Comic Coverage

The Highlight Reel: Lady in Red

How many comic books have I read? 

Good Lord, I couldn't tell you...though I'd estimate the total would easily top the "mega-thousand" category.  More to the point, how many of those mega-thousand comics made an impression...or do I even remember reading?  Ballpark estimate:  Not as many.

However, there remains a respectable percentage of them that not only made an impression but are absolutely unforgettable....at least to me.

That's why I thought I'd try to "catalog" some of those great moments from my own comic book reading experience, a "highlight reel" if you will.  Not that I'm the ultimate arbiter of determining what qualifies as an official "great moment", but at the same time, maybe something I like will make an impression on another fan who may, in turn, add that "great moment" to their own memory banks (or comic book collection).

The moment I've chosen for the Reel's maiden
voyage is taken from JLA #33 (1999).

Set-up: Batman dispatches four members of the Justice League to the French Riviera to bring in...Bruce Wayne?  Well, without getting into the obvious secret identity issues there, Green Lantern (Kyle Rayner), Steel, and Plastic Man, along with new members (and New Gods) Orion and Big Barda arrive in France to play the part of swanky jetetters.

We now join the undercover JLA members as they admire the normally fully-armored Big Barda modeling a form-fitting red dress (click on the panels for a larger view)...

Though the art's a bit on the shakey side, writer Mark Waid's wonderfully paced, absolutely hilarious Plastic Man gag more than overcomes it. Plastic Man had long been known to assume the shape of anything while still retaining his costume colors and design, and Waid's gag cleverly (and a bit naughtily) updated that great tradition for a modern audience.

The Highlight Reel: I Shall Shed My Light Over Dark Evil

Last week's Reel focused on the funny, while this week's is All About the Awesome. 

Occasionally, comic book storytelling is done so well it feels exactly like you're watching a movie, in this case the pyrotechnic climax of a blockbuster adventure movie (i.e. the Holy Judgement climax of Raiders of the Lost Ark).

JSA #9 (2000) is one of those rare cinematic experiences.  From the writing team of David S. Goyer and Geoff Johns, along with amazing illustrator Stephen Sadowski, this sequence is taken from the dramatic resolution of the "Darkness Falls" story arc.

Set-Up: Obsidian, son of the original Green Lantern, succumbs to his personal demons and uses his immense power to plunge the world into darkness...and it's up to a recently re-constituted Justice Society of America to stop him and his cadre of villains. However, a number of JSA members fall under Obsidian's shadow and become his dark puppets.  As one of the few remaining JSA'ers, Alan Scott has a face-to-face confrontation with Todd within a giant version of Obsidian's body, where things go from bad to worse (be sure to click on the panels for larger images)....

GL is then expelled from the giant Obsidian construct, as his son (in full god-complex mode) asserts his superior will.  Big mistake....because when it comes to a Green Lantern and willpower....well, I'll let Alan take it from here.

Note:  Be sure to click on the double-page spread below....your melted frontal lobe will thank you.  Oh, and I dare you not to get goosebumps when you read the purple narration boxes...

See what I mean?  Very cinematic in its look and feel...and just a dynamite example of how great superhero comics can still be with a creative team that obviously loves the characters and knows exactly what it's doing. 

Do yourself a favor and pick up the JSA: Darkness Falls trade to enjoy the whole story!

The Highlight Reel: A Stake of Humble Tin

There's a phrase you've probably heard dozens (if not hundreds) of times in today's hype-saturated comic book market.

"Nothing Will Ever
Be the Same Again!"

You'd think we'd learn after hearing it so many times.  After all, how many "nothing will ever be the same again" stories have actually delivered on that promise?

Well, one comic book story that actually did change things forever was The Amazing Spider-Man #121-122 (1973). The Death of Gwen Stacy not only changed the status quo of Spider-Man forever, but (arguably) of the entire superhero genre as well.

Crazy talk?  Well, I'm not the first one to note how the story seemed to herald (or perhaps spark) a darker form of storytelling. In fact, a similar sentiment was explored in Kurt Busiek and Alex Ross's MARVELS (1993), a brilliant metatextual "history" of Marvel's superheroes from the vantage point of average, everyday people.

Up until then girlfriends were saved, not killed....and supervillains either went to jail or (at worst) ambiguously "died" only to return a few years later. These issues of Spider-Man threw all of that out the window, signalling from that time onward that all bets were off.  Everyone was vulnerable, and nothing (no matter how horrible) was truly "off the table"....not even the death of a prominent cast member or arch-villain!

It's from the final few pages of this earthquake of a story that I've selected my scene for the Highlight Reel. Set-Up: Peter Parker's girlfriend Gwen Stacy was abducted and killed by the Green Goblin.  Later on, as Spider-Man, Parker explodes into the Goblin's warehouse lair, bent on revenge.  Written by Gerry Conway, pencilled by Gil Kane and inked by John Romita, experience a true comic book classic (click on the top and lower halves for larger views):

Man, that last line still gives me chills!

As intense as this scene remains after all these years, you can imagine what effect it had on me as a kid.  A jumble of triumph, relief, irony and, yes, even pity and horror....but permeating it all, a brutal sense of justice.  Heady stuff for a superhero comic book...especially for the early 70's!

The scene may look familiar to those who've seen the first Spider-Man movie, since its climactic final battle also involved a bat-glider piercing Norman Osborn (though, inexplicably, in the groin instead of the chest), but for sheer emotional impact, it can't touch the comic book version.  Though I appreciate director Sam Raimi's effort to bring it to life, it seemed to lose something in the translation to film.  It's only when you knew the long comic book history between Peter Parker and Norman Osborn, with its cat-and-mouse games of madness and blood, that you felt the true emotional impact of that bat-glider slamming Osborn to the wall.

Of course, as will happen in comics, Marvel foolishly undid the Green Goblin's death some twenty years later, thereby diminshing some of the scene's original power.  However, despite the retroactive tomfoolery, it remains one of the most dramatic scenes I've ever encountered in my three-plus decades of reading comics.

That is, despite my somewhat less-than-serious 30-Second Recap of the scene a few months back.

Simply The Best: Goin' to the Chapel...

Who can get married while celebrating his 40th anniversary at the same time? 

Why, Superman, of course!

Celebrating the fourth decade since the Man of Steel first hoisted that green sedan over his head, Action Comics #484 (1978) featured the long-awaited wedding of Superman and Lois Lane!

Making the issue even more special was this gorgeous cover by Jose Garcia Lopez, conveying all the joyous spectacle you'd expect from these star-crossed lovers finally tying the knot.

Or did they? 

Sharp-eyed readers quickly realized something was up.  The Daily Star building in the background and Superman's obscured chest symbol provided clues that all was not what it appeared to be. 

You see, this was indeed a wedding between Superman and Lois Lane....of Earth-2!  For years, the earliest adventures of Superman had cleverly been exported to an alternate Earth, where differing details of his Kryptonian heritage, his workplace (The Daily Star instead of the familiar Daily Planet) and even a slightly different "S" symbol were still the norm.

So, yeah...on one hand it was a bit of a cop-out to marry the Earth-2 version of the couple, but on the other hand it made perfect sense.  When you think about it, these were the characters who appeared in the first issue of Action Comics in 1938, so it seemed natural that they would receive the reward denied the "real" Superman and Lois from the ongoing series (at least until 1995).

But back to that dynamite cover.  As someone who's always been a sucker for sentiment and tradition, this cover hits all of my buttons.  The classic design of the wedding dress, the "Just Married" banner, and the obvious joy of the bride and groom (without a molecule of cynicism or irony) all seem like something imported from another age.

You know, while I'm at it, I might as well make this an unofficial clip for The Highlight Reel, my ongoing effort to chronicle my favorite comic book moments.  There's so much to love about the story inside.  Writer Cary Bates turned in a tight and (at times) unexpectedly moving script, perfectly complemented by the artwork of Curt Swan (who else?) and inker Joe Giella.  However, the part of the story that makes the Reel is actually the final two panels of the story.

Earlier in the tale, Lois Lane had fallen in love with and married Clark Kent who, at the time, had forgotten his life as Superman due to a magic spell courtesy of The Wizard. After Clark eventually regained his memory (and superpowers) and took care of the Wizard, there was only one thing left to do.

Taking his bride to his Secret Citidel (an art-deco precursor of the Fortress of Solitude) Superman and Lois privately reaffirm their vows in a touching Kryptonian ritual (click on the panels for a larger view).  In all the years I've read and enjoyed Superman stories, there aren't many moments with more grace and understated beauty than this one.  All of it done in the shadow of Kal-L's Kryptonian parents, who looked like the reigning gods of some lost 1930's sci-fi pantheon.

Pure class.

The Highlight Reel: A Family Instead of a Freakshow

In my previous post, you had a front row seat to the rip-roaring "Clobberin' Time" side of The Thing, the Fantastic Four's resident rock-encrusted curmudgeon.   However, there's another side to Ben Grimm you may not be quite as familiar with.

Raised as a streetwise scrapper on New York's Lower East Side, Ben Grimm's tough-guy exterior became a literal reality following his cosmic accident.  Ironically, Ben's rocky outer shell became the catalyst for a softer side to emerge, as the love of his Fantastic Four "family" and girlfriend Alicia gradually smoothed his jagged outlook.

Adding to Ben's joy was the arrival of Reed and Sue's baby boy, born in Fantastic Four Annual #6 (1968).  Soon afterward in Fantastic Four #94 (1969), the proud parents bring the baby home to the Baxter Building. Let's join them as they announce what they've decided to name their son, a special day for Ben Grimm as well as an unforgettable scene for the Highlight Reel.

(click on the panels for a larger view)

The Highlight Reel: Krypto's Last Stand

I'm not what you'd call a "crier". 

You know, one of those people who can cry at the drop of a hat over fictional grief...like my lovely wife, for example.  I don't know what it is...I guess it just takes alot to "flip that switch" inside of me when it comes to grief that's "not real" in the sense of it being acted out or conjured up in a fictional setting.

However, once in a blue moon a story comes along that really does get close to choking me up, one of which was the evergreen classic "Whatever Happened to the Man of Tomorrow?"

As a way to smooth the transition for John Byrne's 1986 "Extreme Makeover" of the Superman titles, DC Comics allowed for an "ending" of sorts for the version of Superman most readers had grown up with.  Written by fan favorite Alan Moore and illustrated by Curt Swan (who else?), the two-part story was published in Superman #423 and Action Comics #583, featuring an "imaginary story" that served as a stirring elegy to the Silver Age era of Superman comics.

Though the tale had many extremely touching moments, I think the one that tops them all (at least for me) was Krypto's Last Stand.   Our Highlight Reel clip opens after an army of Superman's enemies had invaded the Fortress of Solitude to destroy the Man of Steel and the loved ones under his protection.  One of the members of that army was the Kryptonite Man, who clearly wasn't aware of a dog's reaction to a stranger in his master's home.   Note the masterful "camera work" (no doubt enhanced by Moore's incredibly rich stage direction) and the effective use of Krypto's thundering "thuddums" (click on the panels for a larger image)...

Without hesitation, Krypto lunges for the Kryptonite Man while already succumbing to his deadly radiation.  Despite the many years of Krypto wearing the goofy cape and using thought balloons to think very human thoughts, it's here at the very end that Krypto was never more dog-like..not only for his shocking savagery, but also for his fierce loyalty and laser-focused hatred for someone intent on doing his master harm.

I don't know what's more upsetting, imagining Krypto's "death howl" echoing through the Fortress, or the sight of Krypto's green carcass with the red cape still attached.  Heartbreaking.

So, there you have it.  Comics' very own Old Yeller moment.

Excuse me.  I-I think I've got something in my eye....

(sniff)

The Highlight Reel: Look Who's Coming to Dinner

You're all familiar with this classic scene, right? (click on the "play" arrow)

                 

Yeah, so was I...the first time I saw it!  Let me explain.

As I've said ad nauseum, I'm a Fantastic Four fan from way back. So much so, that when my 14 year-old self watched that scene in the summer of 1980, I immediately recalled a similar sequence from Fantastic Four #142 (1974).  So similar, in fact, that I've often wondered if a certain bearded, plaid-wearing movie mogul might have read that same comic book and (either consciously or sub-consciously) incorporated that sequence into his famous sequel.

Here, I'll let you be the judge.  The set-up:  Reed Richards, recently separated from his wife Sue, shows up to attend a 10 year college reunion, accompanied by substitute F.F. member Medusa. Written by Gerry Conway and masterfully illustrated by Rich Buckler (pencils) and Joe Sinnott (sublime inks), the alumni are then escorted into the dining room...and into one of the most unforgettable "villain reveals" in my collection (click on the panels for a larger view).

So...what do you think?  A dining room trap laid by a masked, heavily armored and cape-wearing arch-villain, greeting his "guests" with sinister mock formality?  Coincidence...or influence?

Well, whatever it is, it's certainly a worthy addition to The Highlight Reel.

P.S. Of course, nothing in the world of entertainment is entirely original.  Everything has been influenced by something that came before it...even the Dr. Doom panel.  Doom's wide-eyed, frightening expression recalls Lon Chaney's terrifying facial expression from The Phantom of the Opera's classic reveal scene, nearly 50 years before F.F. #142. Again...what do you think?

The Highlight Reel: Down Amongst the Dead Men

To say Swamp Thing Annual #2 (1984) blew me away would be an extreme understatement.

Taking the American comic book scene by storm in the early 80's, British writer Alan Moore almost single-handedly ushered in a more sophisticated brand of storytelling that, in many respects, continues to this day.  After hearing the buzz surrounding Moore's successful reimagining of DC's Swamp Thing, I gave it a try with issue #31...finding it every bit as good as the buzz indicated.  In the story, the demonic arch-enemy of Swamp Thing, Anton Arcane, sends the soul of his niece Abigail to Hell...leaving it up to Swamp Thing to save the woman he loves.

The story continues in Swamp Thing Annual #2 with the masterpiece "Down Amongst the Dead Men". Making his first of many journeys into the supernatural realms, Swamp Thing essentially "wills" himself into the Great Beyond, meeting a number of familiar characters along the way. However, to give the impression the story is merely a routine "flyover" of DC's supernatural characters does it a disservice...because Moore's beautiful, poetic gift with words make the journey a fascinating, mysterious, occasionally disturbing, awe-inspiring, and utterly unforgettable experience.

Like Scrooge in A Christmas Carol, the Swamp Thing is escorted by three major figures of DC's supernatural set.  The first was the jocular Deadman, the third a newly-frightening Demon...and between them both, the Phantom Stranger...who informs the Swamp Thing that before he enters the kingdom of Hell, he'll first need to obtain permission of the highest order (click on the panels for a larger view)...

Wow.  I still get chills when I see this scene.  For those of you unfamiliar with the huge, white-faced guy...that's The Spectre.  He was about as close to God as you could get in the DC Universe back then...yet he'd never before been portrayed quite like this.  This was unprecedented...and a perfect example of the grandeur Alan Moore helped restore to comics (after Jack Kirby's light grew dim). 

Of course, it would be criminal for me to overlook the amazing artwork of Steve Bissette and John Totleben, who created a rich, terrifying look that seemed like a cross-pollination of trippy Peter Max posters and the eerie gothic engravings of the 19th century.

What comes after this scene is just as amazing, as the Phantom Stranger and the Spectre engage in a fascinating exchange...ending with an unforgettably chilling line.

If you've never read this story, you owe it to yourself to track down a copy.  If you have read it...what did you think?

The Highlight Reel: New Beginnings

In the current Spider-Man storyline One More Day, it's rumored that Marvel Comics will be pulling the plug on the marriage of Peter (Spider-Man) Parker and Mary Jane Watson.

Whether it'll be done the usual way (death) or an unusual way (hitting the cosmic re-set button), the ending of the marriage will supposedly clear the decks for a major overhaul of the Spider-Man franchise.  Nobody could be happier than Marvel Editor-In-Chief Joe Quesada, who's made it clear he's no fan of the marriage. In fact, Joe was so enthusiastic about the story, he's drawing it himself (despite his E.I.C. duties and rusty drawing skills).

In the midst of all this grim marriage-dismantling, I thought it would be a good thing to go back to happier times...when Peter and Mary Jane's love first blossomed in Spider-Man #143 (1975). 

Since her debut in Spider-Man #42 (1966), Mary Jane Watson had been the happy-go-lucky party girl of the Spider-Man cast.  Though she definitely enjoyed flirting with Peter, she was simply a good friend through the years Peter dated his beloved Gwen Stacy.  That would all change when the Green Goblin (Norman Osborn) killed Gwen Stacy and shattered Peter's world. Seeing Peter's pain, Mary Jane dropped the party girl pretense and reached out to him in sympathy. 

Over the next couple of months (or years in "real time"), Peter and Mary Jane's friendship continued to deepen.  Following an attempt on MJ's life by the equally demented son of the Green Goblin (Harry Osborn), Peter realized just how important she had become to him.

It's against this backdrop that we join our young couple in the quiet late-night corridors of the Kennedy International Airport, as Pete is about to catch a flight to Paris. As good-byes are said, as small talk runs it course...love begins.

(click on the pages for larger views)

The Highlight Reel: A Postcard from Hell

Awhile back, I added a scene from Swamp Thing Annual #2 to the Highlight Reel...but since it's the season for All Things Spooky, I realized that classic issue deserved another look.  In fact, when it comes to creating truly scary comic book stories, few could surpass the mindblowing writing of Alan Moore and the intensely disturbing imagery of Steve Bissette and John Totelben.

As you may recall from my previous blatherings, "Down Amongst the Dead Men" told the story of the Swamp Thing's search for the soul the woman he loved, Abby Arcane.  Escorted by a number of familiar supernatural characters, Swamp Thing's journey through the Great Beyond finally took him to the lonely shores of Hell itself (click on the panel for a larger view)...

Nearing the place where Abby's soul was imprisoned, Swamp Thing and the demon Etrigan encountered the presence of her evil uncle, Anton Arcane.  As the one responsible for sending Abby's spirit to Hell in the first place, Anton Arcane rode the Irony Express to Hell only a few hours later.  As you read the page below (click to enlarge), take special note of how the jutting, fragmented panel design adds to the debased madness of the scene, punctuated by Arcane's tormented reaction to Swamp Thing's news. Oh, and if you have the stomach for it, look at all of the disgusting details Bissette and Totelben populated their panels with. A truly hellish vision of Hell.