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Post by coke & comics on May 17, 2015 11:31:57 GMT -5
Sunfire and Big Hero 6 #1-3 (Sept-Nov, 1998) by Scott Lobdell, Gus Vazquez, and Bud LaRosa I had not read this series since it came out 15 years ago, nor thought of in as long, until the announcement of the film. As I think it's been adapted into one of the best superhero movies of all time, figured I'd dust off the original mini. I assumed it would be terrible, but it's not. It's just not particularly good. It does have a story with an emotional core. A child has a hero, learns his hero is dying, meets his hero and is disappointed in what he finds, but the hero redeems himself. Meanwhile, a team forms. A team of people each with some personality issues, that needs to learn to work together, become a team, and save the country. It's got the right elements. And nothing too bad about it. Capable art and scripting. Big Hero 6 is a team of superheroes formed by the Japanese government. It consists of two former X-Men characters, Sunfire and Silver Samurai, and introduces 4 new heroes: Hiro: the boy genius and star of the series Baymax: An artificial shape changer created by Hiro to be his valet and bodyguard Gogo Tomago: Able to transform her body into a projectile ball of energy (think: Cannonball) Honey Lemon: Possesses a purse impossibly full of useful and magical gadgets. (We'll ignore the subtle sexism of a woman whose power comes from her purse) The film does not have the rights to X-Men characters. Fortunately the 2008 revamp of Big Hero 6 introduced various other members, including Fredzilla and Wasabi, which the film drew from. In both comic book incarnations, Big Hero 6 is a Japanese team, consisting of entirely Japanese characters. The film wanted a multiracial team, so race-bent several characters, making Honey Lemon a blonde white girl with the appearance of a stereotypical valley girl, Wasabi an African American, and Fred a White American. (In the comics, Honey Lemon is blonde, and it is hard to tell just from the art that she isn't white). The film bears little resemblance to the comic, probably for the best. Instead of being formed by the government, the film version is a group of science whiz college friends who band together. The character of Baymax is changed markedly, and for the better. In the film, he is a white puffy android. In the comics, he is able to shape-shift from a large humanoid with his face always in shadow into a green dragon-like creature. The comic is overburdened by cliches, as well as its own mediocrity. Shadowy government officials being shadowy without apparent motivation. Hotheaded heroes fighting each other at all the wrong times. But, the series has heart, and introduced several new characters, characters whose potential to me was not immediately obvious, but who would grow into the stars of an Academy Award winning film. Worth reading? Not really. Grade? I'd give it a C+. I had no idea the recent Disney film had been adapted (however loosely) from a comic book! I'm afraid I'm going to need you to turn in your nerd badge, sir.
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Post by thwhtguardian on Jun 6, 2015 11:27:45 GMT -5
The Golden Streets of Gotham2003, DC Written by Jen Van Meter Art by Cliff Chang and Tommy Lee Stewarts colored by Dave StewartOkay, so it's not really a series but rather a one shotSummary: The story begins in the present where a reporter named Elana Karadian travels to a retirement home for aging actors to interview a retired actor named Richard Grayson. Although she stated that her intention was to write a piece on the history of the transition to burlesque to film her real intention was to get the story of the legendary Bat-man, a worker's hero during the Industrial Revolution whom Grayson met and befriended as a young boy. Through Grayson's recollections we learn that the hero of the Revolution in Gotham was a Hungarian born immigrant named Bruno Vanekow whom after returning to his home in Gotham City after working on the railroad learns that both of his parents burned alive in a large industrial fire caused by the negligence of their boss Joseph Chillingham. Inspired by the powerful speeches of the masked leader of the secret movement to unionize Gotham's workers(who interestingly looks like a cat) Vanekow began robbing the rich and decadent to give to the poor and needy. He donned a Bat costume to hide his identity, which he took from his first attempt during a robbery after a costume party.
With his robin hood act in full swing Vanekow quickly became intensely active in the City's unionizing community, earning the trust of the leader so much so that "he" revealed himself as a she, one Selina Kyle the daughter of the corrupt Mayor. With the image of the Bat-Man giving workers courage the corrupt officials attempt to discredit him by blaming a bout of murders on him, murders which have actually been committed by a man dressed as a clown named Jack Smart who was Chillingham's foreman but was driven insane by the deaths he caused.Saving Chillingham's life from the Clown, Batman convinced him to repay his debt by confessing to the papers and turning himself in to the Police. After Selina Kyle also exposed the corruption of her father, the Mayor, Batman was able to retire his mantle, confident that he had avenged his parents' death in a meaningful fashion. Review: What sets this Elseworlds tale apart from others that transpose our familiar heroes into different time periods is the interesting way it flips certain relationships around. In the familiar Year One origin, Bruce Wayne is a wealthy socialite who under the guise of Batman carries out a crusade of justice that inspires a working girl, Selina Kyle, to aspire to more. Here Selina is the wealthy socialite on a quest for justice and Bruce Wayne(here Bruno Vanekow) is the working stiff who becomes inspired to commit himself to a life of crime to attack the corruption eating away at his home. That change in perspective of what Batman is not only gives us a fresh take on that mythos but causes the reader to really think about how to view Selina in continuity as well. Because he's Batman we instantly sympathize with Vanekow and see his actions as noble even though they are no less gray than Selina's own in the regular DCU. Brubaker took a whole series to teach us the same lesson that this book did in a single issue, which is a pretty fantastic feat, though it doesn't diminish Brubaker's work at all. I think my favorite part however is a line from a young Dick Grayson: It's just a great little character moment and it just sums up the elemental nature of just about every Batman story and why I enjoy him as a character so much.
Grade: A
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shaxper
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Post by shaxper on Jun 6, 2015 16:18:15 GMT -5
Never even heard of this one. Seems fascinating!
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Post by thwhtguardian on Jun 6, 2015 16:42:38 GMT -5
Never even heard of this one. Seems fascinating! Neither had I until just recently, I was actually looking for Batman: Nevermore (which again I just discovered) but literally got sniped at the last second on ebay and at the bottom of the page it suggested Golden Streets of Gotham. It looked good, and better still it had the "buy now" option so I pulled the trigger and I'm glad I did as it was one of the better elseworld stories I've ever read.
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Post by Deleted on Jun 6, 2015 22:42:08 GMT -5
Never even heard of this one. Seems fascinating! Neither had I until just recently, I was actually looking for Batman: Nevermore (which again I just discovered) but literally got sniped at the last second on ebay and at the bottom of the page it suggested Golden Streets of Gotham. It looked good, and better still it had the "buy now" option so I pulled the trigger and I'm glad I did as it was one of the better elseworld stories I've ever read. thwtguardian-PM me if you want about Batman: Nevermore. I have the complete run and it is in my to purge pile eventually (I need to reread it once more before I get rid of it) but I'd be happy to send it your way once I get the reread done.... -M
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Post by thwhtguardian on Jun 7, 2015 8:25:00 GMT -5
Neither had I until just recently, I was actually looking for Batman: Nevermore (which again I just discovered) but literally got sniped at the last second on ebay and at the bottom of the page it suggested Golden Streets of Gotham. It looked good, and better still it had the "buy now" option so I pulled the trigger and I'm glad I did as it was one of the better elseworld stories I've ever read. thwtguardian-PM me if you want about Batman: Nevermore. I have the complete run and it is in my to purge pile eventually (I need to reread it once more before I get rid of it) but I'd be happy to send it your way once I get the reread done.... -M No way! That'd be awesome I'm a huge Guy Davis fan and him on Batman just sounds amazing to me.
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Post by wildfire2099 on Jul 18, 2015 11:43:32 GMT -5
Overview: It seems Roger Stern thought he could bring the Atom back to prominence, and in 1988, who would argue? The series starts by literally destroying the 'Sword' era, but having Brazilian foresters napalm New Morlaidn, seemingly killing everyone.. only Ray survives. Delirious, angry, and half crazy, he takes out the foresters, again able to change size thanks to a white dwarf fragment he finds in the wreckage, then calls his house and collapses in the living room of his friend Norman, who bought his house. He's stuck at 3 feet tall for a bit, then, with the help of his former lab assistant, Prof. Negrini, makes a new suit that he can control with his thoughts, and an 'atom punch' that can destroy just about anything. Of course, since Norman wrote and published his biography, his identity is now public, and he's suffering what we call PTSD these days, so he's a bit messed up. Meanwhile, two different organizations seem to be spying on them. After a couple team ups, one is revealed to be Chronos.. we get a fight, then a team up through the Invasion Crossover, then another fight, where Chronos is pretty soundly defeated. Now a 'war' hero, the JLI wants him, as does the CIA (the other group that's watching him). They offer him witness protection to re-create a secret ID, but the Hawks warn him off. He's not impressed with Guy Gardner, either, so that's a no go. Back in IVy Town, Jean's husband, Paul Hoben, is getting annoyed with Jean worrying about Ray, and his jealous peaks when they have a quiet moment alone at his welcome back party. Paul gets out Ray's old belt (which he got during the Sword series) and they have a miniature duel.. then they make up, mostly.. with Paul sorta wishing he could be a superhero, and Jean hoping he won't try it. Ray even let him take care of a villain on TV. Next up is Humbug, a computer virus-turned-villain, that ties back into a story WAY back in Showcase about a Hungarian scientist Ray rescues (Which I review in my Silver Age DC thread). After a couple issues of fights, Humbug is destroyed (though left an out to come back)... while the fight is going, rogue CIA guys kidnap PRof. Negrini (who is crushing on Ray) and it's revealed the they were responsible for the napalm. Atom goes vigilante, and appears to kill al lthe bad CIA guys, only to do a big reveal at the very end that he permanently shrunk them instead. He leaves Ivy town to create a new identity, the CIA is happy they have their mini agents, and that's that. Issue summaries: By Stern and Turner: #1-#3: Sets up the new status quo, and transitions from the "Sword" era to this more traditional super hero fare. #4: Team up with the Hawks #5 Team up with the Dibnys Nolan takes over art.. 6 is a John Byrne fill in: #6-8: Chronos story/Invasion tie ins #9: JLI try to recruit Ray, party in Ivy Town #10: 1st fight with Humbug #11-12: Messner Loebs steps in to write the Paul Hoben issues #13-15: Vs. Humbug.. Last one is co-written by Tom Peyer #16-18: Ray vs. the CIA (Peyer sole writer) My Thoughts: This is a pretty decent series once it hits it's stride, and it would have been nice to have gone another 10-15 issues with Stern. Unfortunately, it took a while to get there. The first several issues, Stern wrote Ray like Spiderman, with no cool Atom size changing bits, but lots of hand to hand combat and acrobatics. It really didn't fit, especially with the PTSD, once they got to be more 'Atom'-like, after the Invasion stuff, it was probably too late sales wise. The Bryne fill in is mostly a flashback induced by Chronos, and was probably the best single issue. The stuff with Paul was really good, too. Sadly, there are LOTS of dangling stuff that doesn't settle.. like the CIA Agents (though I think they turn up in Ostrander's Suicide Squad)... the Ray-Jean-Paul triangle (which settles off camera), etc. I think a pretty cool mini at least of Atom leading mini-CIA agents (or even Paul Hoben doing so) could have happened. Then there's the whole book outing the government killing people, which was never addressed again... GESTALT (the hive mind think tank that created Humbug by accident), which was never mentioned again, and Humbug himself, a pretty cool villain. I think I'd give the series a B+ for potential, but a C for execution. I'm glad I picked it up and read it, but it's probably not required reading unless you're a big Ray Palmer fan.
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shaxper
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Post by shaxper on Sept 16, 2015 21:26:27 GMT -5
Planet of VampiresPlanet of Vampires (1975) #1-3 Overview:An extremely short-lived series from Atlas that seemed equally influenced by Marvel's Killraven and the immensely popular Planet of the Apes films. It follows a band of astronauts, recently returned from a 5 year mission to Mars, only to discover a world that, in the wake of nuclear war, has devolved into civilized vampire oppressors that must ingest a serum made from untainted human blood in order to stay alive, and the wild tribal humans living around their well-defended dome who have developed an immunity to the disease plaguing the aristocrats, but who are therefore preyed upon by them for their blood. In only three short issues a whole lot goes down, with key players dying every issue, and our protagonists having a serious impact upon the world in which they find themselves. The dialogue and characterization are stilted, sexist, and, at times, borderline offensive (I've never had a taste for blacksploitation passing itself off as an attempt at racial equality), but the action is nonstop, and the post-apocalyptic world that is developed is fascinating, especially as it quickly begins to devolve in response to the astronauts' presence. I tried this series out expecting it to be hokey to the max, but it's actually genuinely good storytelling, even if it's also absolutely dated in many respects. And, as for the brevity of the series, that might have been a good thing. I honestly wonder how this title could have topped the epic events of the third issue. A plotline that could have taken another storyteller three years to unravel pretty much climaxes in the most jaw-dropping of ways by the final issue and rarely feels rushed. Yes, there was a lot more story to tell, as well as a solicitation for the next issue, but this was a fine stopping point. Worthwhile to read: With only three issues to the series, and so much covered in that limited stretch, why not? So long as you don't mind a little corniness in your sci-fi lite storytelling, this series is absolutely worthy of your time. Grade the run as a whole: B+
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Post by sunofdarkchild on Sept 17, 2015 10:59:29 GMT -5
So we just write about any series or run we want to if it is more than 10 years old?
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shaxper
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Post by shaxper on Sept 17, 2015 11:19:31 GMT -5
So we just write about any series or run we want to if it is more than 10 years old? Yep.
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Post by wildfire2099 on Sept 18, 2015 6:53:23 GMT -5
So we just write about any series or run we want to if it is more than 10 years old? Welcome to the boards As you'll see, there are quite a few threads that are reviews either of a specific title, or writer, or theme. Those threads generally review things issue by issue. This thread is generally more for either shorter series that you might want to share, but aren't really long enough to warrant their own thread, or something that you want to talk about the series/run as a whole rather than issue by issue. If you look back in the thread, you'll get the idea
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shaxper
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Post by shaxper on Dec 29, 2015 19:39:35 GMT -5
Len Wein on The Incredible HulkIncredible Hulk #176-220 Overview:Though the Hulk had been enjoying his own monthly series for nearly a decade by the time Len Wein came along, he was also arguably stuck in a rut. The Hulk was invulnerable and, thus, could seldom ever fight a battle where the outcome was unclear and, as the outward expression of his alter-ego's rage, he was a pretty uni-dimensional and single-minded character to boot. Thus, while the Bronze Age was bringing about higher steaks and greater emotional depths for most of its characters, no one was able to do much of either with The Hulk. Enter Len Wein. Wein came aboard at the conclusion of a storyline in which the Hulk meets Adam Warlock, a clear analogue to Jesus Christ who would be executed at the close of that story. Gerry Conway (writer of that storyline) made the unusual choice to have the Hulk form a bond with Warlock and, thus, surprise us by showing grief at the close. However, the even bigger surprise came when Wein decided to take this unexpected reaction and run with it, using it as a turning point from which the Hulk could become a deeper, more sensitive character who could explore emotions beyond rage both simply and deeply throughout his ensuing run. What most people remember from this run is Hulk #180-181, the massive three-way battle that introduced the world to The Wolverine, but what has always stood out to me more in that story is the immense pathos The Hulk is able to feel towards the villain by the close; there's a tragic beauty in that moment that finds expression throughout the first half of Wein's run on The Hulk as he encounters various characters that he is able to befriend and feel comradery with for short periods of time until cruel fate intervenes. Essentially, it's like the Boris Karloff Frankenstein -- a frightened and agitated but sensitive child in the body of a monster, and that characterization proves powerful and endearing, even if it doesn't exactly make sense for the character and requires The Hulk to remain The Hulk even when he is calm and content (which should not be possible for the character). However, presumably due to the departure of Herb Trimpe and his replacement by Sal Buscema, this more endearing approach to The Hulk quickly goes out the window halfway through the run in favor of an attempt at a new direction in which Dr. Banner receives more emphasis, starting a new life in Manhattan with a new supporting cast, but it doesn't work particularly well and is abandoned after a year. Wein does make two final attempts to bring back the innocent side of the Hulk at the very end of his run, but it's too little too late and doesn't connect with the same magnitude as his earlier endeavors. Worth Noting: #176-178 were not written by Wein, but they were the basis for the first half of his run. Wein was editor for the run at the same time that he was its writer. In fact, he was EIC for the entire Marvel color comics line for a large chunk of this run (1974-1975). Wein co-wrote the final three issues with his successor, Roger Stern. As this run gives a lot of attention to continuity, the two major things anyone beginning with #176 would need to know are that Glenn Talbot was lost and presumed dead in an engagement with the Russians just prior to this run, and that, also prior to this run, The Hulk was shrunken down to microscopic size and, there, both Hulk and Bruce Banner fell in love with Jarella, the green-skinned queen of a microscopic race of people. Any further information that is needed is ultimately provided within the run. At least twice after Buscema came on board (#201 and #204), there were clearly drastic last minute re-writes, resulting in stories that barely matched what appeared on the covers. Worthwhile to read?: #176-198 is the true definitive classic Hulk run, as far as I'm concerned, playing up that deeper characterization that the reader can relate to on an emotional level while also serving up fantastic battles, innovative settings, and stunning guest appearances, issue after issue. After that, the new direction Wein takes with Buscema is far more dull, offering up too many talking heads and a less often seen Hulk who is angry without much further depth to him. You could easily skip these. Key Issues / Highlights:#176-178: The Death of Adam Warlock. Outstanding story in its own right, but its effect on The Hulk marks a critical turning point for the series as well. #180-181: First appearance of Wolverine, a fantastic three-way slug fest, and a truly and unexpectedly touching ending for The Hulk. #182: Hulk befriends Cracka-Jack Johnson, a wandering hobo. Possible the deepest friendship Hulk is ever allowed to cultivate. #187-188: Great action, setting, and drama as Hulk and his supporting cast take on The Gremlin, and Hulk learns to actually behave like a hero. #189: Hulk makes another friend and almost finds peace once again, tearing at the heartstrings in the best of ways. #190-191: Fantastically imaginative Sci-Fi as the Hulk comes the closest yet to finding peace and happiness, only to have it snatched away once again. #193: The return of Doc Samson #194: Far out sci-fi and tremendous action as The Hulk saves a town from a horde of attacking giant insects. #195-196: The Hulk and The Abomination battle it out in an amusement park with tremendously fun results, and Hulk forges the last emotionally poignant relationship he'll get in this run. #204: Bruce has an opportunity to travel back in time and prevent himself from ever becoming The Hulk. Totally nonsensical issue, but the premise is intriguing. Worth re-reading?: #176-198. Yes. Great stuff! Grade the run as a whole: B- for the whole thing. A- for #176-198.
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Post by Hoosier X on Dec 29, 2015 20:43:55 GMT -5
I'll have to disagree that Hulk was stuck in a rut. I'm very much agreeing with you that it's arguable.
I like Len Wein's Hulk a lot, especially the earlier issues, but I like the whole Trimpe run and there are a lot of great stories in that span, clear up to where Wein took over the writing chores. The Steve Englehart run is especially notable.
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shaxper
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Post by shaxper on Dec 29, 2015 20:59:25 GMT -5
I'll have to disagree that Hulk was stuck in a rut. I'm very much agreeing with you that it's arguable. I like Len Wein's Hulk a lot, especially the earlier issues, but I like the whole Trimpe run and there are a lot of great stories in that span, clear up to where Wein took over the writing chores. The Steve Englehart run is especially notable. My Hulk collection is very spotty up until Wein's run, but it's safe to say I have an issue or two from just about every creative run, and I re-read them prior to reading Wein's. My comment is based upon those issues. I'd like to hear more about what you feel the strengths of those earlier runs were. What I saw was the same old trope, issue after issue, featuring a protagonist who was the pure embodiment of rage fighting some impossibly strong antagonist.
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Crimebuster
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Post by Crimebuster on Dec 29, 2015 22:05:30 GMT -5
I'ev also done some extensive reading of the Hulk recently and am prepared to share my review. The Incredible HulkNotes: No.
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