SPIDER-MANDATE: The Lowe-down on "Secret Wars," Tie-Ins and Stacey Lee
Mister Miracle Special #1 (DC) by Mark Evanier, Steve Rude, Mike Royer, Anthony Tollin, Todd Klein, Richard Bruning, Robert Greenberger
There’s something very comforting about Mister Miracle Special #1. It’s fun yet unremarkable, and takes itself exactly as seriously as it deserves. A lot of story gets packed in, but so much of it is so goofy and/or low-stakes, it ends up being airy overall. While some sections fall flat, most of the book is successfully zany, and there are even some legitimate superheroics in a couple of scenes. It’s hard to do something this feel-good without it becoming saccharine, but this is just sweet enough not to be off-putting, a nice, simple story about two super-people in love working on their relationship.
At the beginning of the comic, Mister Miracle/Scott Free is getting back into death-defying escapes, like being locked in a safe that is dropped from a plane, which his wife Big Barda is not happy about. She understandably doesn’t like to watch her husband willingly put his life on the line, but Scott loves escaping and is having a hard time giving it up. Continue Reading »
A column in which Matt Derman (Comics Matter) reads & reviews comics from 1987, because that’s the year he was born.
The concept of Suicide Squad is elegantly simple, and maybe inevitable in the world of superheroes and villains. The difficulty of effectively imprisoning superpowered baddies has been explored in many ways in all kinds of comicbooks, and this series offers one more approach: a work release program for supervillains. And why not? There are all different levels of supervillainy, and as many different motivations for it as people participating in it, so anyone who wants to prove themselves less insane or untrustworthy than their peers might as well get a chance. Besides, giving them another venue/outlet for their abilities could potentially place them on a better path, even make them better people. Right?
Wrong, says Suicide Squad, which seems to believe that people, good or bad, pretty much are who they are no matter what. The book hinges on this philosophy, its drama fueled by the clashing and immovable personalities of its cast. In the world of Suicide Squad, the whole Suicide Squad project is a futile endeavor, an attempt to convince villains to act against their natures through an odd combination of bargains, threats, and field assignments. Trouble is, nobody can ever act against their nature in this book, so the Squad fails or at least half-fails on every outing, refusing to gel as a group and generally causing more harm than good to its members and the rest of the world.
Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Rob Liefeld, and the first story is “A Princess’ Story” in Secret Origins #28 and the issue is Hawk and Dove #1, both of which were published by DC, the first cover dated July 1988 and the second cover dated October 1988. Enjoy!
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