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Post by Cei-U! on Apr 24, 2021 5:22:27 GMT -5
I finished James Robinson's Starman today. I started off unsure whether I liked the main character and Robinson's dialogue and wound up heavily invested in the relationship between Jack, his father and brother, and the rest of the supporting cast. It was definitely a comic book for folks who grew up reading comic books, but it had plenty of heart. I was really impressed by the overall structure of the series and how all of the pieces fit. Robinson wasn't the first British writer to take DC property and reinvent it, but the way he built a mythos behind Starman was impressive. I'd definitely rank the series alongside any other series of its ilk, and I'll probably check out the spinoff titles at some point, but for now, I want to reflect on the journey. Starman is one of those books where there's a lot of foreshadowing and it's clear that things have been carefully planned in advance, but it's the emotional core of the book that truly matters. I feel like that was something that grew as the series developed. It went from being a book about collectibles, pop culture references, and comic book history callbacks, to a series about friendship, and family, and relationships, and children, and the sacrifices that heroes and their loved ones make, and mortality and death, and legacies and memories, and so many grand concepts. It was a heck of a book and a testament to Robinson's imagination.
I keep telling people that this series was one of the finest to ever come out of the '90's era. Glad you enjoyed it, and I'm glad you saw how the book transitioned. The fact that Robninson birthed it, reared it, and put it to rest from beginning to end shows how much he was invested in the storyline. As you say, there is plenty of foreshadowing throughout, but there are also some very unexpected plot twists as well.
Also, it's a good example of how collectors and speculators don't put value on the quality of the story, but instead place higher value on more superficial things like "first appearances", "cover art" and "media appearances". From a storytelling aspect, Starman is worth its weight in gold, yet the entire run (83 issues + 2 annuals) can be purchased for less than $100.
While not everyone here agrees on everything, I think you'll find several members who share your sentiment. I know that Crimebuster does, as well as myself and a few others. Count me among them.Starman is one of the handful of '90s DC titles I dug enough to collect (and one of the few I need to finish off). It loses a little of its lustre after Tony Harris leaves, but it's a great read from beginning to end. I also recommend the Shade mini-series that spun off from the main book.
Cei-U! I summon the Opal City Guidebook!
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Post by Deleted on Apr 24, 2021 8:42:19 GMT -5
I keep telling people that this series was one of the finest to ever come out of the '90's era. Glad you enjoyed it, and I'm glad you saw how the book transitioned. The fact that Robninson birthed it, reared it, and put it to rest from beginning to end shows how much he was invested in the storyline. As you say, there is plenty of foreshadowing throughout, but there are also some very unexpected plot twists as well.
Also, it's a good example of how collectors and speculators don't put value on the quality of the story, but instead place higher value on more superficial things like "first appearances", "cover art" and "media appearances". From a storytelling aspect, Starman is worth its weight in gold, yet the entire run (83 issues + 2 annuals) can be purchased for less than $100. While not everyone here agrees on everything, I think you'll find several members who share your sentiment. I know that Crimebuster does, as well as myself and a few others. Count me among them.Starman is one of the handful of '90s DC titles I dug enough to collect (and one of the few I need to finish off). It loses a little of its lustre after Tony Harris leaves, but it's a great read from beginning to end. I also recommend the Shade mini-series that spun off from the main book. Cei-U! I summon the Opal City Guidebook!
If you enjoyed Robinson's Starman and the 4 issue Shade spin-off, then you should check out the 12 issue Shade maxi-series from 2011-2012 by Robinson. He really delves into Shade's past and characters and it fits right in with what he did with Shade in the 90s despite being part of the new52 era. Tony Harris returned to do some covers for it too. -M
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Post by brutalis on Apr 25, 2021 13:09:06 GMT -5
This month I read the 1st 12 issues of the Gray/Palmiotti/Ross/others Jonah Hex. Boy, did this read and look great as a new start up revival of a classic series. A heavy dose of a more realistic interpretation of the wild and wooly west alongside Hex's own sense of perversely humorous biblical honor. The bad men were truly evil bad and Hex isn't much better than those he hunts.
Wasn't overly thrilled with Luke Ross art making Hex look like Eastwood. Even though ol' squinty eyed Clint may be the artistic basis in the creation of Hex as a character, he has become a legendary and an almost mythical concept of a figure these days and I prefer seeing the different artistic styles representing him. Nice too that DeZuniga was given stories which help to honor his contributions in designing of the character.
The writing is honest, brutal and does an excellent job of capturing the times and feel of the hardness of life in the west. I don't think there's a better western comic around and this series is a true high point for the character.
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Post by dbutler69 on Apr 26, 2021 14:50:46 GMT -5
This month I read the 1st 12 issues of the Gray/Palmiotti/Ross/others Jonah Hex. Boy, did this read and look great as a new start up revival of a classic series. A heavy dose of a more realistic interpretation of the wild and wooly west alongside Hex's own sense of perversely humorous biblical honor. The bad men were truly evil bad and Hex isn't much better than those he hunts. Wasn't overly thrilled with Luke Ross art making Hex look like Eastwood. Even though ol' squinty eyed Clint may be the artistic basis in the creation of Hex as a character, he has become a legendary and an almost mythical concept of a figure these days and I prefer seeing the different artistic styles representing him. Nice too that DeZuniga was given stories which help to honor his contributions in designing of the character. The writing is honest, brutal and does an excellent job of capturing the times and feel of the hardness of life in the west. I don't think there's a better western comic around and this series is a true high point for the character. Just curious, what timeframe is that from? Is that the 80's?
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Crimebuster
CCF Podcast Guru
Making comics!
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Post by Crimebuster on Apr 26, 2021 14:57:23 GMT -5
This month I read the 1st 12 issues of the Gray/Palmiotti/Ross/others Jonah Hex. Boy, did this read and look great as a new start up revival of a classic series. A heavy dose of a more realistic interpretation of the wild and wooly west alongside Hex's own sense of perversely humorous biblical honor. The bad men were truly evil bad and Hex isn't much better than those he hunts. Wasn't overly thrilled with Luke Ross art making Hex look like Eastwood. Even though ol' squinty eyed Clint may be the artistic basis in the creation of Hex as a character, he has become a legendary and an almost mythical concept of a figure these days and I prefer seeing the different artistic styles representing him. Nice too that DeZuniga was given stories which help to honor his contributions in designing of the character. The writing is honest, brutal and does an excellent job of capturing the times and feel of the hardness of life in the west. I don't think there's a better western comic around and this series is a true high point for the character. Just curious, what timeframe is that from? Is that the 80's? It's from the 00s. It's very good, but for me, not as good as the original series. The take on Hex himself is darker and more cynical, which I didn't care for. But it's still very good. The series was derailed by New 52, as it was relaunched as All-Star Western and forced to tie into the Batman mythos. Even with the same creative team it ended up a dumpster fire thanks to DC editorial. So skip those issues and stick to Jonah Hex #1-70!
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Post by Slam_Bradley on Apr 26, 2021 15:44:37 GMT -5
Just curious, what timeframe is that from? Is that the 80's? It's from the 00s. It's very good, but for me, not as good as the original series. The take on Hex himself is darker and more cynical, which I didn't care for. But it's still very good. The series was derailed by New 52, as it was relaunched as All-Star Western and forced to tie into the Batman mythos. Even with the same creative team it ended up a dumpster fire thanks to DC editorial. So skip those issues and stick to Jonah Hex #1-70! I agree that it's very good. I like it mostly as well as the original series. I do think it reads better in chunks than the original Jonah Hex, but Jonah reads very well for a 70s/80s book. The All-Star Western reboot was an absolute disaster.
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Post by dbutler69 on Apr 26, 2021 15:57:42 GMT -5
Just curious, what timeframe is that from? Is that the 80's? It's from the 00s. It's very good, but for me, not as good as the original series. The take on Hex himself is darker and more cynical, which I didn't care for. But it's still very good. The series was derailed by New 52, as it was relaunched as All-Star Western and forced to tie into the Batman mythos. Even with the same creative team it ended up a dumpster fire thanks to DC editorial. So skip those issues and stick to Jonah Hex #1-70! You mean the 1977 series?
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Post by earl on Apr 26, 2021 19:41:38 GMT -5
There is some really nice artwork on that Jonah Hex series from the 00s. Spanish comic legend Jordi Bernet did quite a few issues later in the run and Darywn Cooke did a few too.
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Post by tonebone on Apr 27, 2021 13:07:09 GMT -5
I am currently reading the first Cerebus "Phone book" collection (this is the newly restored version, digitized from the original art). I bought and read collections 2, 3 and 4 20 years ago, and loved them. High Society is, of course, a high mark in the series, but once the stories got more metaphysical, It kind of lost me.
This collection contains the first 25 issues, and are really good. They start as typical Conan-esque adventures, and gradually begin to weave a bigger picture, with more politics, religion, etc. sprinkled in. But, man, what a storyteller Dave Sim is... even right from the beginning.
I know he has had his troubles through the years. but, in his case, I am willing and able to separate the art from the artist. Highly recommended.
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Crimebuster
CCF Podcast Guru
Making comics!
Posts: 3,922
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Post by Crimebuster on Apr 27, 2021 13:48:33 GMT -5
It's from the 00s. It's very good, but for me, not as good as the original series. The take on Hex himself is darker and more cynical, which I didn't care for. But it's still very good. The series was derailed by New 52, as it was relaunched as All-Star Western and forced to tie into the Batman mythos. Even with the same creative team it ended up a dumpster fire thanks to DC editorial. So skip those issues and stick to Jonah Hex #1-70! You mean the 1977 series? No, I'm talking about the 00 series. It ran from Jonah Hex #1-70 and then from All-Star Western #1-34. But since the latter series is a trainwreck despite the creative teams, I am suggesting you stick to the former.
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Post by spoon on Apr 28, 2021 21:14:44 GMT -5
I've been reading the Deathlok the Demolisher: The Complete Collection TPB, reprinting the 1970s and 1980s appearances of the original Deathlok. So far, I've read Astonishing Tales #25-28, 30-32. In most issues, Rich Buckler is credited with both the plot and art, with other writers just handling the scripting. In my opinion, Buckler could've really used a co-plotter. The character of Deathlok and the basic concepts of the series are intriguing. But the progression of the plot is often confusing and sprinkled with coincidences. Sometimes it moves between events currently happening and flashbacks without making the transitions clear. It's often unclear who is who, and how Deathlok decides to go to different places. He seems to just coincidentally run into people. The city seems largely devoid of non-combatants. It would be nice if there was explanation for this.
The Deathlok feature starts in 1974, but it seems modern compared to Silver Age Marvel stories just a few years before. Prior to being resurrected as the Deathlok cyborg, Luther Manning was a white man, and his ex-wife is black. I wonder how many interracial relationships appeared in Marvel before this. Also, there's a scene were Deathlok rips the American flag off his clothes and steps on it. It's very bracing imagery of disillusionment.
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Post by commond on May 1, 2021 4:37:50 GMT -5
I thoroughly enjoyed Grant Morrison's New X-Men once I accepted it for what it was -- "new" X-Men. It's the most modern take on the X-Men that I've read, which is kind of amusing given it's twenty years old. I didn't mind the art. A lot of the art on writer driven Vertigo/DC stuff can be just as inconsistent. The covers bothered me more than the interiors. Are modern covers usually like that or was it particular to New X-Men? I wasn't thrilled with the final couple of arcs, especially the big reveal, but I was keen to read more right up until Morrison walked. I'd have to read a hell of a lot more modern comics to know where the run stands in the grand scheme of things, but for me it was a unique and enlightening experience even if it's not really a modern comic anymore.
I also finished Michael Golden's run on The 'Nam. Not bad. Is there a compelling reason why I should keep reading it now that Golden is gone?
JRJR's run on Punisher War Zone was fun. It was blatantly exploitative -- the Punisher was jacked, his guns were huge, and he had relations with women, but I liked Dixon's scripts. It was grim, but the mental anguish was kept to a minimum, the action was good, and it was a pretty good story arc considering it was the third bloody Punisher title on the market. Your mileage will vary, however.
I was less keen on Weapon X. I know everyone was gaga for Wolverine's origin story back in the day, but it didn't do much for me as a read. I suppose the art was nice, but is it really what I want to see BWS pencil? I dunno. He seemed to borrow a lot of writing tics from Claremont as well, especially snippets of conversation that take place offscreen.
Another title I read was Paul Jenkins and Jae Lee's Inhumans. I've been trying to find good Marvel comics from the 90s since it's such an unpopular era on this site. I appreciate that they tried to do something with the Inhumans, but I have to question whether there was enough story to justify a 12 issue mini-series, and the entire thing felt too dark. Jae Lee does some beautiful looking close-ups, but his storytelling lacks fluidity. So often it looks like characters are standing around posing (usually grimly.) The series had its moments, but not a favorite. Lee drew a great Lockjaw, though.
Finally, after a long, hard slog, I finished Gerber's Man-Thing. Well, that's not entirely true, I still have some of the Giant Size issues to go, but it's a series I'm glad to have put behind me. I get why Gerber wrote the series the way he did because of the inherent limitations of the main character, and I can understand why people thought his take on the comics medium was revolutionary at the time. I guess having grown up in the era of independent comics and creator owed titles that it's not as special as it was in the 70s. Some of the satire feels dated, or should I say of its time, and I never quite got into the mesh of fantasy elements, social commentary, and deconstruction of the comics medium. I feel like a bit of a philistine, but you can't enjoy 'em all.
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Post by Hoosier X on May 1, 2021 18:35:00 GMT -5
I’ve been kind of busy. I’m still reading Spider-Man almost every day but I haven’t been writing about it.
I’m up to Spider-Man #77, the end of the long-running arc about the stolen ancient tablet that went for ten issues and included the Kingpin, Silvermane, the Shocker, Man Mountain Marko, Caesar Cicero, the Lizard, the Human Torch and Quicksilver.
Quicksilver! Ha ha! The fight with Quicksilver included the infamous conclusion, where Pietro was running in circles around Spidey and he stuck his arm out and Quicksilver knocked himself out running into it!
You can help but notice the steady parade of guest stars! Going back a bit, we had Ka-Zar, Medusa, Quicksilver and the Torch, and were soon going to see the Black Widow and Iceman. It’s almost like a dry run for Marvel Tesm-Up!
I’ve read these stories before, but most of them I hadn’t read until a few years ago when I got Essentials volumes or Marvel Masterworks from the library. But the next 20 issues are a bunch I know really well because this is where my Marvel Tales collection kicks in. I started reading MT when it was reprinting the Kingpin arc in Spidey #84 to #86, and I managed to get the previous six or seven issues from used-book stores. And I’ve been carrying that MT collection around for decades! I used to pull them out and read them pretty regularly. So I know Amazing Spider-Man # 78 to #104 very well! I’m looking forward to reading them again!
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Post by spoon on May 2, 2021 19:40:24 GMT -5
I've been reading the Deathlok the Demolisher: The Complete Collection TPB, reprinting the 1970s and 1980s appearances of the original Deathlok. So far, I've read Astonishing Tales #25-28, 30-32. In most issues, Rich Buckler is credited with both the plot and art, with other writers just handling the scripting. In my opinion, Buckler could've really used a co-plotter. The character of Deathlok and the basic concepts of the series are intriguing. But the progression of the plot is often confusing and sprinkled with coincidences. Sometimes it moves between events currently happening and flashbacks without making the transitions clear. It's often unclear who is who, and how Deathlok decides to go to different places. He seems to just coincidentally run into people. The city seems largely devoid of non-combatants. It would be nice if there was explanation for this. The Deathlok feature starts in 1974, but it seems modern compared to Silver Age Marvel stories just a few years before. Prior to being resurrected as the Deathlok cyborg, Luther Manning was a white man, and his ex-wife is black. I wonder how many interracial relationships appeared in Marvel before this. Also, there's a scene were Deathlok rips the American flag off his clothes and steps on it. It's very bracing imagery of disillusionment. I finished reading the rest of the Deathlok the Demolisher: The Complete Collection TPB (Astonishing Tales 33-36; Marvel Spotlight #33; Marvel Team-Up; Marvel Two-In-One #27, 54 (plus a few excerpts from issues in-between that relate to Deathlok); Captain America #286-288; and the Deathlok back-up story from Marvel Fanfare #4). There's also text features from Astonishing Tales #25 and F.O.O.M. #5 regarding the creation of Deathlok. From those features, it sounds like Doug Moench was more involved in the creation of Deathlok than the credits to AT #25 suggested. Although Buckler had conceived of the basically idea years before, Moench changed the name from Deadlock to Deathlok. Also, there's a comment that suggests that Moench came up with the idea of the internal dialogue between Deathlok and the computer, and that they collaborated on the plot for the first story. The later Astonishing Tales issues benefit from Klaus Janson's inking. The plotting is still messy, but gets a bit more coherent. At the end of the Astonishing Tales run, there seems to be an attempt an a happy ending of sorts (odd for this series) with the cloning of Luther Manning, so there are two Mannings (the human clone and the cyborg Deathlok). Then, he ends up traveling to the present of the mainstream Marvel Universe (616) in a series of guest appearances. After he appears in Marvel Two-in-One, it seems like the creative team didn't know what to do with him, so he has a couple sporadic appearances until he's seemingly destroyed. It's a very undiginified result. It appears the creative team didn't see much value in the character and even changes his appearances and alters his mind. The Captain America arc, which are the only stories from the TPB aside from an issue or 2 of AT I had previously read, are really the best of the bunch. It's amazing how J.M. DeMatteis brings some coherence to the messy plotting of the prior stories. And these stories make sense now that I know the backstory of the Manning clone. DeMatteis brings closure to the separation of Manning into two bodies as clone and cyborg in a way that is satisfying and affirms his humanity. He also grapples with the seeming lack of remorse to Deathlok's violence by using Captain America as a foil.
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Post by impulse on May 2, 2021 20:13:05 GMT -5
I'm a simple man. I see someone talk up about Morrison's New X-Men, I have to weigh in. I loved it at the time, despite the uneven art. I enjoyed the reveal even though it was heavy-handed. I didn't like the last arc, but the status quo change he made to the X books was the best thing to happen to them in ages. It was a travesty how Marvel was so immediately regressive and undid almost all of it. Such a huge missed opportunity. The stories that could have been told in the aftermath of what he set up are almost as interesting to imagine as what he actually put to paper.
Oh, well.
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