-to-month while reading the main
title only in periodic collections. On its own merits, however, I'd
be hard pressed to say that I didn't enjoy Fearsome
more than I did Revenge
of the Black Hand.
Both are quite good, especially when read in collected form.
I'm
pretty sure the same would be true of Flash.
In this case, I'm just not enough of a fan of the character that I
have hardly ever, since I was a kid, bought it monthly. Most
recently, it was knowing that the upcoming Flashpoint
event was going to springboard out of the then newest series of Flash
that got me on board. But I have been hearing good things about this
New 52 series that sprang out
of Flashpoint,
and I do like Francis Manapul's art (he's pulling double duty here,
sharing in the writing duties with his inker Brian Buccellato). This
is a quite enjoyable, if ultimately somewhat forgettable, volume. I
mean that literally – I read it a few weeks ago, and frankly can't
remember that much about the story other than something about the
Speed Force is proving to be dangerous to the fabric of the universe
(which I'm sure is going to lead to some kind of Major Event sooner
or later), which is somewhat limiting the Flash's speed.
But Manapul's distinctive style does make this (as the blurb from
The New York Times
puts it, right on the cover) “a visual treat.” I'll be back for
volume two – and probably reread volume one going into it....
Anyway,
I'm sure there's some other stuff, especially in the digital realm,
that I've been reading –
Oh
– how could I forget –
I
– and doubtless many others – discovered this great character in
the pages of Dynamite's Masks.
Although frankly given the nature of that story she hasn't done that
much in those pages, I was intrigued enough that I did some browsing
on the Internet and a few weeks ago came across this post on Mike Kooiman's Quality
Companion Companion
blog. Not that Miss Fury was part of
the Quality Comics stable, but Kooiman was similarly taken with the
character in Masks
and had come across this book, which he reviewed in glowing terms. I
would perhaps – if I could – exceed him in his praise. As I
declared in a “Thank you” comment to his blog, this book is
“GORGEOUS. Great art, engaging story. [It] has quickly – in
less than a week – made me a huge Tarpé
Mills fan.” June Tarpé
Mills was herself a very significant figure in comics history, being
one of the few female comic creators during the Golden Age, and Miss
Fury is often noted as being the first female super-hero written and
drawn by a woman. This volume is a little on the pricey side, but
have no doubt that it's worth every penny. Appropriately since Miss
Fury
was originally published not as a comic but as a full-page Sunday
newspaper feature, it's a big, coffee-table sized book – complete
with a ribbon marker. I'm only about a quarter of the way through
reading it at this point. I'm taking it slow, wanting to savor it.
The
cover is also appropriate, in several ways. Marla Drake's costumed
identity as Miss Fury is not the real focus of the story, but rather
Miss Drake herself. There are long stretches of story where the
enchanted black panther-skin suit does not appear. And, for the
time, Ms. Mills' sometimes scantily dressed very
attractive female figures pushed the limits of risqué.
The editor of this volume, Trina Robbins,
notes at least one instance that I immediately recall from a very
extensive introductory essay where local papers “edited” the art
to tone it down a bit. Of course, by modern comic art “standards,”
Mills' art is pretty tame. Personally, I find her more anatomically
realistic figures preferable to the often distorted and contorted
“Escher Girls” of
today.
…
And
now
I think I've caught everything noteworthy. I am still engaged in
what will be a long-term slow, periodic, reading of Roy Thomas' 1980s
DC Earth-Two World War Two epic All-Star
Squadron,
which I intend to follow up in its time with Young
All-Stars,
to which I've added his medieval American Indian in Charlemagne's
Europe saga
Arak, Son of Thunder.
In both those cases, I'm focusing on putting together some
historical annotations since Thomas uses quite a bit of real history
in his writing. In fact, it has occurred to me that maybe I can work
up some kind of light-hearted (semi-)scholarly conference paper out
of Arak
– I do call myself a medieval historian, after all, and part of the
job is supposed to be producing some kind of “original research.”
In
any case, Cheers, and Thanks for reading!
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