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1987 And All That: Star Brand #4-10 (Marvel) by Jim Shooter (#4-7), Roy Thomas (#7), Cary Bates (#8-9), George Caragonne (#10), John Romita, Jr. (#4-7), Arvell Jones (#8), Keith Giffen (#9), Mark Bagley (#10), Al Williamson (#4-6), Rick Bryant (#6), Al Milgrom (#6), Art Nichols (#7), Danny Bulanadi (#8), Bob Wiacek (#9), Pablo Marcos (#10), Christie Scheele (#4), Janet Jackson (#5-7), Petra Scotese (#8), Andy Yanchus (#9-10), Joe Rosen (#4-5, 7-8), Rick Parker (#6, 10), Ken Lopez (#9), Jack Morelli (#10), Michael Higgins (#4-9), Howard Mackie (#10)
There is no single, unifying narrative or theme that bonds all of these issues together, and often when that happens, I will review only one arc of the title rather than the entire year’s worth of material. In the case of Star Brand, though, the most interesting element of this particular run of issues is just how different they are from each other, and in particular the stark change that occurs when Jim Shooter and John Romita, Jr. leave the book. Continue Reading »
Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Barry Windsor-Smith, and the story is “Red Nails” (part one) from Savage Tales #2, which was published by Marvel and is cover dated October 1973. These scans are from Robert E. Howard’s Conan the Barbarian #1, which was published in 1983 and features a colored version. Enjoy!
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Infinity Inc. #34-44 (DC) by Roy Thomas, Dann Thomas, Todd McFarlane (#34-37), Martin King (#38), Michael Bair (#39), Vince Argondezzi (#40-44), Tony DeZuniga (#34-42, 44), Pablo Marcos (#39), Danny Bulanadi (#40), Al Vey (#42), Rodin Rodriguez (#43), Alfredo Alcala (#43) Liz Bérubé (#34, 38, 41, 43-44), Carl Gafford (#35-37, 40), Anthony Tollin (#39), Shelley Eiber (#42), David C. Weiss (#34-39), Agustin Mas (#39-40), Jean Simek (#41-44)
It’s a little hard to sum up my opinion on the 1987 issues of Infinity Inc., because it was an unsteady series at that time, varying in quality not only from issue to issue but often from scene to scene. It was more interested in the personal dramas of its cast than the flash and flair of superpowered action, yet the action sequences were more reliably entertaining than the more grounded character work. Then again, all the strongest moments center on the characters’ emotional lives, but so do the weakest ones, with the fight scenes falling somewhere in between. This gives the comic a strange lack of identity; is it compelling teenage drama or lame teenage melodrama, a fun superhero adventure or a dull superhero business meeting? With 27 story pages per issue (on average…sometimes 26 or 28) Infinity Inc. has room to be all of those things and more, but it’s never any one thing for long enough to get the reader fully, unwaveringly invested. This is frustrating to a degree, but also appropriate, because as a team Infinity, Inc. is a fairly disjointed, non-unified group. They have wildly different priorities and opinions on how to operate, and they pretty much never do anything as a full team, splintering instead into smaller units for each new mission/threat. So the book’s somewhat chaotic voice fits nicely with the team’s mismatched energy, and may even be an intentional aspect of the storytelling for that reason. Which is all well and good, but doesn’t make it any easier to know precisely how I feel about these issues as a group. Continue Reading »
A column in which Matt Derman (Comics Matter) reads & reviews comics from 1987, because that’s the year he was born.
I’m going to try as hard as I can not to use the word “two” too often in this column. That may be tricky, since it’s about a two-part story where there are two Two-Faces running around, and it features the version of Two-Face who is so obsessed with the number two that all his crimes are themed around it and most of his dialogue is chock full of two-based puns. But I will genuinely try. Because easily the most aggravating part of reading these issues of Detective Comics is how often the word “two” is used, along with “double” and “couple” and anything else that can be turned into a forced bit of not-so-clever wordplay. It’s lightweight comedy at best, and repetitive, uninspired filler at worst. And while this ineffective humor may be a low point, it’s not all that’s wrong with these comics. Continue Reading »
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