{REVIEW} PICK OF THE BROWN BAG: Sep 10, 1997
Rayctate
Pick of the Brown Bag
a weekly review
by
Ray Tate
September 10, 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 cold-cocked by a female cadet. About time
one of the ladies struck back against their inferior's deplorable
behavior.
The Contenders
Adventures of the DCU 8 * Animaniacs 31
Batman 548 B & R Adv. Annual 2 *
Batman: SOB Annual 5 * Ghost 29
Impulse 31 * JK's Fourth World 9
JLA Annual 1 Legionnaires 54 *
Nemesister 3 Nightwing 14
Pinky & the Brain 17 Scooby-Doo 4
Searchers 2 Sovereign Seven 28
Speed Force 1 (M) Superboy 45
Trinity Angels 6 UTOS 25 *
Zombieworld 1
Some of the independents in SPX 97 snidely refer to the big guns'
commercialism. Sure, DC attempts to milk the cash cow. Batgirl
was largely forgotten until the second anti-Batman flick droned
across the screen, and suddenly, DC decided to emphasize
Batgirl's and Oracle's roles in the mythos. However, each
"sell-out" the company coordinates contributes to the production
of a creative book like LEGIONNAIRES, which still has no ties
to a toy line, movies or Pop-Tarts.
When I first saw the tribute to Curt Swan in LSH, I thought it
was little more than it had been, but the sly Tom Peyer hints that
seeming continuity smasher was merely one piece of a broader
puzzle concocted by one of the Legion's most dangerous foes.
The creature never reveals its face thus allowing Mr. Peyer
to pay homage to the golden age of mystery men, and his
characterization of the Legion once again rockets with glowing
confidence and fitting team-work.
In a lesser talent's hands, the story could have been an engaging,
piece of fluff, but Mr. Peyer examines the technology and the
culture of the Allied era to create a cunning adventure. The
Legion's powers translate well into the boom of scientific
discovery and natural talent, but through Cosmic Boy's abilities,
Mr. Peyer delights with an awful example of that period's idea
of science fiction, and in Colossal Girl's stature, he comments
on the sheer stupidity of some hero powers. The only transition
lacking reason can be found Triplicate Girl. In Mr. Peyer's
ingenious twist, she is secretly one of triplet sisters. In the
story she scrupulously maintains the subterfuge--why then
broadcast your trickery to your enemies? A minor quibble
since the story displays more than a modicum of depth.
The added presence of Livewire's counterpart hints at the
psychology and emotional undertow Saturn Girl continues to
experience. The revelation of the alternative Manhattan Project
surprises and creates a believable role for the military of that
time. In addition, the ending once more exemplifies the Legion's
brand of no-nonsense heroism.
A clever cover by Jeff Moy, W.C. Carani and Phil Martin clues
you into what lies beneath the coffee stains. The art team's
costume design echoes and showcases the golden age heroes'
kitsch fashion sense. The style also mirrors past creators'
cultural environment. Yes, if you've got a girl who possesses the
power of psychometry, she will of course dress like a lounge
performing magician. Chameleon Boy of course will obviously
don a hood not to protect his identity but because of his name,
and a pet chameleon mascot makes perfect sense. Triad must
dress as a bereted Girl Scout because--well, all her male fans are
letches : ). Only the Invisible Kid's stealth costume looks cooler
than the original, but in the thirtieth century, it would lack a
function and become superfluous.
Legion wannabee IMPULSE speeds to the rescue, but Max
Mercury is no victim. William Messner Loebs instead mops a
mess left by "Genesis" and adds to Bart Allen's heroic character
while strengthening the abilities of a supporting player. Bart upon
jumping to a hasty conclusion--perpetuated by an also-ran villain's
lunacy--seems clueless when perceiving Max Mercury's
predicament, but Mr. Loebs subtly traces, via Bart's dialogue,
the boy's ignorance. Not really stupid, Bart simply grasps events
from a different perspective. He knows how to wield his immense
power, but Max's greatest obstacle stems from a cultural flaw
which in itself is an irony since Max adapts quickly to behavior of
those living in other times.
Craig Rosseau and Barbara Kalberg show a cinematic flair for
tracking the speedsters adventures. The second page creates
the illusion of movement, as the camera's focus zooms in on this
issue's catalyst. The last panel on--let's see, counting since they
forgot the numbers, ah, yes--page nine creates an expressive
mood unexpected in what is essentially frantic artistic comedy,
and credit colorist Tom McCraw for yellow cast on our heroes'
faces when surfing for a surprising joke and Max Mercury's
wake of blue lightning.
Artists Kenny Martinez and Anibal Rodriquez deftly anatomize
Jesse Quick in SPEED FORCE, but Mr. Loebs' story, like
Waid and Augustyn's last tale "The Sacrifice," burn empty calories.
The narrative crossing the finish line teams the ever-deceased Barry
Allen and Wally West in an exploration of a hero's dread. Mr.
Waid's story augments the post-Crisis history and character of the
second Flash; his unique addition treads a believable weakness
in Barry's psychology and foreshadows events in his successor's
life.
Bill Sienkiewicz does not smother Jim Aparo's pencils, which
captures the unapproachable range of rendered emotion so typical
of this so grossly underrated artist. This is easily the best run of
the newly formed creative team.
John Byrne orchestrates Jay Garrick and bridges the gap between
a golden age villain's somewhat innocent larcenous past of bygone
days with the more insidious nuances revealed in the post-Crisis
continuity. Mr. Byrne's accomplished artwork reinforces the
diabolic with satanic lines beneath slit eyes and a wicked sneer
reflecting hubris and a supreme evil while approaching Jay Garrick
with a devil-may-care quality suiting his optimistic attitude in this
deceptive lullaby with a TARDIS twang.
Brian Augustyn commemorates James Robinson's knack for
times past. "Child's-play" exposes the exploitation of children
inherent in the nineteenth century. His characterization of
the no-name villains sparks with realism and oozes a slime
trail of immorality for the serial-inspired hero Whip Whiplash--
also known as Max Mercury--to face.
Dusty Abel and Drew Garaci shadow the grimness of the
Industrial Revolution's forgotten consequences while Noelle
Gidding's brilliant color scheme for our time-bouncing speedster
symbolizes hope and daring-do.
Color plays an important role in this week's ADVENTURES IN
THE DCU. Steve Vance scribes an ebullient tale worthy of
the J.M. DeMatteis and Keith Giffin "Justice Legue" renaissance.
The Blue Beetle and Booster Gold team scheme not for heroism
or justice but for cold hard cash. Normally I wouldn't care for
heroes doing good deeds for the money, but hilarious karmic
payback again and again dumps a different kind of load onto our
heroes backs. To add further insult the most wholesome of heroes,
wickedly teaches the boys a particularly painful lesson of the
apocryphal "great power and great responsibility." Sight gags
including tributes to Natasha Fatale and Secret Squirrel's
arch nemesis amid wild takes and creative editor notes harmonize
for this spotlight of the ludicrous.
The second tale asks little to be enjoyed by the reader. Mr.
Vance smoothly shifts the mood and characterizes an enigmatic
vigilante whose design alludes to the pulp heroes while discarding
Denny O' Neil's occasionally annoying introspection. Artistic
shadows--a tip of the fedora to John Delaney and Ron Boyd--
swathe the corrupt Hub City and its protector and the judicious
use of speed lines increase the tension in the darker hero's world.
Let's see how smart you are when deducing this unwritten segue.
Kurt Busiek and Roger Stern combine forces on UNTOLD
TALES OF SPIDER-MAN, for the very last time. A collusion
between evil conjures a monstrous coda for the ground-breaking
series. Wait, you ask, how can what essentially is a "missing
adventures" saga be revolutionary?
UTOS though "safe" for all to read wove mature stories and
always built on the psychology of Spider-man. Spidey's bantering
more often than not hid "the tears of a clown," and Kurt showed
what Marvel forgot over the years: Spider-man's motivation--guilt
over preventing the death of his beloved Uncle Ben. Throughout
this series, Spider-man knows the consequences of inaction, and
once more "great power came with great responsibility." Thus,
Peter Parker aids a fellow classmate being abused by his father.
Spider-man attempts to cure the tragic Bat-wing. Sally's death
issues a shroud of sadness over her high school clique. In short,
UTOS showed why Marvel became synonymous with the
ridiculous. The old Marvel had heart. The new Marvel was a
Cyberman or Borg, if you prefer.
UTOS ends on the high notes of comedy and adventure, but
these factors only serve to make the book lighter in mood not
light reading, for though college begins Peter Parker's road to
acceptance, it also ensues a long thread of tragedy. Readers
in essence emerge from cocoons as time travelers, and when
they meet characters already deceased, their vivacity and
innocence with a bitter irony impacts on the senses.
Ron Frenz and the ever reliable Bob McLeod capture the
crystal clear depravity of Norman Osborn through maddened
twisted masks posing as faces and egotistical smirks. They
web Spidey's wrists and ankles and dance him around traps
like sinewy marionette and cast Ditkoesque lighting when
Spidey pummels the hapless Crimemaster's thugs. Old habits
return--hopefully not the last--as Spidey bounces a rarely used
strategy in the hopes to thwart the Goblin's schemes. You must
buy this one.
Another green menace slinks in Alan Grant's noir. I could go on
about Mr. Grant's ear for dialogue, his unparalleled cultivation of
Batman's character and the fact that of all the Bat-writers, his
seeds more than any sprout new Dark Knight myths, but I talk
about him enough in my consistent SHADOW OF THE BAT
enjoyable picks.
Instead, I'm shining the bat-signal on artists Stefano Raffaele,
Ray McCarthy, Stan Woch, Drew Geraci and colorist Noelle
Giddings. Ivy when under Mr. Grant's care blooms differently
each season. Brian Apthorp for instance nurtures an art
noveau innocence in May's Poison Ivy special. Dave Taylor's
Ivy drips raw, nasty sex, but neither definitive portrayals
depict the fruits of her evil. In this annual however, the art
team treats you to Poison Ivy's seediness.
On page two, we follow a camera angle entwining Ivy's legs
and observe her deadly bloom in back-lit splendor. Her
body language is a lure to Joe Potato's doom. Once more,
we are treated to artists who know the amount of flesh
shown does not define sexuality. Supporting player Alice, in
fact, flaunts more skin, but her stance lacks seduction. She
becomes sensual later in the story, but Ivy is intoxicating.
As the story grows, the artists peel back Ivy's layers. In
costume, her muscle coils. Her thick, rounded waist creates
a natural stem missing in cachonga queens, and her knit brow
and smug smile flower her madness. Poison Ivy is never the
stereotype.
Finally, this week, Joe Staton and Terry Beatty dynamize
BATMAN & ROBIN. Their artwork entices you by reinforcing
Batrman's threat to the criminal element while conditioning their
panels with the animated design. The caricature faces of the
culprits easily hypnotize, and the central villain's Barrymore
resemblance dazzles you with the illusion of the late thespian's
voice. With karate stances, they martial Batman and Robin as
skilled fighters and counter the dark heroes' stalking body
language with Zatanna's displays of puckish showmanship and
sleights of hand. Pay close attention to the magician, for the art
team prestidigitates a subtle examination of her extraordinary
strength of will worthy of Zatarra's daughter. Lee Louridge's
colors make the thoughts of a black and white series vanish.
His use of hue to distinguish time conjures uniqueness, and
his choice of tint intensifies emotions.
Though the artwork mesmerizes, what really levitates the story
above the others is Hilary J. Bader's perceptions of Batman's
knowledge. His detective work and understanding of abnormal
psychology propels him effortlessly through the adventure. His
tight-rope characterization of the hypnotist as an accurate potential
rapist bent on conquest rather than motivated by sexual desire
increases tension, adds a mature novelty to the drama and allows
Zatanna to distinguish herself from the stereotype victim.
Enjoyable Picks the Week of September 5
Batman: LOTDK Annual 7
Batman: SOB 68
Flash 130
Ka-zar 7
Land of Nod 1 (Dark Horse)
Maze Agency 1 (Caliber)
Nexus: Nightmare in Blue 3 (Dark Horse)
Superman Adventures 13
X-Files 32 (Topps)
Tube-Review
Title: Ally McBeal
Time: Monday 9:00 pm. Pgh. Time.
Network: Fox
Cast: Calista Flockheart, Gil Bellowes, Greg Germann, Lisa Carson,
Jane Kowalski, Courtney-Thorne Smith
This smart, quirky series deserves to be watched by all who think the
height of comedy is "Family Matters." The writers derive empathic
humor from the piles and piles of garbage being dropped upon our
winning female hero Calista Flockheart. The fantasy element in
which we visualize Ally's imagination adds a unique element of
comedy, but the real merriment can be found in the comic timing
of the deft cast. In the first episode, we watch Ally grow more
and more p.o.ed at the law firm's secretary played with annoying
grace by Ms. Kowalski, and Courtney-Thorne Smith, acting up a
storm as the wife of Ally's former beau Billy, turns in a hilarious,
intelligent performance as the slyly jealous woman, but to give you
an idea on what level the creative people attain. The two women
openly confront their feelings. They hate each other. They know it,
and let the battle for "sensitive new age guy," defacto sleaze Billy
begin. One complaint. Why! Why did they put this up against Buffy
the Vampire Slayer! Good thing I have access to two vcrs.
"It's probably the worst thing humanity has ever
created....and this has been a bad century for man's
inhumanity to man."
--Mike Nelson referring to the second anti-Batman
film in "Entertainment Weekly" #395
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!
WingnutIBH
Ally McBeal is a genuine treat. I would have to say that episode 2 held
up better for me as she showed more of a backbone.
Brian