{REVIEW} PICK OF THE BROWN BAG: October 22, 1997

[Rayctate]

Pick of the Brown Bag
a weekly review
by
Ray Tate
October 16, 1997

Welcome to the Pick of the Brown Bag. In this column, I
pick from my current batch, the most enjoyable and the most
disappointing comic books. E-mailed compliments and
criticism are welcome. You may also post your complaints
and kudos to rec.arts.comics.misc. Argument is encouraged.
Flamers will be Schumachered.

The Contenders

Batman & Robin Adventures 25 * Batman: Long Halloween 13*
Cartoon Network Presents 5* Desperadoes 2*
Elfquest 17 Espers 4
Kitty Pryde: AOS 1 Lori Lovecraft: Dark Lady
Medieval Mayhem 1 Shi 2
Star Trek: Voyager 12 Supergirl 16*
Trinity Angels 7

Special Announcement: Because Halloween is your reviewer's
favorite holiday, he will continue his annual Halloween video
picks. These will not necessarily be newly released videos.
Rather, they will be guaranteed chillers that will probably be
left on the shelves this Hallow's Eve. Expect a posting
mid-week.

First, a few words about the rest. "Trinity Angels" conjures
a fine group effort in terms of artwork, and Kevin Maguire
wrangles choice dialogue not to mention rib-tickling jokes,
but Elayne's Thought Balloon Fairy (TM) gets busy, and too
many scene shifts confuse the narrative.
A linear storyline can be found in "Shi," but the plot strains
belief. Ana, supposedly an art dealer, would have discovered
the planted item when studying the pieces. In addition, Peter
Denyse comes off as just another one-dimensional, muscle-bound
oh-so-cool tough guy straddling a motorcycle. Did no one read
Marvel's original revamp of Ghost Rider? There was more depth
in Ghostie's terse dialogue than Denyse's "street talk."
Speaking of gratuitous, Mike Vosburg's "Lori Lovecraft" though
featuring a fascinating mind-game reminiscent of "The House
That Jack Built"--one of the most nail-biting of "Avengers"
episodes--also often strips away Lori's clothing for no really
good reason. Okay, we get the idea. Mr. Vosburg can draw
beautiful women. Like you need to be Sherlock Holmes
to deduce such a fact, but there's really no excuse. The nudity
neither enhances the story or builds on her character.
More great artwork can be found in "Voyager" and "Kitty Pryde."
Jesus Redondo is one of those yet to be discovered firestarters
of style. His flair for body language captures Kate Mulgrew's
stance, and his perfect knowledge of anatomy serves him and
the reader in each panel of the latter contender, but Laurie
Sutton can do better. The "Star Trek" story is competent
but nothing special. In addition, the ending seems unnatural
without a foreshadowing. As for Kitty's Solo foray, since when
did the Contessa lose her charm? In "Spider-woman" she seemed
"positively flippant." In Hama's book she belongs amid the
cat-fighters on "Melrose Place." When did the derby-doffing
Dum Dum Dugan become a conventional soldier? Nick Fury
"notorious?" I smell the overpowering stench of Marvel's
ham-fists.
In other secret agent news, James Hudnal continues to harp in
"Espers," but his action-packed story with the excellent bitter
sweet ending and the best work Greg Horn has touted for this
title saves the book from the sludge pile. Now that Mr. Hudnal
has exorcised his personal harmonic New World Order demon
perhaps we can get on with a sensible story.
Engaging characters can be discovered in "Medieval Mayhem,"
but I'm not a fan of manga, and I wish books would issue a
big warning label on the cover when that style is flourished.
Finally, Brandon McKinney's "Rogue's Curse" in "Elfquest"
forges a clever battle between Winnowill and Ekur recalling
the duel of sorcery between Merlin and Mihn in "The Sword
in the Stone." Great escape too. However, Kullyn in "Futurequest"
is completely unlikable, and his outburst is far too melodramatic.
"Fire-Eye" concludes, but I never really cared for the tale, and
the tall elves of the alternate reality really creeped me out.

BIIIIIIIIIIIRRRRRRRRRRRRRRRRRRRDDDDMAAAAAN!

Did you ever notice that Hanna-Barbera's two most beloved
heroes have operatic calls? With the same sophistication he
bestowed to Scooby-Doo, writer Terrence Griep Jr. feathers
"Birdman." Springing from the eponymous, winged one's origins,
he constructs a tightly wrapped story brimming with spirit and
depth that surpasses the character's rather simple origins.
Paul Gross graces Birdman with a stream-lined design
contrasting the more complex backgrounds, and this technique
further reinforces Mr. Griep's task to transmat a stalwart sixties
super-hero to the nineties, without sacrificing his charm or
dignity.
THE CARTOON NETWORK'S second story lacks the finesse
of Mr. Griep's hieroglyph, but it none the less entertains with an
innocence reminiscent of the cartoon, and by employing refined
lighting techniques and natural shadings alluding to Alex Toth's
original models, artist Sean Chen with colorist Bernie Mireault
combine forces to enhance the brisk "Herculoid" adventure.
Brownyn Taggert concludes the shorts with another intriguing
essay this time overviewing the Egyptian way of life. Mr. Taggert
should be commended for reducing a history so vast, complex and
enigmatic in certain eras to a few paragraphs that will entice the
student to the library for further research.

Drawing his story from abduction lore, writer Ty Templeton pits the
Dark Knight against the Grays in the final issue of BATMAN AND
ROBIN ADVENTURES. In the fifties and sixties, Batman, usually
with Bat-Girl and Batwoman, met and defeated numerous aliens,
but these stories are of course painful to read. The continuity Batman
must allow for the existence of aliens since he serves with two such
beings in the JLA, but the animated vigilante need not be crippled by
such speculative elements. He can be true to his predecessor's edict.
"When you've eliminated the impossible, whatever remains, however
improbable, must be the truth." Batman is delightfully skeptical when
faced with alien technology and indeed experiencing its effects.
Furthermore, Mr. Templeton avoids the Scully trap.
Rather than seem like a diluted Dana, Batman thinks and reacts as
you expect. Batman's harsher denial of the facts and indeed his utter
contempt for accepting the possibility of such an outlandish thing suits
his detective aspect and contrasts Scully who bombarded by Mulder's
philosophy and faced with such things as elasticized killers and parasitic
abominations has been forced to modify her philosophy. Batman
however can dismiss Robin's more open mindedness as youthful
inexperience. The Dark Detective's transferal of the bizarre to a
more sensible "improbable" solution beautifully symbolizes what
separates him from all other heroes and why this character has
become so accepted by our culture--not to mention why most
feel personally insulted by the anti-Batman films.
Bo Hampton and Rick Burchett, Terry Beatty and colorist Lee
Louridge excel their past work with a detailed realization of the
believable Templeton "escape" that serves to hamper the character
and through overcoming each expertly choreographed obstacle
allows him to grow even stronger in your eyes. The outre originality
in two guest stars amuses, and their version of one of Batman's
greatest enemies explains through visual resemblance how the
character earned his unusual name.

CLAP!CLAP!CLAP!CLAP!CLAP!CLAP!CLAP!CLAP!CLAP!
What's that applause for? Why none other than the most viciously
twisted mystery that totally pulled the scalloped cloak over your
reviewer's eyes. We learn the identity of Holiday in BATMAN:
THE LONG HALLOWEEN, but this isn't the only asset to the final
issue of the ground-breaking maxi-series.
William Messner Loebs' finds a unique method of luring the Dark
Knight away from the war on crime metaphor that in retrospect
seems utterly inappropriate. The writing touch adds a brisk pace
to the battle, augments the character's intellect, his battle prowess
and alludes to the very event that birthed him.
The scenes he shares with Commissioner Gordon emphasize an
odd innocence in the Batman's character, who in a sense is still that
small boy who knelt beside the body of his parents. Batman doesn't
like complications. For like Harvey Dent, there is a clear line
separating good and evil. The difference however between these
two characters is that Harvey Dent's obsession is a symptom of wish
fulfillment. He experienced the shades of gray in Gotham with cops
on the payroll of the mob and mobster turncoats, but Batman has
not. He sees Gotham as a city filled with good people like his
parents who are threatened by the bad people, like the man who
murdered his parents. His method of fighting the bad people, at
this point in his career, lacks sophistication. He doesn't seek to
rehabilitate his prey nor identify with them--as in "Dark Knight
Returns" for instance. He seeks to swoop out of the night sky,
scare the bricks out of the bad men and punish them for their crimes
against the innocent. He sees his method as a means to make the
criminal element of Gotham cower in their rat-holes. This is why
Catwoman perplexes him. Catwoman does not choose a side.
She dances between them. She will aid someone being held at
gunpoint only to then gracefully commit acts of breaking and
entering and theft.
Besides Mr. Loebs talented writing, Tim Sale brandishes his
cinematic artwork to flicker cobalt blue light, shadows, fog and
smoke all in order to enhance the mystery behind the masks. Mr.
Sale punctuates Mr. Loebs' characterization of the Dark Knight
with a swift brutality causing many fan-rousing moments, and once
again, he treats readers to a sinewy Selina Kyle quickly supplanting
her big-breasted continuity counterpart. The clever homage to his
previous work keeps the Calendar Man in check, and crackling
flames so bright and alive you almost feel the heat serves to
destroy the symbolism of Holiday.

Though the depth of the villainous Extremist leader impresses,
and Leonard Kirk's and Cam Smith's artwork astounds with
a respectful rendition of the female crimefighter squared, the real
reason to empower your brown bag with SUPERGIRL can be
found in PAD's theme: the Supergirl of two-worlds.
Power Girl of course was the identical counterpart to Supergirl.
Only the costume differed, and Wally Wood certified a rabid
male following for the newcomer by cutting out--to quote the
Crimson Fox--"ze leeeetle window" in her already aesthetically
pleasing and functional uniform. All else remained the same, and
for those who suggest Power Girl was the more edgier of the two
Kryptonians, may I recommend you scour the back-issue bins
for Supergirl's "Brave and Bold" team-ups with Batman. As
enlivened by the ever underrated majesty of Jim Aparo, Supergirl
was delectably mean. But I digress. Whoops, wrong column.
When the Crisis hit, DC dropped themselves into a continuity
hole. They killed the wrong cousin. Superman-version one
no longer existed after the squeeze play. His cousin did.
Perhaps, DC thought Power Girl was a nice book-end
to Huntress' dilemma. After all, she lost her father to the fickle
mistress of time while her "uncle" Batman still stalked the
shadows.
Have you ever noticed that when comic book companies
attempt to fix such things, they usually wind up serving time
with Koko in the limbo of the ink well? The paradoxical
existence of Power Girl and Huntress would not have
bothered fans, but DC's plans for the Big Red S and the Big
Black Bat altered the evolution of the earth-two survivors.
You know how the Huntress grew, not matured--from anorexic
to Dixon debutante, but Power Girl although born in many ways
from the male libido ironically became more respectable. DC
actually attempted to fit Power Girl into the new universe.
The orphan from an alternate earth became an Atlantean, actually
older than Aquaman, and you can hear the gears creaking. See,
this preserves "Supergirl's" historical age. Her powers still read as
a version of the Man of Steel's abilities due to Arion's sneaky
spell-casts, and just to top themselves, they had the sorcerer conjure
false memories. Power Girl believed she was Superman's cousin.
DC smiled down upon the land, and all was good. That is
until John Byrne rapped on Superman's Fortress of Solitude.
Mr. Byrne introduced a new Supergirl--this one from a pocket
universe, created by the Time Trapper to ensnare a Legion of
Super-Heroes, also conveniently non-existent. Getting a headache
yet?
No problem, DC cried. We will fix this yet. Hence, the Zero Hour.
Total reboot. Well, not quite : D. Power Superman Ranger Sparky
experienced the red-sky Crisis. He also met the first Superboy who
zipped into oblivion. He in addition has a memory of the
extermination in the pocket universe that never-existed. Cosmos,
but I love comics. I wonder how Matrix fits in? Oh, never mind.
Let's just assume Superman experiences deja-vu. In a missing
adventure--I mean, we're dealing with time loops here--he meets
Matrix, and in fact is expecting her since he met her non-existent
counterpart. It's all nonsense anywho, but I do believe in the next
"Unlimited Access" mini-series, DC should borrow the Doctor to
fix things once and for all.
Matrix becomes Supergirl, and thanks to PAD, the new Supergirl
meets for all intent and purposes the old Supergirl: Kara, daughter
of Zor-el, cousin to Superman--who by the way never existed.
Ouch! Okay, already! I'll stop. Back, back to your tomb.
PAD neither dispels or supports the DC duct tape. He merely
presents the facts and knows the fans are smart enough to
discard them in order to see the parallels between Power Girl
and Supergirl. Where as, Supergirl's bane lie in the reader's
sophistication, Kara's new weaknesses are as golden as Kryptonite,
Linda's own psychology and the natural limits to her strengths
prevent her from always winning. They also allow her to understand
the intriguing villain. Kara, on the other hand, still nurtures the quaint,
satisfying desire to beat her foe senseless. Some things however
never change. Once Supergirl learns from Power Girl that the
Extremists are robots, the kid gloves come off. The creative team's
examination of the changing role of the crimefighter is highly
recommended.

I didn't think DESPERADOES' premiere had much moxie, but
issue two of Jeff Mariotte's story blazes the genres to brand a
compelling narrative. Motives become as clear as a watering
hole, and the ramifications of the past drive forward the story.
The characters gain dimension through realistic, period dialogue
and Jack Cassady's vivid choreography.
While Gideon and Jerome take center stage, the Casady/
Bell team draw depths of personality from Abby's glares,
Peik's sad stares and Race Kennedy's unusual expression
of emotion. Follow the Desperadoes' trail, and you won't
git lost.

Past Picks October 8

Batman/Phantom Stranger
Hellboy Jr. Halloween Special
Scooby-Doo 4
Thunderbolts 9
Wolff & Byrd 17 (Exhibit A)

Vid-review

The Long Kiss Good-night
Director: Renny Harlin
Writer: Shane Black
Cast: Geena Davis, Samuel L. Jackson, Chris Bierko, Tom
Amandes

For some reason, Renny Harlin's movies do not receive the
critical acclaim they deserve, but "Long Kiss" like "Cutthroat
Island" proves Mr. Harlin an expert director of action-packed
adrenaline drainers. However, he can also show a remarkable
amount of restraint lacking in those already accepted by
Hollywood and the companies they are bankrupting--say it with
me everybody Schu--macher. "Long Kiss'" quiet scenes capture
a sense of clever realism that simultaneously foreshadow ingenious
plot twists. That's right, in spite of what you may have heard,
Renny Harlin's movies always have a plot. In fact, he's a lot
smarter than you may think--though this is largely due to his
ability to pick excellent writers.
Shane Black allows the cast to deliver snappy dialogue and
crack-wise with a sense of believability. In addition, Mr.
Black's writing recognizes the cliches of the spy genre and
silences them by removing the exposition. What filmmakers
occasionally forget is that their audience is not seeing a movie
for the first time. We have all seen "Dr. No." Why then offer
a retread? By removing the cheesy exposition and the clunking
discourse, he skips the clumsy overwrought drama in favor of a
tightly-plotted thriller that evolves through an interaction of
character, and what characters!
Geena Davis brings intensity to her role--both of them. Her
stunts amaze, and like the best of actors, she buries herself
in the character. As you watch, not once, can you remember
that you're watching Geena Davis an actress, in a movie. You
get lost in her performance. Mr. Jackson further mesmerizes,
and his dumbfound almost Dave Letterman like looks of
surprise misdirect you from the actor while enhancing the
amnesiac quality. Chris Bierko offers an intelligent portrayal
of repellence, and you immediately forget you are watching
Valerie Berteneli's private eye partner from the underrated
sit-com "Sydney." Smart, funny and exciting with engaging
characters you care for, "Long Kiss Good-night" is no empty
seduction for your dollars.

"Into the Weeniemobile....Weenie Man awwwaaaayyyyy!"
--the wisdom of Crow T. Robot :MST3K The Movie

rayc...@aol.com

The Pick of the Brown Bag is Copyright 1997 Raymond Tate. You
may of course copy the POBB for your own amusement or to share
with your friends as it is intended as a public service. You may
quote from it if you find some of my ramblings accidentally praise
your comic book project. Plagiarists will face the Curse of Kharis!
All hail Kharis!