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Recently acquired 80s graphic novels

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Recently acquired 80s graphic novels


Most are from Eclipse; some from Epic. I should have reviews of most of these posted in the next month or so.

Book Review: Marvel Comics :The Untold Story

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Book Review: 'Marvel Comics: The Untold Story' by Sean Howe


5 / 5 Stars

Marvel Comics: The Untold Story first was published in hardcover in 2012; this Harper Perennial trade paperback version (483 pp) was published in 2013.

The book opens with a familiar anecdote: it’s 1961, and in an office building at 655 Madison Avenue in New York City, Stan Lieber, 38 years old, sits at a desk in a neglected corner of the offices of Martin Goodman’s Magazine Management Company.

Lieber, who uses the pen name Stan Lee, is contemplating quitting his job. Only a decade earlier he had been supervising a large ‘bullpen’, or staff, of artists and writers who made up the very profitable Timely comic book publishing wing of Magazine Management. But now, in the aftermath of the anti-comic book crusade of the mid-50s, he supervises a handful of freelancers – among them Jack Kirby and Stan Goldberg – who illustrate a thin lineup of cornball monster comics, and ‘Millie the Model’. 


One of the writers for True Action, one of Goodman's 'men's magazine' titles, is a man named Mario Puzo. He regards Lee with a mixture of pity and amusement; Lee is the company's lone, forlorn 'funny book' guy.

Martin Goodman tells Lee that DC comics has recently had considerable success with rolling out its superheroes in a team-based format called The Justice League of America, and suggests that Lee try something along the same lines for Marvel comics. Lee consults with his wife, who urges him to give the comic book scene one last try before bowing out. So an energized Lee conceives of a group of superheroes that suffer from all manner of human foibles and conflicts, enlists Kirby to supply the art, and in the Fall of 1961, with a cover date of November, the first issue of The Fantastic Four hits the stands.




The reaction from readers is immediate and positive: letters come into the Magazine Management office praising the Fantastic Four, and asking for more. Lee and Kirby, heartened by the response, embark on what would be a remarkable enterprise in comic book creation, one that would forever change the industry, and by extension American pop culture. Lee and Kirby would make Marvel the number one publisher of comic books, and the owner of some of the most profitable licensed properties in film history.

MC:TUS tells the story of Marvel from its beginnings in 1939, with the publication of Marvel Comics No. 1, up until 2012. Its pages are filled with anecdotes and reminiscences and insider gossip, which makes this one of the best books – if not the best book – I have read so far this year.

One thing author Howe does very well is illuminate the business decisions and conflicts that, to date, have been covered in only a superficial manner, as in (for example) Les Daniel’s 1993 coffee-table book Marvel: Five Fabulous Decades of the World's Greatest Comics


As Howe relates, due to the work-for-hire policy that governed Marvel, those who, like Kirby, created best-selling characters were solely dependent on company largesse if they hoped  to receive any financial rewards other than their base salary. And Marvel's management had no qualms about behaving nastily towards former employees; Howe describes how Marvel ignored Kirby's repeated requests to return some of the 8,000 pages of original artwork he had provided to the company. Marvel claimed that it was having trouble locating the artwork, even as some of those pages were showing up for sale at conventions.

Howe also reveals how unprofitable the comic book industry was, until the direct sales market matured ca. 1979 – 1980. Prior to that time, Marvel was resigned to selling only one of every three comic books it produced. The company was often at the mercy of distributors, some of whom would simply let stacks of comics lie fallow in their warehouses, before tearing off the covers, submitting them for credit, and then selling the cover-less comics for a 100 % profit.

Howe also provides a clear and engaging narrative of the great comic book boom of the early 1990s, a time when fanboys and speculators shelled out their dollars to buy ‘special edition hologram cover’ issues of Spider Man or X-Men, sure in their assumptions that in just a few years, they would be able re-sell the book for hundreds of dollars. 


The magnitude of the damage the great comic book crash that started late in 1993, and continued well into the early 2000s, did to Marvel was a revelation to me: mass-firings and title cancellations reduced the company to a shadow of its former self. 

When veteran artist and freelancer Herb Trimpe, who I well remember as the illustrator of the Incredible Hulk comics of the early 70s, found his title cancelled, he tried to find a substitute: 

No matter what I say or who I call or write at Marvel, I can't get assigned to another book. I've tried reason, outrage, guilt trips and begging. Nada. I haven't been able to scrounge together enough work to meet my monthly quota. The place [Marvel] is a shambles. When I press, they admit sales are down and so is morale. The scuttlebutt is that more layoffs are coming.

Along with layoffs, employees had to put up with penny-pinching, grasping management of Marvel owner Isaac Perlmutter, who castigated employees for not recycling paperclips and turning off their office lights if they were to be out for more than 5 minutes. 

Today, of course, Marvel has recovered and earns considerable revenue from the films and tie-ins featuring its characters (although I was stunned to learn that the company earned only $25,000 from the very first Blade movie, which earned $70 million for Warner Bros. - !). I don't think I've bought any new comics from Marvel since Marvel Zombies Supreme (2011), the lame final installment in the 'Zombies' franchise. But I do continue to but graphic novels of Marvel's comics from the 70s and 80s, as well as back issues of Epic Illustrated and the Epic imprint comic books.

Whether you’re a current Marvel fan or someone who read them back in the day, a fan of comics in general, a fan of American pop culture, or someone who is interested in the business aspects of comic book publishing and print media, MC:TUS is well worth getting. I give it an unequivocal 5 stars.

Void Indigo

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Void Indigo
by Steve Gerber and Val Mayerik
Marvel Graphic Novel No. 11, 1984



During the 1970s, Steve Gerber was (along with Steve Englehart and Don McGregor) one of the most high-profile (some would say pretentious) writers at Marvel comics. After a dispute over revenue from Gerber’s creation ‘Howard the Duck’, Gerber left Marvel in 1978, with some degree of acrimony.

Marvel launched its series of Graphic Novels in 1982, with the premise that these novels would be open to publishing independently-produced, creator-owned publications, printed in an oversize format on quality paper with color separations that were considerably superior to those of the comic books of the time. Gerber set aside his past grievances with Marvel, and submitted a concept for a fantasy-themed story that had no similarities to any of his previous characters for the company. 



The result was Marvel Graphic Novel No. 11, ‘Void Indigo’, by Gerber and artist Val Mayerik, released in 1984.

‘Void’ starts in an ancient, sword-and-sorcery landscape, where four evil wizards find their kingdoms endangered by the onslaught of a savage barbarian tribe. In desperation, the wizards arrange for mass human sacrifices to restore their youth and power; however, this fails, and a fateful decision is made to kidnap and sacrifice Ath Agaar,the leader of the barbarians, and his consort.


I won’t disclose any spoilers, save to say that the wizards’ machinations disrupt the order of the cosmos. Across vast gulfs of time and space, their battle with a vengeful Ath Agaar will resume….in modern America.


‘Void’ features what were, at the time, rather graphic scenes of torture, mutilation, and violence – stuff that was unremarkable for its inclusion in ‘adult comics’ like Heavy Metal, but rather extreme for a graphic novel from a major comic book publisher. Nonetheless, the end of ‘Void’ was left open so that Gerber could continue the story in comic book format.

Epic Comics did indeed release two of a planned six issues of ‘Void Indigo’ in 1984 and 1985, but these first two issues were criticized by distributors and comic book critics, who decried the comic books’ violence. The remaining four issues never saw print.

 
‘Void Indigo’, the graphic novel, suffers to some extent from its open-ended conclusion. As well, some of its content might be considered misogynistic and overly violent.

My opinion ? It’s an interesting experiment in the graphic novel / comic medium, but as a creative work, it was stillborn in the sense that much of the content that already had appeared in Heavy Metal magazine was of superior quality and just as transgressive (if not more so…..I’m thinking of Arthur Suydam’s strip ‘Lulea’….), but much more stylish in its ‘transgressiveness’.


 
‘Void’ demonstrated that Marvel, when all was said and done, simply wasn’t willing to promote the edgier side of graphic art in the way that the European comic establishment did.

New York: Year Zero issue 4

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New York: Year Zero
by Ricardo Barreiro (script) and Juan Zanotto (art)
Eclipse Comics
Issue 4, October 1988


In the fourth and final issue of the series, Brian Chester, along with Delfina Carson, leads a commando team through New York City's sewers. Their mission: breach the stronghold of the Rofeller corporation. But the sewers of this postmodern NYC contain entities more dangerous than just the typicalrat..... or alligator....


Here it is, the final episode of 'New York: Year Zero':























Book Review: The Green Brain

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Book Review: 'The Green Brain' by Frank Herbert

1 / 5 Stars

‘The Green Brain’ first was published as a novelette titled ‘Greenslaves’ in Amazing Stories in 1965; this Ace paperback (160 pp) prints an expanded version of the novelette, and was issued in 1966; the cover artist is unknown.

The novel is set in the ‘near future’. The overpopulation of the planet has meant that ever-larger tracts of land – including much of the Amazon tropical forest – are being plowed under and subject to cultivation. In order to maximize yields, the International Ecological Organization (IEO) has deployed new formulations of insecticides, which are used to carpet-bomb the terrain. Once areas are cleared, high-tech ‘vibration barriers’ are deployed to prevent reinfestation.

Needless to say, these sorts of mass applications are playing havoc with the ecology, and in some areas of Brazil, and the state of Mata Grosso, in particular, resistance to insecticides and herbicides is showing up, and fields once free of insects are being reinfested. Eco-activists, termed ‘Carsonites’, are decrying the despoiling of the ecology by mechanized, intensive agriculture, and warn that the Earth is in danger.

As the novel opens, a team of scientists from the IEO has been deployed to Bahia, Brazil to investigate the reinfestation phenomenon, and the rumors of strange varieties of insects emerging in the interior. 


At a swank nightclub, Rhin Kelly and Travis Huntington Chen-Lhu of the IEO team make the acquaintance of Joao Martinho, a native Brazilian and chief of the Irmendades, the state / corporate entity responsible for eradicating insect life from the cultivated zones of the Mata Grosso. No sooner have the parties embarked on conversation, that one of the rumored mutant insects appears in the street outside the nightclub, terrorizing the citizens and requiring dramatic action from Martinho.

Their curiosity – and suspicion- aroused, the IEO duo travel into the depths of the Mata Grosso, to where the reinfestation is reportedly under way. When he gets word that the IEO team has encountered trouble of some sort, Martinho quickly flies out to investigate.

Martinho, Kelly, and Chen-Lu soon discover some disturbing aspects to the reinfestation, and the lethal insects that are associated with it. For it appears that some sort of hive-mind – a ‘Green Brain’ - is governing the actions of the insects. Does it seek revenge on the humans who are intent on the eradication of the insects ? Or does the Green Brian has a larger goal in mind…..one the human race cannot ignore ?

‘The Green Brain’ is one of the worst sf novel’s I’ve ever attempted to read; I got as far as page 100 before giving up.

The subject matter seems inherently dramatic – you can’t go wrong with mutant bugs spitting concentrated formic acid - and the eco-awarenes themes of the novel were, and are, very topical. So how and where does ‘The Green Brian’ go so wrong ?

Well, for one thing, Herbert seems to have made a conscious effort to make this a ‘literary’ novel, and he was simply not a skilled enough writer to accomplish this ambition. ‘Green’ is filled with tedious conversations and stilted interior monologues, all presuming to provide the reader with profound insights into the personalities and attitudes of the main characters. Instead, these conversations and monologues team up with labored expository passages to weigh down the narrative. Too much text is wasted on empty prose.


‘The Green Brain’ is a dud, one of an unfortunately large number of duds that Herbert cranked out over his career. Unless you are intent on reading everything Herbert authored, you can pass on this one.

Pigeons from Hell adapted by Scott Hampton

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Pigeons from Hell
from the short story by Robert E. Howard
adapted by Scot Hampton
Eclipse Books, November, 1988



Robert Ervin Howard wrote 'Pigeons from Hell' in 1934, and the story was published posthumously in Weird Tales in 1938. 

The story deals with John Branner, a New Englander, who is travelling the South with a companion. The two men decide to stay the night in an abandoned plantation home.


Needless to say, staying the night in an abandoned plantation home has its drawbacks, and soon, John Branner finds himself dealing with murder, voodoo, and the awareness that Dark Forces lurk just outside the limits of human comprehension.


'Pigeons' was adapted into a 51-page graphic novel by Scot Hampton and published by the Indie Comics publisher Eclipse, in November 1988. 

Hampton devoted considerable time and effort to crafting this graphic novel, and it shows. His draftsmanship is impressive, and while to some extent the color scheme is under-exposed, it nonetheless works well to give the novel its overall atmosphere of decaying creepiness.



'Pigeons from Hell' has long been out of print, of course, but with a bit of searching, copies in good condition can be found for $10 - $20. These are well worth picking up. 



In 2008, Dark Horse published a four-issue 'Pigeons' miniseries, written by Joe R. Lansdale, with art by Nathan Fox.


In my opinion, the Dark Horse series is mediocre, primarily due to Fox's cartoony approach to the artwork - a cartoony style more suited to one of those incessant X-Men titles that depicts the mutants as younger kids garbed in clothing and gear straight from the aisles of Wet Seal, Forever 21, and Pac Sun........


Hampton's version remains the definitive graphic novel of 'Pigeons from Hell'.

Book Review: Cyberstealth

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Book Review: 'Cyberstealth' by S. N. Lewitt


1 / 5 Stars

‘Cyberstealth’ (232 pp.) was published by Ace Books in August, 1989; the cover artwork is by Luis Royo. A sequel, ‘Dancing Vac’, was also published by Ace in February 1990.

It’s the future, and war is raging between the worlds of the Collegium and the worlds of the Cardia coalition. Both entities have ringed their major planetary system with sophisticated early warning satellites and patrol ships, making direct assault too costly to attempt. Therefore, much of the war involves small, but vicious, conflicts: the destruction of unescorted merchant ships, terror raids on unsuspecting cities, hit-and-run sorties on enemy bases, and other acts of attrition.

Cargo – real name Raphael – is a hot shot fighter pilot. His co-pilot Ghoster is a member of the alien race of the Akhaid. Together, Cargo and Ghoster have been so successful that, as the novel opens, they have been among the lucky few selected to train, and fly, the ultimate space fighter plane, the ‘cyberstealth’ aircraft of the book’s title: the Batwing.

Crucial to the operation of the Batwing is its cybernetic interface with the pilot; once jacked into ‘the Maze’, or cyberspace, the plane is capable of responding instantly to conscious or even subconscious commands from its pilot.

As Cargo and Ghoster start their Batwing training on the windy and desolate planet of Vanity, some unsettling events come to cast a shadow over the squadron: one of their number may be a spy for Cardia. And an unknown stealth craft has been observed in orbit above the planet.

As Cargo and Ghoster set out on their first mission as a Batwing team, unknown to either of them, the stakes have grown higher in the conflict between the Collegium and Cardia…..and at the center lies a conspiracy that involves Cargo’s own mentor……..

‘Cyberstealth’ is one of the most boring sf novel’s I’ve ever read. I got to page 136 before giving up in exasperation. 


The story’s premise is seemingly entertaining, if not unduly original, and given its 1989 publication date, author Shariann Lewitt certainly had ample time to absorb the cyberpunk ethos and apply it to her novel.

But ‘Cyberstealth’ suffers badly from over-writing. Too many empty sentences, too many strained metaphors, too many interior monologues that go on way too long and suck all the life out of the story. 


For a novel designed around a military theme, the necessary action sequences are few and far between. For example, much of the book’s first half is preoccupied with documenting the emotional and spiritual backgrounds of the characters, their personality clashes, their inner doubts and fears, etc., etc.

So much of the narrative is wasted on this tangential material that, when I reached page 136, I discovered that Cargo had flown his Batwing exactly…..twice….! 


‘Cyberstealth’ reads as if the author had decided to not just emulate the dense prose style of a novel like ‘Neuromancer’, but made the fatal decision to try and top it. The result simply doesn’t work. The verdict ? There are plenty of first-gen cyberpunk novels that are more worthy reads than Cyberstealth.

The Bus


Reunion from Epic Illustrated, February 1984

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Reunion
by Archie Goodwin (story) and Phil Hale (art)
from Epic Illustrated issue 22, February 1984



This graytone strip suffers quite a bit from the poor reproduction of the original art - which may have had something to do with the fact that Epic Illustrated was using a cheaper, lower-grade paper stock (akin to that used by the Warren magazines, for example) for much of its non-advertising -related content. 

As well, it's been 30 years since this issue was printed and some fading of the artwork is to be expected. In any event, however, it remains a interesting little sf tale and one worth reading.











Book Review: Icequake

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Book Review: 'Icequake' by Crawford Kilian


3 / 5 Stars

‘Icequake’ (243 pp) was published in February, 1980 by Bantam Books; the cover artist is uncredited, but may be John Berkey, or perhaps Lou Feck.

‘Icequake’ is another of those sf novels of the 70s (see my review of ‘The Sixth Winter’ here) that dealt with the phenomenon of Global Cooling and the New Ice Age. Indeed, in the pages of ‘Icequake’, you’ll find a passage in which the Greenhouse Effect / Global Warming is disparaged by the scientists of the New Shackleton Station !

The novel takes place in the ‘future’, i.e., early 1985. It’s not a nice 1985, either; the Earth has somehow lost its magnetic field, and the ozone layer, along with a chunk of the upper atmosphere, has been stripped by unprecedented solar activity; crops are dying from excessive UV radiation, and transmissions in the electromagnetic spectrum are drowned out by static.

At New Shackleton Station, a large research outpost located on the Ross Ice Shelf of Antarctica, the multinational crew of scientists and staff are preparing to shut down the station and evacuate before the arrival of the Antarctic Winter. However, an alarming message comes in from the U.S. base at McMurdo Station: Mount Erebus is erupting, and violently so. The eruption is quickly followed by a massive earthquake, or ‘icequake’, that splits the Ross Shelf into massive ice plates separated by networks of vast crevasses.

The crew at New Shackleton discover that their evacuation plans are cancelled; the icequake and the volcano have made air travel to Antarctica from New Zealand impossible. The New Shackleton crew are faced with the unenviable task of spending the entire winter – when the continent is at its most dangerous – huddled in the underground tunnels and revetments of their installation.

But new complications arise: the icequake has made real an unprecedented geophysical phenomenon. The entire Ross Ice Shelf has become detached from the mainland and is moving, at a speed of several kilometers per day, into the Ross Sea and the Southern Ocean. As the ice of the Ross Sea collides with that of the oncoming Shelf, more earthquakes are triggered. The Station crew must confront the likelihood that the ice underlying their installation may fracture and drop them into the ocean.

Antarctic Winter starts to take hold, and the sun begins to vanish for what will be four months of perpetual darkness. Blizzards that last for days descend on the Station, and temperatures drop to – 40 C. It’s up to the crew to devise an escape plan……..but time is running out………

Incorporating features of Antarctic adventure, disaster tale, and eco-catastrophe novel, ‘Icequake’ could have been an ambitious, but ultimately unsuccessful combination of sub-genres; however, author Crawford Kilian does a good job with handling both his narrative and a large cast of characters, and the book wound up being an entertaining read.

There is too much exposition at times on the climatology, geology, and geophysics of the Antarctic, and some of the mini-disasters that strike the hapless Station and its personnel seem more like padding than episodes intrinsic to the main narrative. However, the novel maintains a sense of realism in terms of its locale and the actions of the survivors. 


If you are a fan of disaster / New Ice Age sf, then you’ll want a copy of ‘Icequake’.

A Canticle for Leibowitz by Peter Jones

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A Canticle for Leibowitz
by Peter Jones
from Solar Wind, Paper Tiger, UK 1980

This outstanding painting has been used as cover artwork for multiple editions of the novel in both the UK and the US



Heavy Metal August 1978

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'Heavy Metal' magazine August 1978





August, 1978, and it's impossible to escape the Rolling Stones song 'Miss You', which is in heavy rotation on the FM radio stations. The song's video is underwhelming, and Mick doesn't bother to lip-synch, actually singing the vocals, but that's how it was in those days before MTV........

Stoners across the nation rejoice with the arrival of the latest issue of Heavy Metal magazine, sporting a front cover by Clyde Caldwell, and a back cover by Michael Gueranger. Among the best of the material in the August issue is 'Planet of Terror' by Caza, which I've posted below.









Book Review: Twilight of the City

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Book Review: 'Twilight of the City' by Charles Platt



1 / 5 Stars

‘Twilight of the City’ was first published in 1977; this Berkley Books paperback (215 pp) was released in September, 1978. The cover art is unattributed.

‘Twilight’ is another of the most boring sf novel’s I’ve ever attempted to read. I got as far as page 83, at which point I abandoned it.

The premise is standard-issue sf: it’s the near future, i.e., 1997. The US is in the grip of a downward spiral of economic and social collapse. While the ever-dwindling numbers of the wealthy class live in modern homes in gated communities in the exurbs, the middle class are engaged in food riots in the city streets. The impoverished masses live in ghettos have grown and expanded into enormous wastelands marked by lawlessness and anarchy.

The narrative revolves around the actions of three young people: Bobby Black, the superstar singer and showman of the emerging genre of ‘Suicide Rock’. Bobby’s songwriting partner is the taciturn, calculating Michael. And then there is Lisa, who came to the City with a headfull of dreams and stars in her eyes, only to find that dreams die fast on the hard and unforgiving streets of the ghetto.

Michael invites Lisa to live with him and introduces her to Bobby Black. Soon a skeptical Lisa joins the inner circle of artists, researchers, and oddballs who circulate around the Suicide Rock scene and engage in tedious conversations about their existential angst. 


[At some point later on in the book, these characters apparently engage in some sort of uprising against the corrupt order of the state, but I didn’t read that far enough to know exactly what happens.]

Why is ‘Twilight’ so bad ? Well, for one thing, Charles Platt (b. 1945), a prolific writer of sf novels and short fiction starting in the late 60s and continuing into the 90s, forgets how to tell a story, in favor of trying mightily to craft a ‘literary’ novel that seeks to transcend the boundaries of simple genre fiction. 


Such efforts are not in and of themselves deserving of criticism, but looking back, the cruel truth is that many such efforts made during the New Wave era of sf were mediocre, at best.

It’s a sure tip-off an author is attempting and failing at this sort of thing when some chapters of the novel, as is the case in ‘Twilight’, lead off with epigraphs of ‘Suicide Rock’ song lyrics. Here’s a sample:

You say I’m all you care about
To me you cling
The real world you could do without
I’m everything
You scheme and dream of an escape
From iron walls of life you hate
Well darling there’s one way to be together
Alone in love, for you and me, forever

(chorus)

Our suicide
Will be forgiven
After we’ve died
And gone to heaven !


The trite quality of the lyrics is reflected in the conversations that occupy much of the narrative. In these conversations, Bobby, Lisa, and Michael express pathos and uncertainty over the meaning of life, the collapse of the social order, the conflict between the haves and the have-nots, and What Is Art ?


These conversations simply don't work; the prose is stilted, wooden, pretentious, inane....pick your favorite adjective, they all apply.

With ‘Twilight’, author Platt was earnestly trying to craft a novel that said something Profound about the Human Condition, using a downbeat, Ballard-esque sf setting. While I have to acknowledge that he was trying to do something out of the ordinary,the reality is that ‘Twilight’ is boring. Believe me, you’re better off avoiding this novel.

Winter World by Dixon and Zaffino

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Winter World by Chuck Dixon (writer) and Jorge Zaffino (artist)



'Winter World' was a three-issue, black and white comic published by the indie company Eclipse Comics from September 1987 - March 1988. [Dixon had plans with Marvel comics to publish a three issue sequel, 'WinterSea', but the project never came to fruition.]

This 2014 IDW hardbound volume compiles all the issues of 'Winter World' and 'Wintersea', along with some extra material in the form of cover artwork and pinups by artist Jorge Zaffino (1960 - 2002).

'Winter World' is set in the near-future; the Ice Age has returned and most of the planet is shrouded in snow and ice.

Scully, the lead character, is a trader; sort of a New Ice Age version of Han Solo. Scully wanders the wastes in his oversize snowcat tracked vehicle. His companion is an oversize, highly intelligent badger named Rahrah. Rahrah is an unusual sidekick, and a cool character.

Life in this environment is akin to that of the 'Mad Max' movies, where self-interest is the key to survival, and double-crosses, atrocities, and ongoing acts of inhumanity are par for the course. 

As 'World' opens, Scully saves a wisecracking redheaded girl named Wynn from an unrewarding life at the hands of a particularly smelly and treacherous tribe of ice-dwellers.


However, Scully suffers from bad luck, and soon he and Wynn are in the hands of a group of slavers who have no compunctions about working their captives to death. It's up to Scully and Rahrah to save the day......with lots of explosions, and severed fingers, along the way.

'WinterSea' finds our two heroes heading south, in search of a mythical land where volcanic activity renders the land free of snow and ice, and where strange things called plants are able to thrive. 

Of course, double-dealers and fate conspire against the hapless Scully, and he winds up a member of the living larder (!) of a tribe of ice pirates. Only heroic action from a reluctant Scully can save Wynn and the mythical land of Earthfire.

Dixon's script is well-done, mingling sarcastic humor with plenty of action, odious villains, a believable post-apocalyptic world, and moral ambiguity - Scully isn't the traditional hero type, but a hustler who is more than willing to put his own agenda first and foremost. 

The artwork in 'Winter World' is, in my opinion, 'serviceable'; it was Zaffino's first major art assignment for a US publication. In his Introduction to the third issue of Winter World, reprinted here in the compilation, Dixon reminisces about seeing some of the sketches from the Argentinian artist Jorge Zaffino, and concluding that he absolutely had to work with such a talented artist. 

While Zaffino' indeed shows some skill in his pen-and-ink draftsmanship, there are too many panels where over-inking and poor rendering make the content difficult to make out. And more than a few panels of the 'WinterSea' comics show such a sketchy, half-finished character, that it's clear that the comic book was not ready for release at the time Marvel made the decision not to produce it. 

The verdict ? 'Winter World' and 'WinterSea' are entertaining examples of 80s sci-fi comics. Along with getting the hardback compilation, I recommend looking for the brand-new 'Winter World' series, by Dixon and artist Jackson Guice, being published as a full - color comic book by IDW during the Summer of 2014.

Car Warriors issue 1

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Car Warriors
issue 1
Epic Comics / Marvel, April, 1991



'Car Warriors' was a four-issue miniseries published from April - September 1991 by Marvel's Epic Comics imprint. The series was based on 'Car Wars', an RPG first released in 1980 by Steve Jackson Games. The game probably drew heavily, in turn, from the 1975 low-budget, cult classic movie Death Race 2000.



The game was subsequently expanded for use with Jackson's GURPS system in the late 1980s, and in 1991 a card game based on 'Car Wars' was released; this may have been the impetus for the publication of the comic book series. 





While I'm always skeptical of the quality of comic books based on tie-ins to licensed properties, I was quite pleased with 'Car Warriors'. It's filled with quirky little touches of originality and flair. 

For example, the setting is not your usual Mad Max - inspired desert landscape, but rather, the US Heartland, albeit reduced to an economic and ecological wasteland, beset with anarchy and the threat of mass starvation. How many action comics have sequences set in Council Bluffs, Iowa ? Or Green Bay, Wisconsin ? 



The actual 'Death Race' locale is Michigan's Upper Peninsula, not the place one would ordinarily think of for such an event. The course goes from Fort DeLorean, on the shore of Lake Superior, south to Lansing. The betting is high, and some of the racers are among the nation's best. But the homicidal motorcycle gangs and cannibal tribes of the Upper Peninsula's wastelands are well-armed, well-informed, and looking for fresh meat among the contestants......

The hero is an alienated young Mexican man named 'Chevy' Vasquez, aka 'The Meaner Beaner' and 'The Mad Mex'. Once, long ago, when he was a child, Chevy Vasquez had a run-in with one of the Upper Peninsula tribes.....an encounter that left him with nightmares, night sweats, and a growing desire for bloody revenge.


While it offers a good dollop of explicit violence with each issue, 'Car Warriors' also provides plenty of sarcastic humor, which gives these comics extra appeal (to me, anyways).

It also helps that penciller Steve Dillon's artwork is well done, and well complemented by the inks of Phil Winslade and the colors of Steve Buccellato, giving the 'Car Warriors' comic books the appropriately gritty, 'entropic' sensibility this type of tale requires.



So, posted below is the entire contents of the first issue of 'Car Warriors'. Look for the remaining three issues to be posted in the coming months here at the PorPor Books Blog.


































Book Review: Antibodies

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Book Review: 'Antibodies' by David J. Skal


2 / 5 Stars

'Antibodies' (220 pp.) was first published in hardcover in 1988; this paperback version was released by Worldwide Library in April, 1989, one of the books in the 'Isaac Asimov Presents' imprint. 

The cover illustration is uncredited, but is almost certainly by Vincent DiFate.

'Antibodies' is one of three sf novels published by David J. Skal in the 1980s, the others being 'Scavengers' (1980) and 'When We Were Good' (1981). All received critical acclaim, but Skal discontinued writing fiction after 'Antibodies', and instead concentrated on film history and criticism, particularly horror films.

'Antibodies' is a satirical novel, set in San Francisco in a near-future USA, in which 80s consumerism and pop culture pervade every aspect of life for those who are white and affluent. Lead character Diandra (we are never told her last name) is a young woman who works as a fashion designer for Croesus, an upscale clothing store associated with all that is trendy in fashion and art.

Diandra suffers from alienation, not just from society, but from her family, and from humanity in general. Luckily for Diandra, she has been contacted by an underground cult called the Cybernetic Temple. The cult has no physical presence per se, but rather, dispenses its doctrine via videocassette tapes filled with subliminal messages, and carefully managed social gatherings in which participants dress as exotic androids and eat a tasteless nutritional paste designed to promote their identification as 'artificial' persons.

The Cybernetic Temple has gained considerable notoriety by promulgating a theology that is the complete antithesis of humanism: the human body, and its functions, emotions, and morals, is little more than 'meat' doomed to gradual decay and dissolution. The Temple offers its acolytes access to new, cutting-edge technologies for organ replacement and, by extension, immortality.

As 'Antibodies' opens, Diandra is struggling to survive her final day at work, before leaving for the Central American enclave of Boca Verde, where the Temple's state-of-the-art facility will remake her as a cyborg, visually perfect, and immune to the sorrows and indignities of the flesh.

As the novel unfolds, we are introduced to a cast of California eccentrics, all of whom interact either with Diandra and the Temple. Some of these eccentrics, like the egomaniacal cult 'deprogrammer' Julian Nagy, see the Cybernetic Temple as an abomination that must be eliminated - particularly if so doing brings fame and fortune. 

Others, such as the artist and style dictator Venus Tramhell, are advocates for the Temple and ruthless in promoting its goals....which are quite different from those that the naive Diandra has been conditioned to believe.......

The back-cover marketing blurbs for 'Antibodies' describe it as a collage of ideas and concepts from David Cronenberg, Harlan Ellison, and J. G. Ballard, and to some extent, this is true, particularly in light of the inclusion of some splatterpunk scenes that counterbalance the satirical passages that take up much of the narrative.

However, sf novels that successfully pull off the trick of embracing satire for their entire length are few and far between, including those in the sub-genre of humorous sf, and the works of Ron Goulart and Douglas Adams and Terry Pratchett, all of which I have found underwhelming, if not tedious. And while I consider 'Antibodies' to be superior to anything from those authors, even at only 220 pp. in length, I found the plot beginning to tire by the time the final 30 pages unraveled.

'Antibodies' does succeed at mingling cyberpunk-era sf and social satire, and is worth picking up if you are a fan of either genre. But it remains very much a product of the time and place of the late 80s, and I'm not sure contemporary readers would find it particularly appealing.

Heavy Metal magazine September 1984

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'Heavy Metal' magazine September 1984


September, 1984, and in heavy rotation on the FM radio stations is David Bowie's song 'Blue Jean'.



The August, 1984 issue of Heavy Metal magazine was bad. The September issue, unfortunately, isn't much better. It does have a striking wraround cover by Luis Royo, however.

There are new installments of Benard and Schuiten's 'The Railway'; Druillet's 'SalammboII'; Frank Thorne's 'Lann', and John Findley's 'Tex Arcana'. 

However, the rest of the content is mediocre. Kierkegaard's 'Rock Opera' persist in being published, Nicola Cuti's 'Things' is forgettable, and the most awful strip in the issue is a one-shot titled 'Sen Lubin from Ernst' by a duo named Victoria Petersen and Neal McPheeters. 


Perhaps the most interesting, and surprising, article in the September issue is the Heavy Metal '1984 Music Video Awards'. After having spent the interval from 1981 - 1983 regarding music television with some degree of the dedicated hipster's disdain, the magazine's editorial staff now enthusiastically embrace music videos, and devote 8 pages to showcasing their faves for the year (loosely interpreted as 1983, and the first six months of 1984).

Some of these videos ('Every Breath You Take' by The Police) will be quite familiar to anyone who watched MTV at that time; some are a bit more obscure - I'd completely forgotten those grainy, washed-out-palette, jerkily handheld camera - imitating Neil Young rockabilly videos like 'Wonderin'. 


Still other videos earning accolades from HM are utterly obscure - does anyone remember Jack the Ripper by The Raybeats ?! it's a retro surf-rock song with a spot-on video.....



In any event, below I've posted the text of Heavy Metal's 1984 Music Video Awards, so you can see for yourself what was hip and cutting-edge back in those long-ago days......








Jack Kirby's OMAC

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Jack Kirby's OMAC: One Man Army Corps



This 200-page hardbound volume, published in June, 2008 by DC Comics, contains all the  issues of 'OMAC ('One Man Army Corps) that DC released, starting with issue one in September, 1974, and concluding with issue 8 in November, 1975.



'Jack Kirby's OMAC' is in full color, but uses the 'newsprint' quality paper that draws some criticism from reviewers at online venues.

The book features a Forward by Mark Evanier, who indicates that Jack Kirby first envisioned the OMAC character ca.1968, during his time at Marvel comics. Kirby evidently was interested in creating a sort of near-future manifestation of Captain America, a character whose 'Go Team USA !' attitudes would seem obsolete and inadequate to cope with a world similar to that of the one outlined in Alvin Toffler's 1970 book Future Shock.



Kirby left Marvel before the idea of a 'Future Shock' Captain America progressed beyond the conceptual stage.

As Evanier relates, in 1974, DC's contract with Kirby called for him to deliver a minimum of 15 pages of completed artwork per week. Because Kammandi was doing well, DC's management suggested that Kirby do another sf-themed title, and so, Kirby recalled his concept of an updated version of Captain America from six years previously, and launched OMAC.

The opening issue introduces us to Buddy Blank, an undersized, hesistant young man who works as an errand boy in a large corporation. When Buddy stumbles on a clandestine sales operation, he is marked for elimination by his employers - until, that is, Blank becomes the target for a super-secret program: the conversion of an everyday, average citizen into OMAC, the One Man Army Corps.....



OMAC is the prime agent for justice in 'the world that's coming', an entity that reflects the Future Shock visions of a globe beset by the social upheavals wrought by the advent of new technologies.



In succeeding issues, OMAC, now an agent of the Global Peace Agency, and aided by the high-tech gadgetry of the satellite Brother Eye, takes on corrupt gangsters, megalomaniacs intent on conquering the planet, illegal body-swapping brokers, and hordes of monsters infesting the subways of New York City.



The artwork in OMAC is as good as anything Kirby did on his other titles for DC (and, considering his workload, Kirby's artwork was especially impressive). As always, Kirby's pencils (some of his draft pages are reproduced here) were ably inked by Mike Royer.



The writing is less rewarding. While most episodes start on a promising note in terms of content, with some even prefiguring cyberpunk themes a good decade before Neuromancer was published, all of the episodes seem to devolve too quickly into more traditional material, often consisting of well-choreographed, lengthy fight scenes, often with monsters reminiscent of creatures like 'Fin Fang Foom' and 'Torr' from Kirby's early 1960s comic books for Marvel.



The final two issues of OMAC show that Kirby was trying to direct the plotting into more imaginative directions, including one dealing with eco-disaster, and an awareness that OMAC was not invincible, nor always assured of victory. Unfortunately, the series was cancelled by DC after Kirby made a decision to return to Marvel in 1976.



Summing up, I really don't think 'Jack Kirby's OMAC' is sophisticated enough to appeal to modern comic book readers. The book is directed more towards those over 45 who are nostalgic over those long-ago days of Kirby's titles for DC, as well as Kirby fans and completists. They are more likely to enjoy this incarnation of  'OMAC'.

Book Review: Eyas

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Book Review: 'Eyas' by Crawford Killian





4 / 5 Stars
 
‘Eyas’ (354 pp) first was published in August 1982 by Bantam Books; the cover artist is uncredited. The Del Rey Books version (357 pp) was released in March, 1989 and features a fine cover illustration by Steve Hickman.

The novel is set some 10 million years into the future. While California has fallen into the Pacific, the rest of the continent of North America remains intact. Man shares the continent with mutant humanoids; the centaurs live in the Midwest, while the lotors, a race descended from weasels, occupy the southern regions. A race of flying humanoids, called the Windwalkers, live on floating islands of vegetation supported by giant pea-pods filled with helium, and sail the wind currents around the world.

The opening chapters of ‘Eyas’ take place in what was British Columbia, where the ‘People’, the descendents of the Chinooks, continue to live a simple but fulfilling life centered on fishing and hunter-gathering. During the yearly gathering of the tribes, the small fishing vessel of Darkhair Fisher, a stalwart member of the tribe of the village of Longstrand, ventures into the mouth of the inland sea where it empties into the Pacific, and comes upon a large sailing vessel – a type of ship never before seen by the People.

As Fisher looks on, the sailing ship wrecks upon the rocks; after much effort, only three people are saved from its complement: the young boys Brighteyes and Eyas, and the young woman Silken. It is revealed that the ship and crew originated from the nation of Sun, far to the East, in what is nowadays western Texas, and was in desperate flight from another Sunnish vessel.

Darkhair makes a momentous decision: he will not only provide shelter to the trio of Suns, but his family will rear the boy Eyas as one of their own, while Silken elects to raise Brightspear.

As the boys mature, Darkhair comes to realize that the world of the People is much smaller and more insignificant than he has ever imagined. Far inland, the Suns make constant, merciless war on the other races of the continent, seeking new lands to sustain their ever-growing population. Brightspear is in fact the disinherited son of a Sun chieftan, and he will seek to reclaim his kingdom as an adult.

But so doing will bring him into conflict with Eyas, for he alone realizes that the advance of the Suns can only be stopped by an unprecedented alliance of Man and Mutants.

As the two men reach adulthood, the world of the People, and indeed North America, will be caught up in a war unlike any that has taken place before. And for Eyas, the key to victory will be understanding the strange artifacts of the Gods, artifacts that lie far, far above in the blue skies over the Earth……...

‘Eyas’ is a very readable novel. The conflict between the two Suns, Eyas and Brightspear, drives the narrative, and throughout much of its second half, ‘Eyas’ is really more of a military adventure with sf overtones. There is a large cast of characters, but the author shows skill in allowing them to be fully realized without overwhelming the storyline.

There are a couple of weaknesses to ‘Eyas’, and these are the reasons I couldn’t give the novel a five-star rating. One weakness is the inclusion of a subplot dealing with messages and premonitions from the dead – apparently in Hell – that are ‘beamed’ to Eyas and some of the other characters. As the plot unfolds, this metaphysical element comes to occupy more and more the narrative, and it meshes poorly with the othwerwise straightforward, realistic elements of the plot.

Another weakness has to do with the Cosmic Revelations that are hinted at early on in ‘Eyas’. In the final three chapters these Revelations make their appearance, but the sf tropes associated with them come so fast, and so glibly, that the novel’s denouement suffers as a result. 


Still, when all is said and done, ‘Eyas’ is one of the best sf novels of the early 80s; no small achievement when one remembers that sf at that time was in the doldrums, and quality short stories and novels were few and far between.

Scout Volume One

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Scout 
Volume One
by Tim Truman
Dynamite Entertainment, 2006




Scripted and drawn by Tim Truman, the first issue of ‘Scout’ was published by the Indie publisher Eclipse Comics in September, 1985, and ran for 24 issues until October, 1987.

The eponymous Scout was an Apache Indian named Emanuel Santana (Truman is an avid fan of rock musician Carlos Santana). The series was set in the near future, i.e., ca. 1999, and the USA is in bad shape, beset with economic collapse, eco-disasters, widespread political corruption, and, in the cities, anarchy and lawlessness.



While Eclipse issued graphic novels compiling the 'Scout' series, those volumes are long out of print. In 2006 Dynamite Entertainment released the first 16 issues of 'Scout' in two trade paperback compilations; volume one compiled issues 1-7, and volume two, 8 – 15. The comics in these compilations have been recolored and ‘remastered’ (whatever that means.....?). 

Volume 1 features an Introduction from John Ostrander. Truman's writer for the 'Grimjack' comic book series from the mid-80s. There also is a interview with Truman that serves as the book's Afterword; in the interview, Truman admits that he initially was reluctant to see his 'Scout' comics compiled and reprinted, because he was ambivalent about the quality of his draftsmanship back in those long-ago days.


Be that as it may be, I find the artwork in 'Scout' to be well done, and, as always, a relief from the 'line-drawing' aesthetic, designed to accommodate computer scanning and coloring, that dominates comic book artwork nowadays. 



The color separations are not ideal - the book's original printing technology is of course nearly 30 years old- and leave the panels with a 'murky' look, but again, I'll take it over the artificial appearance of the color in so many of today's comic books.



I won't disclose any spoilers regarding the plot of these first issues of 'Scout', save to say that our hero embarks on a quasi-spiritual quest to identify and eliminate four monsters, beings drawn from ancient Apache mythology. These four monsters have taken on human guise, and all work cooperatively to take over the nation and use it for their own nefarious ends.



As an Apache, Scout is the prototypical loner, a man of few words. The narrative is suffused with a worshipful attitude towards Native American Wisdom, and at times this veers into Noble Savage territory, particularly when coupled with the author's (self-admittedly white liberal) left-wing take on the political and corporate establishments that have exploited and despoiled this near-future USA.



However, Truman provides enough sarcastic humor throughout the book to sufficiently lighten the mood, and prevent the arrival of a preachy or sententious atmosphere. 



The first six issues of 'Scout' served as a complete story arc; issue 7, included in this volume, is a 'flashback' episode with very nice artwork from substitute artist Tom Yeates (Truman was on paternity leave). I confess to being unfamiliar with Yeates's work, but his illustrations for The Outlaw Prince series have received high praise.

Summing up, whether you're a fan of well-told and well-illustrated comics with a 'Mad Max' type of atmosphere, or whether you're a fan of Truman's graphic work, a copy of 'Scout: Volume One' is well worth getting. 

[Volume Two complies issues 8 - 15; however, it's unclear of the remaining contents of the series - i.e., issues 16 - 24 - are going to be issued in a graphic novel from Dynamite.]

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