Comics featured in this column were not necessarily bought in a quarter bin. This is a back issues feature.
Deity #2 (Hyperwerks)
From October 1997:
This is a pretty awful example of the dreck that the '90s boom helped produce by way of the extreme proliferation of comic book publishers. Actually, I won't dignify it with much discussion other than to note that Brian Bucellato, who has since transitioned into writing such comics as the New 52 Flash with Francis Manapul, was a colorist on this project. Move along, move along...
Icon #1 (Milestone)
From May 1993:
This is the missing link between Malcolm X and Superman, you'll find yourself thinking if you read this debut. I have a limited amount of experience with the Milestone experiment from DC (a whole imprint dedicated to black heroes and creators), which most famously led to the Static Shock cartoon, but I've always respected it as one of the boldest efforts ever. Maybe all those early Superman crossovers weren't such a good thing, because they only served to distract from what made Icon different from the Man of Steel, rather than what made him familiar, a real voice for the social conscience. Reading this debut makes me wish I could read the rest of the series, just to see if this perspective was maintained. If it was, that would make Icon one of the most significant fictional efforts in the continuing cultural dialogue of America.
Nick Fury, Agent of S.H.I.E.L.D. #36 (Marvel)
From June 1992:
You might be forgiven to believe that the character of Nick Fury only became significant after Samuel L. Jackson started portraying him in the movies. You might be surprised to learn that the Nick Fury in the comics is in fact a white dude (it's the Ultimate version of the character who resembles Jackson, because he was in fact designed that way, and debuted long before the movie version; the mainstream version was eventually and lamely updated to try and capitalize on this trend). No, Nick has a long history, and has even had his own solo adventures. This issue is pretty good, too, featuring a guest appearance from Luke Cage (another character who despite increased prominence in recent years has not been granted a new ongoing series even though seemingly everyone else has), about the PTSD of a former S.H.I.E.L.D. operative who ended up becoming a villain, redeemed by the end of the story. It's a fairly early effort in the career of Scott Lobdell, and at first it seems obvious that he needed to be transitioned into younger characters (which he famously was in Generation X by the midpoint of the decade), but by the end it really doesn't matter one way or another. I'm continually impressed by Lobdell. He's still working toward receiving the accolades he's long deserved.
Mystic #5 (CrossGen)
From November 2000:
I read the Marvel revival of this series a few years back when it was being written by the wonder G. Willow Wilson, and that version is better than this one, though Ron Marz's original isn't too bad, either.
Robotech: The New Generation #12 (Comico)
From December 1986:
I'm apparently still not at the point where I can properly appreciate the legacy of Robotech outside of an action figure or two I randomly acquired as a kid, but this issue was worth looking at if only to remember the legacy of Comico, which was an early publisher of some of the best creators in the medium, including Matt Wagner on both Grendel and Mage. I think it's about time to give Wagner the accolades he deserves. He's gotten more of them than Lobdell, but really, not nearly enough.
Ruse #7 (CrossGen)
From May 2002:
Mark Waid has been trying for so long to get on the ground level of a spectacular new comic book publisher (Ape and Boom! besides) that I think it'll ultimately hurt his overall legacy unless someone eventually brings all these disparate projects under one rough in some future reprint effort. CrossGen was one of those efforts, which as far as I can tell tried to do everything but superheroes, which is fine, and it helped launch the careers (much like Comico) of some truly outstanding talent, but all of that material counts for nothing if the company quickly fades away, as CrossGen did. Waid ends up being the loser all over again (ironically, Boom seems to be the most enduring of these efforts, but Waid himself departed after completing his Irredeemable cycle, the one time he's returned to superheroes outside DC or Marvel). Ruse is a detective series in the tradition of Sherlock Holmes, and this issue features some crackling dialogue and romantic chemistry, two things that Waid's stories are not normally known for. Recently I engaged in a debate over his Daredevil work in the comments section of another blog. I argued that his Marvel work never compares to his best DC work (which I've recently made quite clear that I greatly admired). I think all these launch projects are a part of that curious creative psychology of Waid's. He's a rebel who nevertheless when given the opportunity to play in a familiar setting does the most reverent work ever with characters we only thought we knew. But he also rebels against his own best interests and instincts. Needless to say, but I'm still trying to figure out Mark Waid.
David Hasselhoff was the first movie Nick Fury. I remember part of the History channel special on comics where they talked about how instead of a sex scene in a Nick Fury comic the censors had them show a close-up of his gun, which was a pretty good double entendre.
ReplyDeleteAnd Robotech is awesome.
Because you do this to me all the time...it only figures that you enjoy Robotech!
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