2020 Visions: Machine Man and Iron Man

Happy New Year!  To celebrate the occasion, today I am taking a quick look at the comic book adventures of Machine Man and Iron Man in the distant, far-off future year of, um, uh, 2020 AD… Okay, yeah, I can’t believe it’s 2020 already, either!

Machine Man mini 2 pg 22

Machine Man was created by none other than the legendary Jack Kirby himself, debuting in, of all places, the 2001: A Space Odyssey comic book series, which had been inspired by the film / novel by Stanley Kubrick and Arthur C. Clarke.  First known as Mister Machine, aka X-51, he appeared in 2001: A Space Odyssey #s 8-10 published in mid 1977.

Mister Machine was a robot who gained sentience, with one of the mysterious alien Monoliths from the movie playing a role in his evolution towards becoming almost human.  Following the cancellation of the 2001: A Space Odyssey comic book, the character, renamed Machine Man, received his own ongoing series in early 1978.  Kirby wrote & penciled Machine Man for nine issues, with Mike Royer providing inks.

Machine Man mini 1 cover smallBy late 1978 Kirby had become disenchanted with mainstream comic books, and he left Marvel Comics to go into the animation field.  The storyline begun by Kirby in Machine Man was concluded by writer Roger Stern and penciler Sal Buscema a few months later in Incredible Hulk #s 234-237.  This was followed by a revival of the Machine Man ongoing series, picking up from the original numbering, with another Silver Age legend, Stave Ditko, as the artist.  Issue #s 10-14 were written by Marv Wolfman, with Tom DeFalco then writing #s 15-19.

In the early 1980s Machine Man made the occasional guest appearance here and there.  He was once again given the spotlight in 1984 with the Machine Man four issue limited series, set three and a half decades in the future, in the year 2020.  Tom DeFalco returned to wrote X-51’s future adventures.  The first three issues had pencils / breakdowns by Herb Trimpe, with finished art & colors by Barry Windsor-Smith, an unusual pairing that nevertheless worked very well.  BWS took over the full art chores for Machine Man #4, also co-plotting that final issue.  Michael, Higgins, Diana Albers, Janice Chiang and Jim Novak lettered an issue apiece, and the whole thing was edited by Larry Hama.

DeFalco’s story is set in a dark industrialized dystopia where corrupt corporations have seized political power (so, yeah, not too different from our actual real-world 2020, amiright?) and bands of anarchist scavengers hope to find a free, independent existence under the radar.  One of these groups of Midnight Wreckers, searching through a dumping ground belonging to Baintronics Inc, discovers a box containing the dismantled Machine Man.  Evading the Baintronics security forces, the Wreckers return to their base and re-assemble Machine Man.

Machine Man mini 1 pg 12

Baintronics is run by Sunset Bain, an industrialist & socialite who moonlighted as the masked arms dealer Madame Menace, clashing with Machine Man on more than one occasion back in the day.  Now in 2020 she is allied with Miles Brinkman, a former US Senator who is another old foe of X-51.  Brinkman had previously waged a McCarthy-esque campaign of fear-mongering against Machine Man, hoping to ride a wave of robotphobia to greater political power.

DeFalco has an interesting approach to the future incarnations of Bain and Brinkman.  At this point they have basically won, having amassed tremendous political & financial power, yet they are seemingly unable to enjoy their spoils, having grown old & tired, reduced to worn-out shadows of their former selves.  And once they learn that Machine Man has been reactivated they are consumed by uncontrollable paranoia that this former adversary will seek to destroy them.  The pair are defeated as much by their own failings as they are by Machine Man and the Midnight Wreckers.

Machine Man mini 3 pg 12

DeFalco shows that Machine Man is actually more human than either Sunset Bain or Miles Brinkman, who in their fear and panic project upon him their own ugly motivations of hatred and vengeance.  Machine Man, as well as his onetime love, the silver robot Jocasta (rebuilt by Bain to be her aide, but ultimately serving as her conscience), are more capable of feeling compassion and expressing forgiveness than their human foes.

The miniseries introduced Arno Stark, descendant of Tony Stark, the Iron Man of the year 2020.  Arno is an amoral mercenary, and he is more than happy to accept an assignment from Sunset Bain to hunt down & destroy Machine Man.  Iron Man clashes twice with Machine Man, and in both encounters he is defeated by his robot opponent.

Machine Man mini 4 pg 11

This leads into the events of the Iron Man 2020 special, which was published a decade later, in 1994.  It was co-plotted, by Bob Wiacek & Walter Simonson, scripted by Simonson, penciled & inked by Wiacek, with Will Rosado penciling the second half of the book over Wiacek’s layouts.  This was one of the all-too-infrequent penciling jobs by Wiacek, who is best known for his work as an inker / embellisher.  Rosado, who was early in his comic book career, also did good work here. The special was lettered by John Costanza and colored by Christie Scheele.Iron Man 2020 cover small

As a tie-in, Marvel re-issued the Machine Man miniseries as a two double-sized issues.  That was certainly helpful to me, as I hadn’t been reading comics regularly in 1984, and so missed the original release.

The Iron Man 2020 special opens very soon after the events of the miniseries.  Much like Bain and Brinkman before him, Arno Stark is a haunted man: haunted by his defeat at Machine Man’s hands, haunted by the burden of keeping the financially weakened Stark Enterprises afloat, and haunted by the seeming impossibility of living up to the legend of his ancestor, Tony Stark, the original Iron Man.  As the old saying goes, heavy hangs the head that wears the crown.

Desperate to save his company, Arno accepts an offer from Marcus Wellington, one of his biggest competitors.  Arno is hired to rescue Wellington’s daughter Melodi, who has been kidnapped by terrorists and is being held for ransom.  Arno dons his Iron Man suit and sets course for the terrorists’ island stronghold.  Of course, as is often the case with corporate machinations, the situation is much more complicated than it initially appears, and Arno soon finds himself in the middle of more than one double cross.

The end result of these events are that they push Arno Stark towards, well, not necessary becoming a hero, by any means, but at least to start walking a slightly less avaricious, brutal path.

Iron Man 2020 pg 35

Hey, everyone loves a good redemption story.  Certainly Wiacek & Simonson make this one more believable than most by showing that it’s only just the beginning of Arno Stark’s path away from villainy.

I’ve met Bob Wiacek on a few occasions at comic book conventions.  A decade ago at a February 2010 show he did a drawing of Iron Man 2020 in my villains sketchbook.  It is a distinctive costume, a sort of retro future look, almost steampunk with those big gears, and he renders it well.

Iron Man 2020 by Bob Wiacek

I didn’t want to get into too many specific details about either the Machine Man miniseries or the Iron Man 2020 special, because I think they are both worth tracking down and reading.  Marvel published an Iron Man 2020 trade paperback in 2013 collecting both, along with several other stories.

Also, for those interested in Machine Man’s various Bronze Age incarnations (the original Kirby stories, the Ditko-drawn revival, and the 1984 miniseries) I recommend checking out Back Issue #25 from TwoMorrows Publishing.  “Call Me Mister… Mister Machine!” written by Allan Harvey is offers a wealth of behind-the-scenes info concerning Machine Man’s adventures in the 1970s and 80s.

And of course, since it’s now 2020 in the real world, Marvel Comics is bringing back Arno Stark.  It seems that Tony Stark is going to die (what, again?!?) and Arno, who in “mainstream” Marvel continuity is Tony’s long lost twin brother (yes really!), will become the new Iron Man… at least until the inevitable resurrection.  Still, with writing by Dan Slott & Christos Gage, it sounds like it could be a fun ride.

Once again, happy new year to all of you.  Let’s hope 2020 is a good one. Or, as the Midnight Wreckers might have put it, “YAH-ZOO!”

Star Wars reviews: The Rise of Skywalker

The reviews and reactions to the new Star Wars movie The Rise of Skywalker have been extremely mixed.  In a way, that is to be expected, because this movie is intended to be the conclusion of the decades-long saga that has unfolded through the eight previous “episode” installments of the franchise.  Episode IX had an extremely formidable task to fulfill and, let’s face it, there was almost no way writer / director J.J. Abrams and co-writer Chris Terrio could possibly fulfill everyone’s expectations.

Here are some of my thoughts about The Rise of Skywalker.  Call it a review, an analysis, or just the ramblings of a 43 year old fan, and (as always) feel free to disagree.

SW TROS

1) Star Wars is for kids

I have been a Star Wars fan ever since my father and grandfather took me to see The Empire Strikes Back in the theater in 1980 when I was four years old.  In the early 1980s I was absolutely mad about Star Wars.  I had a whole bunch of the action figures, and I would make up my own adventures.  The three years between The Empire Strikes Back and Return of the Jedi felt like an eternity to my young self.  Finally it arrived in the theaters.  My father took me to see it, and I absolutely loved it.

Star Wars creator George Lucas has long argued that the series is really intended for kids.  I believe there is some truth to this.  Yes, there are quite a few elements to the movies that older viewers can appreciate & enjoy.  But at its heart Star Wars is basically a space opera, the big budget descendant of the old movie serials featuring Flash Gordon and Buck Rogers, high tech fairy tales set in outer space.

As an adult, watching first the prequels from Lucas and now the sequels from Disney, I have always endeavored to try to remember that I was a kid when I saw the original three movies, and to mentally bring myself back to that place.

Seven year old me would have absolutely loved The Rise of Skywalker.  It was a really fun, exciting movie.  There were a lot of parts that I genuinely loved, that caused me to laugh out loud, and that left me gasping in awe.

Having said that, I am an adult, and there were several aspects of The Rise of Skywalker that my older sensibilities found to be flawed or problematic…

SW TROS Finn Rey Poe

2) Rey of sunshine

Two of the best parts of the sequel trilogy have been the characters Rey and Finn, played by Daisey Ridley and John Boyega.  Both are great additions to the mythos.

In the previous installment, The Last Jedi, it was revealed that Rey’s parents were basically nobodies, and she was not the heir to any kind of family legacy.  This was a crucial aspect of the movie’s main theme, that the Force was not just for the Jedi, that anybody had the potential to access it, no matter who they were or where they came from.

I liked this development.  Unfortunately others did not.  Following Rey’s introduction in The Force Awakens there had been a ridiculous amount of speculation on social media about who she really was.  There were some really insane theories put out there tying her to established characters.  So when Rian Johnson revealed that Rey was no one in particular, these people lost their collective minds, seeing this as a huge disappointment.

Unfortunately Abrams either disagreed with Johnson’s approach, or was pressured by Disney to reverse this because of the supposed fan backlash.  So in TROS we find out Rey is the granddaughter of Emperor Palpatine.  Watching the scene where this is revealed, in my head I could almost envision Disney shouting to the audience “Okay, okay, stop yelling at us! Fine, Rey isn’t a nobody! She’s actually Papatine’s granddaughter! Are you happy now?!?

This felt like an attempt to placate angry fans, with the story falling back into the well-trod, traditional structure of myths & fairy tales.  I don’t think it was necessary.

Having said all that, Ridley does her best with the material. She really shows just how shocked & horrified Rey is at discovering she’s kin to the most evil being in the galaxy.  Ridley definitely sells the character’s inner turmoil, as well as her struggle to leave her heritage behind and become her own person.  Obviously the theme of “transcending your family’s dark legacy” was already done with Luke Skywalker in the original trilogy, but Ridley nevertheless does a good job showing Rey’s journey through this difficult process.

I’ve also enjoyed the character arc of Finn through these three movies.  He really grows during the course of the storyline.

When you think about it, Finn is a brave, extraordinary individual.  When he was only a child he was kidnapped by the First Order and conscripted into their Stormtrooper army.  Despite years of indoctrination by his fascist masters, Finn was able to retain a conscience, to recognize what the First Order was doing was wrong.  More important, he found the strength to actually do something about it, first by deserting their ranks, and then by standing up to his former masters, actively fighting against their tyrannical cause.

TROS continues Finn’s development.  He is a much more confident figure than he was in the previous two movies.  Additionally, the idea that potentially anyone, no matter what their background, can use the Force is basically transferred from Rey’s character to his, and it is revealed that Finn is Force-sensitive.

Another important development for Finn occurs when he meets other ex-Stormtroopers who have also fled the First Order.  Boyega’s really does a good job of showing just how much it means to Finn to find others like him who have broken free from the First Order’s brainwashing and are now fighting against it.

SW TROS Kylo Ren vs Rey

3) Ren faire

One of my favorite online bloggers / reviewers is Darren Mooney.  He is an intelligent, insightful writer.  Even when I disagree with him, I find his arguments & reasoning to be well-constructed and thought-provoking.

Two months ago Mooney wrote a piece entitled “The Rise of Skywalker Can Correct Return of the Jedi’s Failings.”  One of Mooney’s criticisms of ROTJ is as follows:

“Return of the Jedi isn’t interested in whether Vader is redeemed. It only matters that Luke’s idea of Vader is redeemed. Vader never faces any justice for the crimes that he has committed. But Luke is able to convince himself of his father’s decency rather than confront the reality of what he’s done. The Star Wars franchise has always been about generational strife, with children inheriting a world scarred by their parents’ mistakes. Return of the Jedi retreats from that concept and betrays the franchise.”

A bit harsh, perhaps, but possibly accurate.  Now, none of what Mooney argues ever occurred to me when I was seven years old watching ROTJ.  Indeed, in 1983, having only seen Vader’s very limited actions in the original trilogy, killing the Emperor to save his son did appear to be a genuine act of redemption.

However, in the decades since, having witnessed Anakin Skywalker’s fall to the Dark Side depicted in detail in the prequels, actually seeing the atrocities he committed in Revenge of the Sith, Rogue One, the Rebels animated series, and the comic book stories set during these periods, you might very well find yourself asking if turning against the Emperor in ROTJ to save Luke really does balance the scales, if it is truly enough for him to earn redemption.

So I had what Mooney wrote in mind while watching Kylo Ren’s arc unfold during TROS.

Leia uses the Force to connect with Kylo Ren, dying in the process.  A distracted Ren is mortally wounded by Rey, but she immediately uses her own Force energy to heal him.  After his mother’s sacrifice and Rey’s act of mercy, it’s clear that Ren no longer wants to continue down the terrible path he is on.  At the same time, he is fully aware of all the horrible crimes he has committed, including the murder of his father, and he is afraid that, with all the blood on his hands, he does not have the strength to change.

Adam Driver’s performance as Kylo Ren / Ben Solo really is haunted, especially when he reaches this turning point.  The conversation between him and his dead father Han Solo (Harrison Ford) is both well-written and subtly performed.  I appreciated that it was left ambiguous if Ben is truly communicating with his father’s ghost, or is actually struggling with his conscience within his own head.

Looking at it from an adult perspective, Ben’s ultimate act of redemption does feel more genuine than Vader / Anakin’s did.  Yes, Ben turns against the First Order and stands side by side with Rey in opposing the Emperor.  However, he truly redeems himself after the battle is over, Palpatine has been destroyed, and victory has been achieved.  Rey has been killed, but Ben uses his own life energy to revive her, sacrificing his own life.  His final act is not killing an enemy, but selflessly saving the life of a friend.

SW TROS Leia

4) Farewell to a Princess

One of the obvious obstacles that faced Abrams & Terrio in making TROS was Carrie Fisher’s unexpected death in December 2016.  Early plans for the movie would have had General Leia Organa as one of the main characters; obviously all of those plans had to be scrapped.  Abrams & Terrio were left with about eight minutes of unused footage from TLJ featuring Leia, which meant that they had to write the story around that.

To their credit, Abrams & Terrio do a good job of smoothly incorporating the footage of Fisher into the movie.  None of it feels forced.  If you were watching the movies and had no idea how real life events had dictated the production you might be left wondering why the character of Leia had so little screen time, but there wasn’t anything there that leaps out to indicate that Daisey Ridley was acting opposite footage of Fisher that was shot two years earlier.

5) Cavalcade of cameos

It was good to have Lando Calrission return to the series. I had a huge smile when he first appeared on screen.  It certainly seemed like Billy Dee Williams was having a blast playing the character again.  I think Lando’s character was pretty well served by the screenplay, so his presence wasn’t just an exercise in nostalgia to please older fans.

We also see a glimpse of Wedge Antilles during the final battle, although in that case it was unfortunately just a cameo.  It would have been nice if Denis Lawson’s character had gotten a bit more screen time.  I realize Wedge was a minor character in the original trilogy, but he became a major figure in the X-Wing comic books & novels from the old Expanded Universe.

The most surprising appearances by older characters were during Rey’s confrontation with Palpatine.  Rey taps into the Force to give her strength, and she hears the voices of a number of Jedi Knights, both from the previous movies, as well as from the animated series Clone Wars and Rebels, certainly a cool nod to those characters.

SW TROS Lando

6) United we stand

The Rise of Skywalker is much less overtly political than The Last Jedi.  Nevertheless, there is a message to the movie.

We meet Zorii Bliss (Keri Russell) a smuggler Poe Dameron (Oscar Isaac) knew from his pre-Resistance days operating on the fringes of the law.  Speaking of the threat posed by the First Order, Zorii tells him:

“They win by making you think you’re alone… There’s more of us.”

This is later demonstrated when Lando organizes a fleet made up of ships from numerous planets to stand against the Emperor’s armada on Exegol.  On their own, none of the ships from these disparate civilizations would be able to stand up to the First Order, but united together they are a match for Palpatine’s forces.

Without getting into too many specifics, the point here is that the far left, liberals, moderates and centrists need to set aside their differences and work together to fight against fascism.  Once that is accomplished then we can sit down and hash out compromises for our various positions, but until then we must present a united front.

Also, the whole subplot with General Hux (Domhnall Gleeson) turning out to be the spy in the First Order giving information to the Resistance feels timely.  Considering what a smug, sadistic creep he it, at first Hux would appear to be the last person you would expect to help the Resistance, at least until he explains to Fin and Poe: “I don’t care if you win. I need Kylo Ren to lose.” Yes, that is perfectly in keeping with Hux’s petty, selfish nature.  I was instantly reminded of the numerous anonymous leaks out of the Trump Administration, as well as the backstabbing and scheming that has taken place over the past three years as the grifters and opportunists have jockeyed to grab power.

Likewise, it is not surprising that General Pryde (Richard E. Grant) takes the first opportunity available to shoot down Hux in cold blood.  Later, after Kylo Ren abandons the First Order, Pryde quickly & eagerly switches his allegiance to the Emperor. There is no loyalty or honor in the First Order, only a craving for power at any cost.

7) Bursting at the seams

There was enough material in TROS to fill at least two movies.  That resulted in some rushed scenes, and certain characters getting short shrift.

The most notable instance was Rose Tico, played by Kelly Marie Tran.  Rose was a central figure in TLJ, but she spends most of TROS sidelined.  Maybe it was that there were too many characters.  Maybe it was because Rose was created by Johnson, and Abrams didn’t have much interest in her.  Whatever the case, it’s unfortunate, because following the release of TLJ both the character and the actress were subjected some truly vile racist and sexist attacks on social media.  Even if it’s inadvertent, Rose’s diminished screen time here feels like Disney kowtowing to toxic fandom.

Another area where there wasn’t anywhere enough development was with the mysterious Knights of Ren, who were first briefly glimpsed in TFA.  They finally show up in TROS, but they’re just a bunch of faceless, nameless mooks who silently follow Kylo Ren around for most of the movie and then, after he turns away from the dark side, unsuccessfully try to kill him.  And that’s it.

SW TROS Rose

8) Let’s get Sidious for a moment

The return of Emperor Palpatine, played by Ian McDiarmid, was certainly one of the most noteworthy aspects of TROS.  Even though he was spectacularly killed off at the end of ROTJ, it does feel appropriate to bring him back.  While Darth Vader is, thanks to Ralph McQuarrie’s design and James Earl Jones’ vocal performance, the most iconic villain of the whole SW saga, it is the Emperor who is the true Big Bad of the first six movies.  So if TROS was to be the conclusion of the Skywalker family story then it makes sense for the ultimate evil of the saga, Darth Sidious, to play a key role.

The Emperor’s return doesn’t make much sense in-story (more on that below) and the actual mechanics of his resurrection are left extremely vague.  When Kylo Ren threatens to kill him, Palpatine merely responds “I have died before. The dark side of the Force is a pathway to many abilities some consider to be unnatural.”

Later on a member of the Resistance suggests a few possible explanations, one of which is cloning.  Perhaps this was a nod to the now out-of-continuity comic book miniseries Star Wars: Dark Empire by Tom Veitch & Cam Kennedy, published by Dark Horse in 1991, which saw the Palpatine return in a cloned body.  (Likewise, the ancient Sith planet Exegol might be inspired by Korriban, which appeared in several of the Dark Horse SW series.)  Whatever the process the Emperor returned to life, it was apparently not perfect, as he spends the entire movie looking even more ancient & wizened than before, hooked up to an elaborate framework of life support machinery.

The Emperor’s plans are also left vague, other than a general “conquer the galaxy again” type of thing.  He seems to alternate between wanting Kylo Ren to kill Rey so that she can’t oppose him, and getting Rey herself to kill him so that his spirit can transfer into her younger body.  Towards the end of the movie Palpatine seems ready to abandon both those plans when he suddenly discovers he can drain energy directly from Rey and Ben to restore his own body.

However dodgy the plotting is, it was good to have McDiarmid back as the Emperor.  He’s played the role on & off for over three and a half decades now, and he effortlessly slips back into the Emperor’s foul persona, turning in an evil, twisted performance, once again making Palpatine the man we all love to hate.

The resolution of the battle between Rey and the Emperor was also well done.  Rey is faced with a seemingly-impossible conundrum.  If she kills the Emperor his spirit & powers will inhabit her body.  If she doesn’t kill him than he still has more than enough life in him to live long enough to destroy the Resistance.

In the end Rey wins by turning the Emperor’s own power against him.  She uses her lightsabers and the Force to deflect the Emperor’s lightning bolts back at him, in effect causing him to kill himself. As Yoda advised in TESB, “A Jedi uses the Force for knowledge and defense, never for attack.”

SW Dark Empire 2 pg 18

9) Making shit up as we go along

It’s pretty obvious that bringing back the Emperor in TROS, revealing that he created Snoke and was controlling the First Order from behind the scenes all along, was something that Abrams & Terrio came up with pretty late in the day.  There’s absolutely no indication of any of this going on in either TFA or TLJ.  A revived Palpatine hiding away on Exegol and preparing a massive fleet of Dark Side Star Destroyers capable of obliterating entire planets, and using the First Order to keep everyone occupied in the meanwhile, doesn’t make much sense, because the previous two movies already showed the First Order wiping out the New Republic and making good progress in seizing control of the entire galaxy all on its own.

Over the past few years several people have suggested that it was a mistake to have the First Order be simply the Galactic Empire with a new coat of paint.  It would have made more sense to have the First Order be some sort of insurgent group organized by Imperial war criminals who had escaped justice, a subversive entity undermining the New Republic via terrorist attacks.  That seemed like it would have been good idea before TROS came out.  It would have made even more sense now that it’s actually been established that the First Order was always intended by Palpatine to be a diversion while he rebuilt his forces in secret.

All of this speaks to Disney’s failure to plan this trilogy out ahead of time.  It was a mistake to have the writers / directors working in isolation, with no general overarching plan.  Abrams did TFA, then passed the ball to Johnson to do TLJ, and who in turn was supposed to hand it off to Colin Trevorrow to do TROS before that fell through due to “creative differences,” with Abrams getting brought back late in the day to wrap things up.

Honestly, this has been a problem with Star Wars throughout much of the series’ existence: it was made up on the fly.  Despite what Lucas later claimed, it seems pretty obvious that the original was intended to be a stand-alone movie.  Otherwise Lucas would not have asked Alan Dean Foster to write Splinter of the Mind’s Eye as a story that could be filmed quickly & cheaply, using as many existing costumes & props, just in case Star Wars happened to do well enough for a second movie to get the green light.

It was only when Star Wars unexpectedly became a gigantic runaway success that Lucas really committed to the whole nine episode storyline, and even there he continued to make it up as he went along, working with several other writers.  For example, Anakin Skywalker and Darth Vader were still separate characters in the early drafts of TESBThe early plans for ROTJ were for only Darth Vader to die, and for the Emperor to escape at the end.  That was supposed to set up the next trilogy, which would see the Empire rebuilding, and Luke searching for his twin sister, who was hidden away at the opposite end of the galaxy. Unfortunately while Lucas was starting work on ROTJ his marriage fell apart, and he was in such a bad place emotionally he decided to just bring everything to a close with that movie.  So suddenly both Vader and the Emperor died, the Empire was defeated, and Leia was implausibly revealed to be Luke’s sister.

This meant that three decades later, when Disney decided to finally make that third trilogy, they found themselves having to undo the final, decisive defeat of the Empire in ROTJ.  So all of a sudden the First Order appears out of nowhere, and the New Republic is quickly wiped out, in a really blatant resetting of the status quo.

Looking at all of the movies, it’s clear that the ones that are most internally consistent are the prequel trilogy, all of which were written & directed by Lucas.  Say what you will about the scripting or the acting or whatever, the fact is that Lucas appears to have plotted the whole thing out ahead of time, and stuck to that plan throughout the making of all three movies, resulting in a trilogy that actually does feel like a cohesive story with a beginning, middle and end.

Disney really should have looked at the missteps that Lucas made with the original trilogy, and the successes that he did actually achieve with the prequels, and planned the entire storyline for their trilogy out right from the start.  Instead they just rushed into it without any concrete idea of where they were going, and it shows.

SW TROS Emperor

10) To make a long story short… Oops, too late!

I’ve already written over 3,500 words about The Rise of Skywalker, so let’s cut to the chase.  I enjoyed it.  It had some really great action sequences, as well as some genuinely good, moving character arcs & developments, and felt like a pretty good emotional conclusion to the overall saga.  Nevertheless, it also had a lot of flaws.  It was good, but it could have been better.

I really think Disney should step back for a bit, learn some lessons from the missteps of this new trilogy, and take the time to decide exactly what they want to do next with Star Wars.  The franchise still has a ton of potential to tell all sorts of stories, but it’s the kind of property that cannot be approached half-assed, that needs a certain amount of thought & planning.  I wish them luck, because I would love to one day see Star Wars return better than ever.

Star Wars reviews: Allegiance

Star Wars: Allegiance is a four issue miniseries published by Marvel Comics.  Allegiance is written by Ethan Sacks, drawn by Luke Ross, colored by Lee Loughridge, and lettered by VC’s Clayton Cowles.  Cover artwork is by Marco Checchetto.  The miniseries is set between the events of the movies The Last Jedi and The Rise of Skywalker.

SW Allegiance 1 cover

Back in 2015 Marvel published Shattered Empire, which was set after Return of the Jedi, in order to explore into some of the events that eventually led to The Force Awakens.  Marvel did not do one of these linking miniseries bridging The Force Awakens and The Last Jedi since there’s only a day or so between the two movies, which really doesn’t give much room to tell any stories of significance.  I suppose Marvel could have done a story about the Resistance packing up their base on D’Qar, but maybe they figured they’d be pushing their luck trying to stretch that out into a four issue miniseries.

In any case, The Last Jedi ended with the Resistance down to one ship and a couple of dozen people.  I’m sure a lot of people were left wondering what the heck was going to happen next, how the Resistance could possibly recover from their devastating losses to again pose any sort of impediment to the First Order.  I definitely was!  It certainly seemed there would have to be some gap in time between TLJ and the next movie during which the Resistance reorganized.

Indeed, Allegiance sees the Resistance attempting to acquire new ships, weapons, recruits, and allies.  Unfortunately the First Order is trying to prevent this by ruthlessly destroying any planet that give aid to the Resistance, or that has spoken to the Resistance, or possible has even simply heard of the Resistance.

The First Order’s action here are not surprising, given that it is ruled by Kylo Ren, a spoiled, entitled brat with no impulse control whose first instinct is to lash out at anyone that pisses him off, and who is served by such deplorable sycophants as General Hux, a petty sadist who is looking for an excuse to bully others.  The writing by Sacks and artwork by Ross depict the First Order’s actions in a very brutal a light, never glossing over their evil.

SW Allegiance 1 pg 5

The original plan for The Rise of Skywalker was to have General Leia Organa as one of the main characters.  The unfortunate death of actress Carrie Fisher in December 2016 obviously prevents this.  Reportedly Leia will appear in TROS via several minutes of unused footage from TLJ, but her role will no doubt be limited.

Keeping this in mind, it feels like the Allegiance miniseries sets out to rectify this by focusing on Leia, giving the character one last opportunity to  step into the spotlight and play a central, important role in the SW narrative.

Rey and Rose Tico are supporting characters in this story.  Rey is basically trying to figure out how to handle the burden of now carrying the legacy of the Jedi squarely on her shoulders.  Rose is fully on board with the Resistance movement.  It seems likely both women will have a lot of screen time in TROS, so Sacks understandably limits their roles here, instead focusing on Leia.  That said, Rey does get a couple of good action sequences, which are well-rendered by Ross.

Leia, accompanied by Rey, Rose Tico, Chewbacca and C-3PO, travel to the planet Mon Calamari to mourn the passing of her longtime comrade-in-arms Admiral Ackbar, as well as to ask for new ships for the Resistance.  Given how perfunctory Ackbar’s death was in TLJ, it was good to see Leia take the time to pay tribute to the character here.

Ackbar’s son Gial wants to help the Resistance, but others on Mon Calamari, witnessing the First Order’s violent crackdown on anyone who has aided them, and remembering the Empire’s brutal occupation of their planet, are extremely reluctant to offer assistance.

It is to Sacks’ credit that he offers no easy answers, demonstrating that sometimes people are only left with different bad choices.  Avoid fighting evil in an attempt to protect yourself and you may only be postponing your own subjugation.  Actively fight against evil and you will be placing not just yourself but your family and friends and neighbors squarely in the crosshairs.  Our own real-world history unfortunately has all too many examples of this bitter choice having to be made.  During World War II, the Nazis routinely responded to the actions of resistance groups throughout Europe by brutally massacring civilians.

The Mon Calamari do eventually provide ships & personnel to the Resistance, but at a very clear cost to them.  The miniseries ends on a very grim note, with the First Order descending on the planet, ready to exact retribution on the planet’s civilian population.

SW Allegiance 2 pg 12

The B-Plot of Allegiance is Poe Dameron, Finn and BB-8 searching for a cache of New Republic weapons while avoiding a gang of mercenaries who want to claim the bounty the First Order has placed on their heads.  This provides a more fun, light, humorous storyline to balance out the somber A-Plot of Leia on Mon Calamari.

Sacks does a good job of scripting both Poe and Finn, having the two play off each other as they sort of bumble their way through their heist.  They get some humorous exchanges.  I laughed out loud at one particular moment…

Finn: This is shaping up to be the easiest mission we’ve ever had.

Poe: Why… why would you say something like that? Don’t you realize that’s just asking for trouble?

The miniseries has really nice artwork by Luke Ross.  He is an artist who has definitely grown immensely since he entered the comic book field in the mid 1990s.  He started out with a very Image Comics inspired style on New Gods and Spectacular Spider-Man.  A decade or so later he worked on several issues of Captain America.  I found his work there impressive.  Now, in the present, looking at Ross’ art for Allegiance, it is obvious he has continued to improve, turning in art that is even better.

Ross does a great job with the likenesses here.  As I’ve said in the past, I think likenesses on licensed comic book series can be a real balancing act.  You don’t want to go too photorealistic, because that can seem too posed & artificial, standing out from the rest of the art.  I feel it’s more important to capture the essence of the characters, their personalities and mannerisms, than it is to exactly capture the features of the actors.  Ross certainly does that here.

SW Allegiance 3 pg 6

Marco Checchetto has worked on several previous SW comic book series, including the aforementioned Shattered Empire.  His covers for Allegiance are beautiful.  The four covers link together to form one larger image, an impressive montage of the new trilogy’s characters.

Of course when Marvel collected Allegiance into a trade paperback, they put out four different editions, one with each cover.  They don’t seriously expect us to buy four copies of the same collected edition, do they?  I hope not.  I mean, it’s not like Disney to engage in a shameless Star Wars money grab, is it?

SW Oranges

AHEM!!!  Well, looking on the bright side, the multiple trade paperback covers do allow you to buy whichever one has your favorite image.  And if you really want to put them all side-by-side to get the full picture by Checchetto, just look for copies of the original single issues.  Or, y’know, do a Google search online for the complete image…

SW Allegiance covers

As a longtime Star Wars fan I enjoyed Allegiance.  I did go into it recognizing that obviously too much could not actually happen in Sacks’ story.  The big character and plot developments are being saved for The Return of Skywalker.  Nevertheless, it is an entertaining, thoughtful story that works well to bridge the two movies.  It is also an excellent opportunity to have the quieter, more subtle character moments that sometimes get lost in the action-centric pace of the movies.  At the very least Allegiance serves as a nice spotlight on Leia Organa, helping to bring some closure to a character many of us grew up watching on the big screen.

Tom Lyle: 1953 to 2019

I was very sorry to hear that longtime comic book artist Tom Lyle passed away earlier this month.

As with a number of other comic book artists who got their start in the 1980s, Lyle’s earliest work was published by Bill Black at AC Comics.  In late 1986, following a meeting with Chuck Dixon at a Philadelphia convention, Lyle began working for Eclipse Comics.  He penciled back-up stories in Airboy featuring the Skywolf character, followed by a three issue Skywolf miniseries, and a few other related books for Eclipse.Airboy 13 Skywolf pg 6

I personally didn’t have an opportunity to see this work until 2014, when IDW began releasing the Airboy Archives trade paperbacks.  Looking at those Skywolf stories, I was impressed by how solid & accomplished Lyle’s work was that early in his career, both in terms of his storytelling and his attention to detail.  In regards to the later, a good example of this is seen in the above page from Airboy #13 (Jan 1987).  Lyle and inker Romeo Tanghal do great work rendering both the airplane and the Himalayan Mountains.

The Skywolf back-ups and miniseries were all written by regular Airboy writer Chuck Dixon, who Lyle would collaborate with again in the future.Starman 1 cover 1988 small

In late 1988 Lyle, working with writer Roger Stern and inker Bob Smith, introduced a new Starman, Will Payton, to the DC Comics universe.  Although not a huge hit, Starman was nevertheless well-received by readers, and the title ran for 45 issues, with Lyle penciling the first two years of the run.  Starting with issue #15 Lyle was paired up with inker Scott Hanna.  The two of them made a very effective art team, and they would work together on several more occasions over the years.

Lyle then worked on a couple of jobs for Marvel.  He penciled an eight page Captain America story in Marvel Comics Presents #60 written by John Figueroa and inked by Roy Richardson.  This was followed by a three part serial that ran in Marvel Comics Present #77-79 featuring the usual teaming up of Sgt. Fury and the Howling Commandos with Dracula.  Written by Doug Murray and inked by Josef Rubinstein, the serial saw the Howlers having to work with the lord of the vampires against the Nazis.

In 1990 Lyle worked on the five issue Robin miniseries for DC Comics, featuring Tim Drake’s first solo story.  The miniseries reunited Lyle with Chuck Dixon and Bob Smith.  It was a huge hit, gaining Lyle a great deal of attention & acclaim.  Within the story Dixon & Lyle introduced the villains King Snake and Lynx, both of whom would become recurring foes in the Batman rogues gallery.  Also around this time Lyle drew the covers for an eight issue Justice Society of America miniseries.Comet 3 pg 2Lyle’s next project was for Impact Comics (or, if you prefer, !mpact Comics) a DC Comics imprint featuring revamped versions of Archie Comics’ oddball line of superheroes.  Lyle was the artist & plotter of The Comet, an interesting reimagining of the character.  Scripting The Comet was Mark Waid.  Beginning with the second issue Scott Hanna came on as the inker / finisher.JSA 6 cover 1991 small

I was 15 years old when the Impact line started, and I really enjoyed most of the books.  The Comet was definitely a really good, intriguing series.  Lyle & Hanna once again made a great art team.  Regrettably, despite apparently having some long-term plans for the series, Lyle left The Comet after issue #8.  It fell to Waid, now the full writer, to bring the series to a close when the Impact books were unfortunately cancelled a year later.

Lyle’s departure from The Comet was probably due to his increasing workload on the Batman group of titles.  During this time he penciled “Shadow Box,” a three part follow-up to the Robin miniseries that ran in Batman #467-469.  After that he was busy on the high-profile four issue miniseries Robin II: The Joker’s Wild.  As the title implies, this miniseries saw Tim Drake’s long-awaited first encounter with Gotham City’s Clown Prince of Crime, the villain who had murdered the previous Boy Wonder.

Following on from this, the team of Dixon, Lyle & Hanna worked on Detective Comics #645-649.  One of the highlights of this short run was the introduction of Stephanie Brown aka The Spoiler.  Stephanie would go on to become a long-running, popular supporting character in the Bat-books, eventually becoming a new Batgirl.Robin 1 pg 1After completing a third Robin miniseries, Lyle moved over to Marvel Comics, where he immediately established himself on the Spider-Man titles.  He penciled the Amazing Spider-Man Annual #27, once again working with Scott Hanna.  Written by Jack C. Harris, another former DC mainstay, the annual introduced the new hero Annex.

Batman 468 cover smallThis was followed by Lyle & Hanna drawing Spider-Man #35-37, which were part of the mega-crossover “Maximum Carnage.”  Lyle also penciled the Venom: Funeral Pyre miniseries, and drew a few covers for the Spider-Man Classic series that was reprinting the original Lee & Ditko stories.

The adjective-less Spider-Man series had initially been conceived as a vehicle for which the super-popular Todd McFarlane could both write and draw his own Spider-Man stories.  However he had then left the series with issue #16 to co-found Image Comics, and for the next two years the title served as something of anthology, with various guest creative teams.  Finally, beginning with issue #44, Lyle & Hanna became the regular art team on Spider-Man, with writer Howard Mackie joining them.

Truth to tell, this was actually the point at which I basically lost interest in the Spider-Man books.  The padded-out “Maximum Carnage” event, followed soon after by the meandering “Clone Saga,” caused me to drop all of the Spider-Man series from my comic shop pull list.  Nevertheless, I would on occasion pick up the odd issue here & there, and I did enjoy Lyle’s work on the character. He also did a good job depicting the villainous Hobgoblin and his supernatural counterpart the Demogoblin.

Spider-Man 48 pg 11Despite my own feelings about “The Clone Saga,” I know it has its fans.  Lyle definitely played a key part in that storyline.  When Peter Parker’s clone Ben Reilly returned he assumed the identity of the Scarlet Spider.  It was Lyle who designed the Scarlet Spider’s costume.  I know some people thought a Spider-Man type character wearing a hoodie was ridiculous but, as I said before, the Scarlet Spider has his fans, and the costume designed by Lyle was certainly a part of that.Spider-Man 53 cover small

Lyle remained on Spider-Man through issue #61.  He then jumped over to the new Punisher series that was written by John Ostrander.  Unfortunately by this point the character had become majorly overexposed, and there was a definite “Punisher fatigue” in fandom.  Ostrander attempted to take the character in new, different directions, first having him try to destroy organized crime from within, and then having him work with S.H.I.E.L.D. to fight terrorists, but the series was cancelled with issue #18.  Nevertheless I enjoyed it, and I think Lyle, paired with inker Robert Jones, did some really good work drawing it.

Lyle next wrote & penciled a four issue Warlock miniseries for Marvel in 1998, which was again inked by Jones.  After that Lyle & Jones worked on several issues of the ongoing Star Wars comic book for Dark Horse.  He also worked on several issues of Mutant X for Marvel.

Unfortunately in the early 2000s Lyle began having trouble finding work in comics. Honestly, this is one of the most exasperating things about the industry.  Here was an artist who for over a decade did good work on some of the most popular characters at both DC and Marvel, and then suddenly he finds himself not receiving any assignments.  It’s a story we’ve regrettably heard variations of over and over again.  It’s a genuine shame that freelancers who time and again were there for publishers do not find that loyalty rewarded.

Punisher 15 cover 1997 smallFortunately for Lyle he was able to successfully transition into another career.  He began teaching sequential illustration at the Savannah College of Art and Design in 2005, a position he remained at for the next decade and a half.

Tragically in September of this year Lyle suffered a brain aneurysm.  After undergoing surgery he was placed in a medically induced coma.  Unfortunately he never recovered, and he passed away on November 19th.  He was 66 years old.

The sad fact is that health care in this country has become more and more unaffordable for most people.  After her husband passed away Sue Lyle was left with astronomical medical bills.  Tom’s brother-in-law set up a Go Fund Me to help Sue.  I hope that anyone who reads this who is in a position to help out will contribute.

Lyle was a longtime friend of June Brigman & Roy Richardson, who also got into the comic book biz around the same time. After Lyle passed away, Brigman shared a few memories of him on Facebook:

“Roy and I were friends with Tom and his wife Sue for, oh…about thirty years. Tom and I followed a similar path, working for Marvel and DC, then SCAD, Tom in Savannah, me in Atlanta. It was Tom who encouraged me to go for a teaching position at SCAD, an experience that I’m very grateful for. And it was Tom’s example that made me, at the ripe ol’ age of 59, finally finish my MFA in illustration. I like to think that we helped give Tom a start in comics. But really, all we did was give him a place to stay when he first visited Marvel and DC. He went on to become a rock star of the comics industry. And while yes, he definitely left his mark on the world of comics, I think his real legacy is his students. They were all so fortunate to have Professor Lyle. Not everyone who can do, can teach. Everything Tom taught came from his experience. He was a master of perspective, he had impeccable draftsmanship, and boy, could he tell a story. And, most importantly, he loved teaching, and truly cared about his students.”

I only met Tom Lyle once, briefly, and a comic book convention in the early 1990s.  Several years later I corresponded with him via e-mail.  At the time I purchased several pages of original comic book artwork from him.  Tom was easy to deal with, and his prices were very reasonable.  Regrettably over the years I’ve had to sell off all of those pages to pay bills, but it was nice having them in my collection for a while.

Tom Lyle was definitely a very talented artist.  Everyone who knew him spoke very highly of him as a person.  He will certainly be missed.

Star Wars convention sketchbook: the new movies

Four years ago, to celebrate the release of The Force Awakens, the first Star Wars movie from Disney, the contributors of Super Blog Team-Up each wrote pieces dealing with various aspects of the SW phenomenon.  My contribution was to showcase ten of the best pieces of artwork I had gotten drawn in my Star Wars theme sketchbook.

Now here we are four years later, and the final installment of the new trilogy, The Rise of Skywalker, will be out in theaters next month.

Star_Wars_Logo

The movies produced by Disney have inspired quite a bit of disagreement among fandom.  However, I think it is very important to point something out: They have been very popular with younger fans, and with newcomers to the series.

It’s crucial to recognize that just as my generation who grew up on the original trilogy were fans of Luke, Leia, Han and Chewbacca, so too has that happened with the subsequent releases.  Kids who watched the prequels in the early 2000s grew up with Padme and Anakin.  A few years later another group of kids had their first exposure to SW with The Clone Wars animated series, and for them Asoka was probably their hero.  And now in 2019 you have kids who are growing up watching the adventures of Rey, Finn and Poe.

In any case, even as a 43 year old I am able to look at the new movies and enjoy these new heroes.  I think they are great, and I’m happy younger viewers are connecting with them.

Here are the sketches I’ve gotten in my SW book over the past four years of some of these great new characters:

Finn by N. Steven Harris

Finn by N Steven Harris

This really detailed sketch of Finn from The Force Awakens was drawn by N. Steven Harris in June 2016 at the White Plains Comic Con.  Harris penciled Aztek: The Ultimate Man for DC back in the mid 1990s. He’s recently been doing great work on the creator owned series Ajala and Brotherhood of the Fringe, and on Michael Cray for DC / Wildstorm.

Rey by Russ Braun

Rey by Russ Braun

Russ Braun draws great convention sketches, and he also does such amazing likenesses. I was very happy with this sketch he did for me at New York Comic Con in October 2016 of Rey from The Force Awakens. He really captured actress Daisy Ridley’s features, and her character’s personality, in this piece.

BB-8 by Nik Virella

BB-8 by Nicole Virella

This was a quick sketch of the adorable BB-8 by artist Nicole “Nik” Virella, who drew the fan-favorite droid in the first Star Wars: Poe Dameron annual published by Marvel Comics in 2017. Virella had previously drawn some really funny, wacky Deadpool stories, but she really demonstrated her versatility with that SW annual. She did great work on it, and I hope that one day soon Marvel asks her to return to a galaxy far, far away.

Jyn Erso by Glyn Dillon

Jyn Erso by Glyn Dillon

After a short career in comic books Glyn Dillon became a storyboard and concept artist for movies and television. He was a concept artist and costume designer for the SW movies The Force Awakens, Rogue One and Solo. Dillon was sketching at New York Comic Con 2017 to raise money for the Hero Initiative. He drew this sketch of Rogue One protagonist Jyn Erso in my book. Dillon did a wonderful job capturing the likeness of actress Felicity Jones. It was cool getting someone who actually worked on the movies to contribute to the sketchbook.

Vice Admiral Holdo by Lynne Yoshii

Vice Admiral Holdo by Lynne Yoshii

The Last Jedi provoked some really divisive reactions among fandom, and the character of Amilyn Holdo, portrayed by Laura Dern, definitely epitomized that. People either seemed to love her or hate her. My girlfriend and I both liked Holdo a lot. In any case, I had the idea that Lynne Yoshii would do a really nice sketch of Holdo. Yoshii draws beautiful convention sketches with very vibrant colors, so I felt she would be perfect to draw a character with lavender hair. Yoshii drew this at the Diversity Comic Con held at Fashion Institute of Technology in Manhattan. She did a wonderful job capturing both the character’s personality and distinctive appearance.

That’s all for now, but hopefully I will have future opportunities to obtain sketches of the other great characters that have appeared throughout the Star Wars universe in its myriad incarnations.

Five (or so) episodes of The Twilight Zone for Halloween

This month is the 60th anniversary of The Twilight Zone, the eerie anthology series created by Rod Serling, which made its debut on October 2, 1959 with the episode “Where Is Everybody?”  With Halloween right around the corner, this felt like a good opportunity to briefly look at some of my favorite horror-themed episodes of the show.

Keep in mind, The Twilight Zone was not a horror series.  Serling was a writer who was very interested in addressing political & social injustice in his works.  He endured a significant amount of pushback and censorship from the conservative television networks of the 1950s.  Serling hit upon the idea of creating a sci-fi / supernatural anthology as a vehicle for addressing social issues through allegory.  It was a remarkably successful experiment.

If there was a regular type of horror present throughout the series’ five seasons, it was an unnerving sense of existential horror, of how sanity & existence & identity were often all-too-fleeting concepts.  Nevertheless, on occasion Serling and the writers working with him did delve into full-throttled horror, producing several episodes that were genuinely terrifying.

Twilight Zone logo

This is not any kind of “best of list” on my part. There are several episodes of The Twilight Zone that I like a lot more than some of these.  This is merely my list of five(ish) episodes of the series that I found spooky.

I am going to try to avoid spoilers.  Yes, I know, a lot of these episodes have been rerun endlessly in syndication.  But I’m sure that at least a few people haven’t seen them, and I want to try to preserve some of the surprises.

1) Perchance to Dream – Adapted by Charles Beaumont from his own short story, and directed by Robert Florey, this episode was broadcast on November 27, 1959.

Richard Conte plays Edward Hall, a man with a weak heart who dreams in sequence.  His latest series of dreams have taken place in an eerie, twisted carnival, where he meets the mysterious, seductive Maya, played by Suzanne Lloyd.  The beautiful Maya lures Edward onto the roller coaster, a ride that in his real, waking life he would never dare board.  Edward is now terrified of falling asleep again, because right before he awoke Maya was attempting to push him off the moving rollercoaster.  Edward believes that if he goes to sleep his dream will resume from that point, and because of his weak heart the shock of falling in the dream will kill him in real life.

I remember watching a rerun of this on television when I was a kid.  It really did scare the hell out of me.  The direction by Florey imbues the dream carnival with a twisted, ominous air, a palpable atmosphere of fear.  Lloyd’s performance of Maya oozes with equal parts sexuality and menace.  The twist ending is genuinely clever.

Twilight Zone Perchance To Dream

2) Mirror Image – Written by Rod Serling and directed by John Brahm, it first aired on February 26, 1960.

Vera Miles portrays Millicent Barnes, a young secretary waiting at a bus depot on a dark rainy night for an overdue bus to Cortland.  Millicent is unsettled when the employees at the depot act as if they have seen her before, when she knows she has never set foot on the premises until a few minutes before.  She spots a suitcase behind luggage check-in that looks just like hers, and is further disturbed when her own suitcase disappears. Retiring to the washroom to try to clear her head, Millicent is shocked to see in the bathroom mirror the image of a woman identical to her sitting out in the bus depot.  Millicent begins to suspect that she is being stalked by a malevolent doppelganger.

Serling’s script and the direction by Brahm combine to create an atmosphere of tense fear & suspense.  The scene with the double in the mirror is expertly executed by Brahm.

Miles does a fine job of portraying Millicent, an unnerved woman who at first begins to doubt her sanity, and who once she seemingly confirms the existence of her double is nearly overwhelmed by the horror of her situation.  Of course everyone else believes Millicent is off her rocker… at least until the episode’s final striking sequence.

Twilight Zone Mirror Image

3) Twenty-Two – Adapted by Rod Serling from a short story from the 1944 anthology Famous Ghost Stories, this was directed by Jack Smight, and broadcast on February 10, 1961.

Liz Powell, a young dancer played by Barbara Nichols with a Noo Yawk accent that would make Harley Quinn proud, has been hospitalized for exhaustion & nervous fatigue.  Each night Liz has the same nightmare, wherein she is compelled to leave her bed and take the elevator down to the hospital basement, to walk to Room 22, the hospital morgue. And each night the doors of the morgue swing open, and a coldly beautiful nurse emerges to menacingly tell her “Room for one more, honey.”  A pre-Lost In Space Jonathan Harris plays a doctor who very much needs to brush up on his bedside manner, as he condescendingly writes off Liz’s dreams as simple hysteria.  Of course, we then get to the twist ending, and everything shockingly, horrifyingly falls into place.

“Twenty-Two” was one of a handful of episodes from the second season that were recorded on videotape in an attempt by CBS to curb costs.  Unfortunately the episodes shot on video ended up looking cheap, and the actual savings were negligible, so CBS quickly ended the practice and went back to film.  Regrettably all these decades later “Twenty-Two” and the five other videotaped shows have a very poor visual quality.  That’s a shame, because Smight does a superb job at directing this episode.  Even on videotape there is a mood of fear & tension.  The sinister morgue nurse is effectively portrayed by Arlene Martel, who with just one short line of dialogue and a sinister expression creates a palpable presence of menace.

Yes, it’s another episode involving dreams.  And, yes, on subsequent viewings it does seem that Serling had to pad out the story to reach the required runtime.  But, honestly, the first time I saw this one it really creeped me out, and the ending felt like a genuine gut punch.

Twilight Zone Twenty-Two

4) Death Ship – Adapted by Richard Matheson from his own short story, this was directed by Don Medford. It was broadcast on February 7, 1963.

During the fourth season, the network mandated hour-long episodes, much to Serling’s chagrin as he believed, probably quite rightly, that the half hour format was the ideal length.  Indeed, most of the season four episodes contain a significant amount of padding.  Watching several of them, you get the feeling that these could have been really good, strong 25 minute episodes, but at 50 minutes there’s nowhere enough material to carry the stories.

“Death Ship” is probably the most notable exception.  Matheson utilized the longer runtime to expand upon his short story, effectively fleshing out both the characters and themes.

In the far-off future year of, ahem, 1997 the Earth spaceship E-89 is searching for inhabitable planets for humanity to colonize.  Orbiting an unexplored world, the three man crew glimpses something metallic on the surface.  Landing, they are horrified to discover the wreck of their own spaceship, their dead bodies within.  The bullheaded Captain Ross, played by Jack Klugman, insists there must be a perfectly logical explanation.  Perhaps they have somehow slipped forward in time and glimpsed a possible future in which they crash & die?  Or perhaps this is an elaborate hallucination created by aliens to drive them off?  Or perhaps…

This is another episode that really unnerved me as a kid.  There are some eerie scenes in this one.  The ending, as we realize exactly what is going on, is genuinely horrifying.

Twilight Zone Death Ship

5) Nightmare at 20,000 Feet – Richard Matheson adapted his short story of the same name.  The episode was directed by Richard Donner, then only 33 years old. It was broadcast on October 11, 1963.

Now this is the one everybody remembers.  Even if you’ve never seen it, you’ve undoubtedly heard of it.  It’s been remade twice, and has been referenced and parodied numerous times in popular culture.  Someone once opined that most of the really great episodes of The Twilight Zone are the ones that you can describe in a single short sentence.  Well, this is “the one with the monster on the airplane wing.”  And, setting aside all the hype, it really is a good, solid, scary episode.

A young William Shatner plays Robert Wilson, a man with a severe fear of flying who is recovering from a nervous breakdown.  While flying home from the sanitarium with his wife aboard a commercial airliner, Robert sees a creature on the wing of the airplane.  As a horrified Robert watches, the creature, a gremlin (a pre-Joe Dante incarnation, of course), pulls up the panels on the wing and begins mucking about with the wiring.  Robert, realizing that if the gremlin isn’t stopped the plane will crash, desperately tries to get both his wife and the flight crew to believe him, but because of his recent mental illness they all think he is hallucinating.  And the gremlin, grasping what is going on, begins to taunt Robert, each time gliding out of sight before anyone else can spot it.

As I previously wrote when discussing the work of Richard Matheson, I read the short story “Nightmare at 20,000 Feet” a few years before I saw the episode.  Visualizing the gremlin in my mind, I imagined something horrifically twisted & evil.  The imagination is unbound by any budgetary considerations.  The Twilight Zone, however, was a television series made in the early 1960s, so between a small budget and primitive special effects there was only so much that could be done.  Nevertheless, even though the gremlin has a more-than-passing resemblance to a panda bear, it was still rather effective.  The moment where Shatner yanks back the curtains to find the gremlin’s face pressed against the window leering at him is genuinely chilling.  Shatner’s frantic performance, Donner’s solid direction, a very realistic airplane set, and very believable rain & wind effects all come together to create one of the most frightening television episodes ever created.

Twilight Zone Nightmare At 20000 Feet

Honorable Mention: The Arrival – Written by Rod Serling and directed by Boris Sagal, this episode was broadcast on September 22, 1961.

During its five season run, The Twilight Zone recycled more than a few concepts, plots and themes.  The show had only a small pool of regular writers, with Serling himself writing or co-writing 92 of the show’s 152 episodes.  Given such an insane workload, it’s not surprising that from time to time Serling revisited old material.

“The Arrival” was the second episode of the third season, and some people regard it as the point where the show first began to blatantly recycle itself.  Serling’s script contains elements from a few episodes from the first two seasons.  It also has at least one significant plot hole.  Nevertheless, “The Arrival” is in my estimation an eerie, atmospheric episode.

As the episode opens, a Douglas DC-3 passenger plane, Flight 107 from Buffalo, touches down in New York.  The landing is perfect.  However once the plane taxis down the runway and comes to a stop, the ground crew is shocked to discover that the plane is empty: no pilot or co-pilot, no crew, no passengers, no luggage.  How could a plane that departed normally from Buffalo a few hours before arrive completely empty?  How could everyone aboard have vanished into thin air?

FAA Inspector Grant Sheckly, played by Harold J. Stone, is determined to get to the bottom of this mystery.  Touting his flawless 22 year record of closing cases, Sheckly is certain there must be an answer.  At last he hits on a wild, incredible theory, one he is convinced must be the answer.  Indeed, it appears that he is correct… until a moment later when the episode completely pulls the rug out from underneath him.

In spite of its flaws, I really like “The Arrival.”  It is legitimately unsettling, and I totally did not see the twist ending coming.  What really sells it is Stone’s devastating performance.  During the episode’s 25 minute runtime we witness Sheckly believably, and tragically, go from a supremely confident figure of authority to a broken shell of a human being.  Serling once again taps into that existential terror, the horror that at any moment all that we know & believe in might collapse around us.

Twilight Zone Rod Serling

There are many examples of television from the mid 20th Century that have aged very poorly, that have not stood the test of time.  The Twilight Zone is not one of these.  There are a number of episodes that are just as relevant in 2019 as they were in the early 1960s, if not more so.

Serling was one of those writers who tapped into the nature of the human condition, who wanted to understand what made us who we are, what drives us to do what we do, good and bad.  His plots often held a universal appeal, one that transcended culture and decade.  He also possessed a genuine talent for dialogue, for the use of words, for the crafting of intelligent & insightful scripts.  And finally, as these episodes demonstrate, he had a gift for tapping into human fears, and scarring the hell out of his audience.

Looking back at the Fantastic Four’s 25th Anniversary

This year Marvel Comics is celebrating their 80th anniversary with the release of Marvel Comics #1000 and a number of specials reuniting older creative teams.  The occasion prompted me to take a look back at 1986 in general, and at Fantastic Four #296 in particular, when Marvel celebrated their 25th anniversary.

Fantastic Four 296 cover

I’m sure at least a few people are wondering “How in the name of Irving Forbush could Marvel have celebrated their 25th anniversary in 1986 and then only 33 years later be celebrating their 80th?!?”

The fact is Marvel Comics actually has two anniversaries.  The first is for late August 1939 when Timely Comics, the company that would one day be known as Marvel, released their very first comic book, Marvel Comics #1 (with an October cover date).  The second is for early August 1961 when the first issue of Fantastic Four was published (with a November cover date) ushering in what is now known as the “Marvel era” or the “modern Marvel universe” that has been in continuous publication to the present day.

Marvel Comics 1 cover 1939 smallThis, of course, is very convenient for Marvel Comics, as it gives them not one but two historic anniversaries to celebrate every few years with high-profile specials and reprints, as well as the accompanying publicity.

In any case, back in 1986 it was the 25th anniversary of the debut of Fantastic Four #1 by Stan Lee & Jack Kirby.  Marvel made a fairly big deal of it, with Marvel Saga and The Official Handbook of the Marvel Universe Deluxe Edition offering in-depth explorations of the characters’ histories (in the days before trade paperbacks and the internet both of these titles were invaluable resources to young fans such as myself).  Marvel’s then editor-in-chief Jim Shooter also launched the New Universe with much fanfare, but due to various behind-the-scenes events that line ultimately did not last long.

Another part of the celebration was that all of Marvel’s comics released in August 1986 featured cover portraits of their lead characters, surrounded by a border of character illustrations, the latter of which were drawn by longtime Marvel artist John Romita.  A gallery of these covers can be viewed on Sean Kleefeld’s blog.

This finally brings us to the main subject of this post, namely Fantastic Four #296, the big 25th anniversary issue commemorating the birth of the Marvel era. This 64 page story was plotted by Jim Shooter, scripted by Stan Lee, lettered by John Workman, colored by Glynis Oliver, and edited by Mike Carlin.  It was drawn by a very impressive roster of artists: Barry Windsor-Smith, Kerry Gammill, Vince Colletta, Ron Frenz, Bob Wiacek, Al Milgrom, Klaus Janson, John Buscema, Steve Leialoha, Marc Silvestri, Josef Rubinstein, Jerry Ordway & Joe Sinnott.Fantastic Four 1 cover small

The set-up for “Homecoming” is a bit on the convoluted side.  A couple of years earlier, during the lengthy run by John Byrne that immediately preceded it, Ben Grimm aka the Thing had been written out of the book, and She-Hulk had come onboard the fill his spot.  In recent issues the Thing had been lurking at the periphery, as Byrne was setting the stage for him to finally return to the team in their 25th anniversary story.  But then Byrne abruptly departed Marvel, going over to DC Comics to do a high-profile reboot of Superman.  This left Shooter and Lee sort of scrambling to pick up the pieces, to tell a story that makes sense with what Byrne had recently been doing.

As FF #296 opens, the Thing is despondent.  His ex-girlfriend Alicia Masters is now dating Johnny Storm, the Human Torch.  The Thing, who resembles a large pile of orange rocks, feels more disconnected from humanity than ever.  After brooding in the rain at the site where Reed Richards’ rocket ship crashed years before, and the team all first gained their powers, Ben decides to exile himself to Monster Isle, home to the FF’s very first foe, the Mole Man, who himself has been ostracized by humanity.

Days later the rest of the team learn from pilot Hopper Hertnecky where their friend & teammate has gotten off to.  Hopper reiterates to them the Thing’s longtime frustration that while Reed, Sue and Johnny all gained amazing powers from the cosmic rays that bombarded their spaceflight, Ben was horrifically mutated.  Reed once again begins to beat himself up over his role in his best friend Ben becoming a monster.  However this time Sue bluntly states that this time Ben is unfairly taking out his frustrations on Reed, that whatever Reed did or did not do, he has attempted on numerous occasions over the years to help Ben, to find a permanent cure for him.

Motivated by Sue’s words, Reed decides he needs to see Ben one last time, to settle their argument once and for all.  Sue and Johnny insist on accompanying him.  She-Hulk and Wyatt Wingfoot, however, choose to remain behind, realizing that this is a family matter, and as close to the team as both of them are, they haven’t been there since the very beginning.

Fantastic Four 296 pg 9

Artwork by Kerry Gammill, Vince Colletta & Barry Windsor-Smith

Mister Fantastic, the Invisible Woman and the Human Torch journey to Monster Isle.  They are quickly attacked by the Mole Man’s army of strange monsters.  They are brought before the Thing, who has taken to dressing like the Mole Man.  Ben tells the others they shouldn’t have come, this is his home now.  He tells them that he is going to help the Mole Man create a safe haven for outcasts of society.

Ben is convinced of the Mole Man’s altruism, but he begins to experience doubts when Alicia unexpectedly arrives.  The blind woman coerced Hopper into flying her to Monster Isle, so that she can make her peace with Ben.  Learning that Alicia has broken up with Ben, and that Ben has been showing the rest of the team around the subterranean domain, the Mole Man’s bitterness & paranoia inflame.  He has his servants kidnap & disfigure the Human Torch as punishment for Johnny “stealing” Alicia from Ben.

As upset as Ben is about Alicia being with Johnny, this nevertheless shocks & disturbs the Thing’s confidence in the Mole Man.  Ben’s faith is further shaken when Reed explains that the earth-moving device the Mole Man intends to use to create an island refuge for humanity’s freaks & outsiders will cause devastating damage to the mainland.

At long last Ben realizes that no matter how noble Mole Man’s motives might be, he is nevertheless a disturbed, dangerous fanatic.  The Thing joins with the others to wreck the Mole Man’s machines, and to restore Johnny to normal.  As the subterranean headquarters beneath Monster Isle crumble, they make a break for it.  The issue ends as they are rescued by Hopper in a rubber raft.  A grumbling Ben reluctantly admits that his place is with the team, and at long last the Fantastic Four are reunited.

Fantastic Four 296 pg 19

Artwork by Ron Frenz & Bob Wiacek

The plot by Jim Shooter is a solid one, in that it achieves two primary goals: It commemorates the anniversary & history of the Fantastic Four, and it gets the original line-up back together for the first time in two and a half years.  Perhaps it’s not the best FF issue I’ve ever read, or the most imaginative, but it’s entertaining.

The script by Fantastic Four co-creator Stan Lee is also good.  In later decades Lee sometimes became almost a parody of himself, with his whole “Face front, true believers!” bombastic, tongue-in-cheek style of prose and promotion.  Some of that is certainly on display here.  However, as the editor and the main writer / scripter at Marvel throughout the 1960s, Lee was largely responsible for giving most of the company’s characters their distinctive voices & personalities. Looking at this story it is apparent that he had remained capable of poignant, dramatic writing, especially if paired up with a talented artist / collaborator.  Lee’s opening narration and dialogue for FF #296 is very effective and combined with the art by Barry Windsor-Smith results in a genuinely moody, atmospheric scene.

Speaking of the artists, there are some distinctive choices on display in FF #296.  The aforementioned work by Windsor-Smith immediately set the tone.  On several pages the story cuts back & forth between his art and a flashback of the FF’s origin drawn by Kerry Gammill & Vince Colletta.  It definitely offers an interesting contrast.

In general I am not overly fond of Colletta’s inking.  Nevertheless, back in the mid 1960s he did ink several of the Lee & Kirby FF issues, and his work on this story in conjunction with Gammill’s pencils evokes a Silver Age feel that is very well suited to a retelling of the events of the team’s first story.

There are several pages by the team of Ron Frenz & Bob Wiacek.  Frenz is a very solid, effective storyteller, so he is certainly well-suited to dramatically render scenes that feature a significant amount of exposition and character moments.  Wiacek is one of the best inkers in the biz, and his finishes complement Frenz’s pencils.

Fantastic Four 296 pg 26

Artwork by Al Milgrom & Klaus Janson

I also enjoyed the pages by Al Milgrom & Klaus Janson.  They are two artists with very different styles, yet the combination works very well.  Milgrom’s super-hero oriented penciling is very effective for rendering the team fighting the Mole Man’s weird, wacky monsters, and Janson’s inking gives it a darker, gritty feel.

The next pairing, John Buscema inked by Steve Leialoha, is a bit odd.  Both are incredibly talented artists, to be certain.  In addition, Buscema was the first regular penciler on FF after Kirby left the title, doing really good work during the early 1970s, so he’s an appropriate choice to contribute to this issue.  Nevertheless, I do feel Leialoha’s inks sort of subsume Buscema’s characteristic style.  Of course, it is possible that Big John was only contributing layouts, something that became more prevalent for him in the 1980s, leaving it up to Leialoha to do the lion’s share, and resulting in more of his style coming through.

I think that under any other circumstances the team of Buscema & Leialoha would have been very effective.  It’s just that here, on this particular story, a somewhat more traditional inker might have been a better fit for Big John.  But that’s purely an emotional, sentimental judgment on my part.  At the very least, this does demonstrate once again just how significant an impact the inker can have on the finished artwork.

Fantastic Four 296 pg 36

Artwork by John Buscema & Steve Leialoha

The next segment is by then up-and-coming penciler Marc Silvestri and established inker Josef Rubinstein.  This was a year before Silvestri would begin his well-received run on Uncanny X-Men, but there’s definitely a lot of potential on display, with solid action & effective storytelling, and it’s apparent why he soon became a hot artist.  Rubinstein’s inking ably supports the young penciler.

Rounding out the issue is Jerry Ordway on pencils and Bob Wiacek & Joe Sinnott on inks.  It was certainly very appropriate to have Sinnott involved in this issue.  He had a long, acclaimed association with the Fantastic Four series.  Sinnott inked the second half of Lee & Kirby’s long FF run, and is generally regarded as one of the best inkers ever paired with Kirby.  After Kirby left Marvel, Sinnott continued as the book’s inker for over a decade, working over John Buscema and several other pencilers, right up until the beginning of Byrne’s run.

That said, in my mind Ordway inked by Sinnott was another unusual choice.  Sinnott is an inker whose work is almost always recognizable, no matter who he inks.  Ordway, however, is one of those pencilers whose style is so strong & distinctive that, no matter who inks his pencils, the finished artwork basically looks the same.  To my untrained eyes Ordway inked by Sinnott does not look much different that Ordway inking himself, or Ordway inked by Wiacek or Al Gordon or Dennis Janke or anyone else.

Of course, this may also be down to Ordway and Sinnott having similar styles.  Ordway has cited Sinnott as one of his major influences.

Oh, well… I’m probably quibbling.  The pages by Ordway, Wiacek & Sinnott look great, and that’s the important thing.  Ordway has stated that growing up in the 1960s he was a huge Marvel fan, so it must have been a thrill for him to work on several issues of Fantastic Four around this time, especially this anniversary story.

In any case, the back cover artwork is by John Buscema & Joe Sinnott.  It’s a really nice image that showcases both artists’ styles, and really evokes the early Bronze Age era of the title.  So that gives us a really good example of “traditional” FF artwork.

Fantastic Four 296 pg 43

Artwork by Marc Silvestri & Josef Rubinstein

However, there are two individuals who were not involved with Fantastic Four #296.  The first is Jack Kirby.  The second is John Byrne.

Kirby is, of course, the co-creator of Fantastic Four.  He co-plotted & penciled the first 102 regular issues of the series, as well as the first six annuals.  Kirby’s role in the creation & development of the Marvel universe cannot possible be overstated.

Unfortunately in 1986 Kirby was involved in a protracted battle with Marvel’s owners over both the rights to the characters he helped create and the thousands of pages of original artwork he had drawn for the comics.  This made his participation in this anniversary issue impossible.  Even if Marvel had asked him to contribute, given how angry he felt at his mistreatment by the company I am sure he would have refused, and I certainly would not have blamed him.

As for Byrne, he is often credited with the revitalization of the Fantastic Four title.  The writing on FF throughout the 1970s is generally regarded as uneven.  Byrne came onboard as writer & artist with issue #232 in 1981, and very quickly made the FF into an exciting, popular series.  His time on the book is frequently compared to the original Lee & Kirby run.

However, once again real-world events intruded.  By 1986 Byrne and Shooter were not on good terms and, as previously mentioned, this led to Byrne abruptly leaving Fantastic Four.  His last full issue was #293, released just three months earlier.

Fantastic Four 296 pg 64

Artwork by Jerry Ordway & Joe Sinnott

I doubt that back in late 1986 any of this impacted on my reading of Fantastic Four #296 in the slightest way.  As I said before, this was pre-internet, so I had no way of easily finding out about all of these events.

Nowadays, though, I have a much greater knowledge of the history of the Fantastic Four series, and an awareness of what was going on at Marvel in the mid 1980s.  So when I re-read this issue a couple of weeks ago, the absences of Jack Kirby, who co-created the first decade of the book, and John Byrne, who had just come off a five year run that saw a creative renaissance, felt especially conspicuous, as well as exceedingly unfortunate.

Not to jump on an anti-Marvel bandwagon, but I certainly understand why over the past three decades so many artists & writers have chosen to go the creator-owned route.  After all, if Marvel can screw over Kirby, the guy who created many of their characters, well, they’re certainly not going to hesitate to kick anyone else to the curb, either.  Far better to retain ownership of your characters and benefit fully from their success, no matter how modest, than to create a runaway hit for Marvel (or DC Comics, for that matter) and see other people make millions of dollars off your creativity.

Having said all that, I do still enjoy a few Marvel and DC books, such as Fantastic Four (the current run written by Dan Slott is the best the book has been in a long time).  I just believe that it’s absolutely crucial for anyone who wants to work for the Big Two to go in with their eyes open, to know exactly what their rights are, and to be fully aware of the history of the industry, so that they do not find themselves in the same position that Kirby and so many others unfortunately did.

Fantastic Four 296 back cover

Artwork by John Buscema & Joe Sinnott

One other note:  Back in 1986, I was 10 years old, and the idea that Marvel was celebrating its 25th anniversary was a little difficult to comprehend.  To me 1961 seemed so incredibly far in the past.

Contrast this to a couple of years ago, when Image Comics celebrated their 25th anniversary.  My first reaction was that there was absolutely no way Image could be 25 years old, and it was impossible for 1992 to have been a quarter of a century ago.

I guess it’s just one of those matters of personal perspective.  Anything that happened before you were born is automatically ancient history, and anything that happened during your lifetime, even if it was decades ago, still feels like the recent past because you were there and experienced it firsthand.

Remembering Doctor Who writer Terrance Dicks

British writer Terrance Dicks passed away on August 29th.  He was 84 years old.  Dicks worked on such varied projects as the spy-fi series The Avengers, the soap opera Crossroads, and the BBC’s Sunday Classics series of literary adaptations.

However it is for his lengthy association with the science fiction series Doctor Who that Dicks is best remembered.  He first became involved with Doctor Who in 1968 and worked on various incarnations of the show right up until the time of his death.

Terrance Dicks

As Dicks himself readily admitted in his humorously self-effacing style, becoming the assistant script editor on Doctor Who in 1968 was as much a case of him being in the right place at the right time as it was his abilities as a writer.  He came onboard during the show’s fifth season, Patrick Troughton’s second year as the Doctor, during the production of the serial “The Web of Fear.”  Dicks’ enduring memory of that story was the production team’s futile efforts to make the robot Yetis’ roars sound less like a flushing toilet.

The first story Dicks was actively involved in commissioning was “The Krotons” by Robert Holmes.  The sixth season of Doctor Who was beset by various commissioned stories falling apart late in the day, leaving co-producers Derrick Sherwin and Peter Bryant scrambling to find usable scripts.  “The Krotons” was once such last-minute replacement.  For years afterwards Dicks would refer to the Krotons as one of Doctor Who’s silliest monsters.  At the same time, though, the scripts by Holmes were solid, and as Dicks himself was always quick to point out, Holmes would very quickly go on to become arguably the best writer to ever work on Doctor Who.

As script editor Dick was also the uncredited co-writer of the six part Brian Hayles serial “The Seeds of Death.”  Due to the ongoing production problems the serial was only in a draft state, needing a significant amount of work before it could go in front of the cameras.

Doctor Who The KrotonsBut it was the final serial of the 1969 season that truly saw Dicks’ baptism of fire.  Those aforementioned production problems led to the simultaneous collapse of the four-part and six-part serials that were to end the season.  In desperation Sherwin instructed Dicks to write a single 10-part serial to close out the year, with the provisos that series regulars Patrick Troughton, Frazer Hines & Wendy Padbury all be written out at the end, that the Doctor’s previously-unrevealed people the Time Lords be introduced, and that the Doctor be exiled to present-day Earth.  Oh, yes, and Sherwin needed Dicks to write those 10 scripts ASAP.

An understandably frantic Dicks corralled Malcolm Hulke, the writer who several years earlier had helped him get his foot in the television door, and with whom he had co-written several episodes of The Avengers. Working at a furious pace, the two of them somehow managed to crank out the scripts for all 10 episodes in less than a month.  Despite the absolutely insane circumstances under which “The War Games” came to be written, it went on to become a well-regarded serial.

The seventh season of Doctor Who saw even more changes and challenges for Dicks.  Sherwin and Bryant both departed, but not before making the aforementioned decision to exile the Doctor to Earth to become the scientific advisor to Brigadier Lethbridge-Stuart and the UNIT organization.  This was Sherwin’s desperate cost-saving measure for a show with declining ratings that the BBC was seriously considering canceling.

Fortunately several things took place that would guarantee Doctor Who’s future.  Jon Pertwee was cast as the new Doctor, the show switched from black & white to color, Barry Letts came onboard as the new producer, and Dicks became the full-time script editor.  Pertwee was a perfect fit for the Doctor, the color production also brought new attention to the series, and Dicks & Letts instantly clicked, becoming not just close collaborators but lifelong friends.

Doctor Who RobotIt was Dicks & Letts who devised the Doctor’s arch-nemesis the Master.  Dicks observed to Letts that the Doctor was very much like Sherlock Holmes, and the Brigadier was like Watson.  So why not introduce a Moriarty for the Doctor?  Letts immediately took to the suggestion, and right away suggested actor Roger Delgado, who he had worked with in the past, for the role.  Delgado was indeed a brilliant casting decision.  Pertwee and Delgado had immediate chemistry as the rival Time Lords, which further energized the show.

Dicks was the script editor for Pertwee’s entire five year stint on Doctor Who.  In that capacity Dicks was basically the uncredited co-writer for the entire Third Doctor era of the series.  In 1974 when Pertwee decided to depart, Dicks and Letts also made the decision to move on, but not before casting Tom Baker as the new Doctor, a decision that would eventually result in the show becoming even more popular.

Dicks also finagled the job of writing Baker’s debut story “Robot,” crafting a four part serial that was simultaneously thought-provoking and humorous.  It contains one of my all-time favorite lines of dialogue from the series, with the Doctor attempting to stop a computer from triggering the simultaneous launch of the world’s nuclear weapons while breezily observing:

“The trouble with computers, of course, is that they’re very sophisticated idiots. They do exactly what you tell them at amazing speed, even if you order them to kill you. So if you do happen to change your mind, it’s very difficult to stop them obeying the original order, but… not impossible.”

Dicks would write several more television stories for Doctor Who.  Robert Holmes became the new script editor, and commissioned Dicks to write “The Brain of Morbius.” Regrettably, due to technical issues Holmes had to do significant rewrites.  As Dicks later recounted:

 “I was furious when I read the rewritten scripts for ‘The Brain of Morbius’. I rang up Bob Holmes and shouted at him down the telephone. Eventually, I said ‘Alright. You can do it, but I’m going to take my name off it’ – the ultimate sanction! Not because it was a bad show, but because it was now more him than me. He asked ‘Well what name do you want to put on it?’ I said ‘I don’t care. You can put it out under some bland pseudonym’ and slammed the phone down. Weeks later, when I saw the Radio Times, I noticed it was ‘The Brain of Morbius’ by Robin Bland. By then, I’d cooled down and the joke disarmed me completely.”

Dicks also wrote ”The Horror of Fang Rock” for Holmes in 1977, and “State of Decay,” which was broadcast in 1980 during Tom Baker’s final season.  “State of Decay” was somewhat revised by the then-current script editor Christopher H. Bidmead.  In that case I personally feel the blending of Dicks’ and Bidmead’s very disparate approaches to the show actually resulted in a much stronger story, one where the whole is greater than the sum of its parts.  Dicks’ final contribution to the television series was in 1983, writing the 20th anniversary special “The Five Doctors.”

Doctor Who Auton InvasionAlthough he was no longer working of the TV show itself, Dicks remained a key part of the world of Doctor Who via his prose writing.  Back during his time as script editor he had been commissioned by Target Books to write novelizations of the show’s various serials.  The first one Dicks wrote was Doctor Who and the Auton Invasion, adapted from Robert Holmes’ scripts for Pertwee’s debut story “Spearhead in Space” and published in January 1974.

Dicks was the unofficial editor of the Doctor Who book line.  He would attempt to get the original writers to adapt their own scripts.  Malcolm Hulke and former script editor Gerry Davis each wrote several of the novelizations, as did actor-turned-writer Ian Marter.  However, due to the low pay, most of the time Dicks ended up to writing them himself, and eventually he would pen over 60 of them.

To truly appreciate the impact of these novelizations on Doctor Who fandom, you need to understand the time period in which they were published.  In the 1960s and 70s the BBC would typically air Doctor Who episodes once, with perhaps an occasional repeat of a serial at the end of the season or during the holidays.  If you missed seeing an episode when it first aired, chances were good that you were never going to see it.  There was no home video or DVDs or DVRs or streaming or anything like that.

On top of that, due to videotape being expensive, and film taking up a great deal of space, the BBC routinely wiped videos of older shows, and junked the film copies they made to sell their programs to foreign countries.  Doctor Who was one of many series to be affected by this policy.  By the end of the 1970s nearly all of the Doctor Who episodes from the 1960s were missing from the BBC archives.  A decent-sized chunk of Pertwee’s five year tenure was also absent.

Doctor Who Carnival of MonstersSo, if you were a fan in the early 1980s, between the paucity of reruns, the non-existence of home media, and the seeming destruction of many of the episodes from the first 12 years of the show, the novelizations by Terrance Dicks & Co were literally the only way you could experience older stories.  If you wanted to discover the show’s past, the novelizations were absolutely invaluable.

Fortunately a lot of those missing stories have since been recovered, and a handful of the still-missing episodes have been recreated via animation.  Nevertheless, there are still certain serials that are partly or completely missing where the novelization is a way in which you can experience the story.

I well remember exactly how much the novelizations affected me as a Doctor Who fan.  I started watching reruns on the PBS station WLIW in 1984, when I was eight years old.  I came in at the tail end of Tom Baker’s run, and then saw the Peter Davidson stories.  The stories sometimes referenced the show’s past, and these were tantalizing hints of an exciting history that I had no way of experiencing.

Then one evening at the Galleria shopping mall in White Plains NY, at the Waldenbooks, I came across an entire display of Doctor Who novels.  To my young, excited eyes there were dozens of them, with colorful, exciting covers, featuring aliens and giant monsters and dinosaurs and spaceships and other weird, exciting sights.  (The covers to The Auton Invasion and The Carnival of Monsters by artist Chris Achilleos seen above are good examples of the sort of covers that appeared on the Target novelizations.)  I immediately wanted to buy one… but my father wouldn’t let me.  I don’t know why, but he seemed convinced that I wasn’t going to actually read it.  But over the next week or so, I begged & pleaded.  My father finally gave in, and the next time we went to Waldenbooks he let me buy one.  I finished that book in just a few days, and was soon asking my parents to let me buy another.

Doctor Who Power of KrollNow here’s the humorous part of the story.  That first novelization I got was Doctor Who and the Power of Kroll, written by Terrance Dicks, based on Robert Holmes’ script.  I had never seen the TV story, and I bought it because it had Tom Baker’s Doctor with a really weird gigantic monster on the cover.  Reading the book by Dicks, I became convinced that “The Power of Kroll” had to be an absolutely amazing TV story. A few years later I was certainly in for a rude awakening!

This was the first, but certainly not the last time, this would happen to me with the novelizations.  The benefits of the prose format was that it allowed Dicks and others to work with an unlimited budget, to not worry about dodgy special effects and cheap sets and rubbish costumes.  Within the imagination of readers such as myself everything was real.

The prose format also allowed Dicks and the other adapters to get into characters’ thoughts, to expand certain scenes, to restore moments that had been left on the cutting room floor, and to fill in plot holes that came about during the series’ always-rushed production schedule.  There were several times when I read novelizations by Dicks before I got to see the actual episodes, and almost inevitably the book versions were better than the original television episodes.

As I discussed in my review of the 1972 serial “Day of the Daleks,” in his novelization Dicks did a superb job of expanding, and improving upon, the television episodes.  Another example that comes to mind is his adaptation of the debut story of the Master, “Terror of the Autons.”  The book improves upon the broadcast version in several ways.   Certainly the cyclopean octopus-lobster hybrid form of the Nestine Consciousness described in the book is a much more formidable menace than the blob of energy we saw on TV screens.

Doctor Who Terror of the AutonsIn the early 1990s Doctor Who had been cancelled and the majority of the serials had been novelized.  The decision was made to begin publishing original novels.  Several of the writers who have worked on the revival of Doctor Who launched in 2005 got their start on these novels.  And also present was Terrence Dicks, who wrote several novels over the next two decades.

It’s interesting to contrast the approaches of the younger writers with Dicks.  Most of the younger writers were very experimental, writing books that were part of larger arcs, and having catastrophic stuff happen to the TARDIS, and making the companions the main characters who drive the plot forward, and showing the Doctor acting as this Machiavellian cosmic chess master.  Obviously this laid the groundwork for a lot of what was subsequently done in the television revival.

Having said that, sometimes it got a bit tiresome, and you wanted to read a novel where the TARDIS just landed somewhere randomly, depositing the Doctor and his friends in the middle of an exciting adventure.  That was the approach favored by Dicks, and he tried to utilize that more traditional story structure in his novels.  Occasionally his books could become too heavily referential to past continuity.  But on the whole they were fun reads.  Certainly I enjoyed his 1995 novel Blood Harvest, which was a sequel to his serial “State of Decay.” I think it contained a nice balance between the new direction of the novels and a more traditional story.

Doctor Who Blood HarvestAnother book by Dicks that really stood out in my mind was Players, which was published in April 1999.  Dicks did a great job writing the Sixth Doctor and Peri.  I’ve made no secret of the fact that I feel Colin Baker and Nicola Bryant were given some underwhelming material to perform when they were on the show.  Reading the novel Players led me to wish Dicks could have worked on the show during the Sixth Doctor’s all too short tenure.  As I said, Dicks loved to reference continuity in his novels, but at the same time he was usually cognizant that you absolutely needed a strong story on which to anchor all of those tie-ins to past adventures.

Dicks continued to write Doctor Who prose fiction after the 2005 revival.  He penned Made of Steel and Revenge of the Judoon, a pair of “Quick Read” novellas starring the Tenth Doctor & Martha Jones, and he did a novelization of “Invasion of the Bane,” the debut episode of Who spin-off show The Sarah Jane Adventures.  A final short story, “Save Yourself,” is scheduled to be published posthumously later this year in the anthology Doctor Who: The Target Storybook.

A gifted raconteur, Dicks was an enthusiastic participant in the Doctor Who DVD audio commentaries & behind the scenes documentaries.  He was a popular guest at conventions.  I had always wanted to meet him.  Unfortunately when he was at the Doctor Who convention on Long Island in 2014 I was unemployed & short on funds, so I was unable to go.

Everyone who knew Dicks spoke warmly of him, and the tributes that have been written over the past week have all been heartfelt.  He certainly was an important and influential figure in helping to make Doctor Who the ongoing success that it is.

It Came from the 1990s: Ivar the Timewalker

Welcome to the latest edition of Super Blog Team-Up!  This time our theme is immortality.  I will be taking a brief look at the comic book character Ivar Anni-Padda, aka the Timewalker, the immortal time travel whose adventures are published by Valiant.

Truth to tell, I was already planning to do a piece about Ivar, since this month marks 25 years since the publication of Timewalker #1, which came out in August 1994. (Time really does fly!)  So when this installment of SBTU came along, it felt like synchronicity.

Timewalker 1 cover

Ivar the Timewalker is a free-spirited swashbuckling adventurer who over his thousands of years of life has crisscrossed across the ages.  Both his visual appearance and his immortality evoke Conner MacLeod from the original Highlander movie released several years earlier.  However, in regards to both his more lighthearted personality and his time traveling exploits Ivar seems to anticipate another immortal figure by more than a decade, Captain Jack Harkness from Doctor Who and Torchwood.

As I have mentioned before, the 1990s often have a bad reputation when it comes to comic books.  Yes, a lot of really bad comics came out in that decade.  However, there were also some really great ones, as well.  Some of the best were published by Valiant Comics, a great company that was founded in 1989 by Jim Shooter, and which in its early days saw significant contributions from talented creators Barry Windsor-Smith and Bob Layton.  I really should have blogged about Valiant before now.  In the first half of the 1990s I avidly followed their comics.  I was especially a fan of Ivar, who eventually starred in his own series.

Initially in the Valiant universe it was established that there were two immortal brothers: Gilad Anni-Padda, aka the Eternal Warrior, and Aram Anni-Padda, aka Armstrong.  The two were polar opposites.  Gilad was a fierce & ruthless warrior who worked in the service of the mystic Geomancers who sought to safeguard the Earth.  Aram, on the other hand, was an alcoholic hedonist, a millennia-old party animal who in the present day had established a friendship with the mortal teenage monk Archer.

In early 1993 we finally met the third brother, Ivar.  Archer & Armstrong / Eternal Warrior #8 was a double-sized issue combining the two ongoing series.  It features Armstrong telling Archer the true story of D’Artagnan and the Three Musketeers, who in the Valiant universe were actually Gilad, Aram and Ivar.

Written & penciled by Barry Windsor-Smith, inked by Bob Wiacek, colored by Maurice Fontenot, and edited by Bob Layton, “The Musketeers” relates how in France in the early 18th Century the Geomancer Angelique D’Terre foresaw the events of the French Revolution and attempted to forestall them.  Working with Gilad, she ruthlessly maneuvered to replace King Louis XIV with his secret twin brother, the so-called Man in the Iron Mask.

However, inverting the events of Alexandre Dumas’ novel, in this reality Louis is merely an incompetent moron, whereas his brother Henri is a brutal monster.  Belatedly realizing that replacing Louis with his brother will make a bad situation infinitely worse, Angelique and Gild are able to undo the switch, but not before Henri has raped & murdered D’Artagnan’s fiancée.  Ivar is completely disgusted at Gilad’s machinations, and at what the failed scheme has cost their friend D’Artagnan.

Archer Armstrong 8 pg 29

Sooon enough we meet Ivar again, this time in then-present day London, England, within the pages of Archer & Armstrong #10-11 by the team of Windsor-Smith, Wiacek & John Floyd, and Fontetot.  Ivar is attempting to access a “time arc” that will at long last take him back to Egypt in 37 BC, back to the side of his beloved Queen Nefertete.

Armstrong arrives to visit his brother, with young Archer in tow.  The trio is soon ambushed by a group of time-displaced civilians from across the centuries who have all ended up in 1992, and who believe Ivar is responsible for abducting them.  Armstrong, however, informs them that he is to blame, that his efforts to find a way to return Ivar to Ancient Egypt inadvertently drew all these people from across the ages.  Fortunately the nuclear-powered Solar arrives to inform Armstrong that an old foe of his is tearing up Los Angeles looking for him.  Solar is able to use his powers to re-energize Armstrong’s time portal, which he uses to send all of the abductees back to their proper time & place.

Solar offers to finally send Ivar back to 37 BC.  Faced with the possibility of finally being reunited with “Neffi,” Ivar is actually nervous.  Letting down his guard, revealing for once the cost he feels immortality has exacted, Ivar explains to his brother:

“It’s been, like… three thousand years since I last saw Nefertete, man — and I’ve lived a zillion lifetimes since… I’m not the same guy she loved back then… I’m afraid that I may have… changed too much for her to accept me again.”

Armstrong tells Ivar that if he has changed in the millennia since he’s seen Neffi then it’s probably for the better.  Encouraged, Ivar enters the time portal.  Unfortunately F7, a robot from the 41st Century who has grown attached to Ivar, leaps in right after him, hoping to join him in Ancient Egypt.

Archer Armstrong 11 pg 19

When we next see Ivar it is in Magnus Robot Fighter #33 (Feb 1994) in a story plotted & penciled by Jim Calafiore, scripted by John Ostrander, inked by Gonzalo Mayo and colored by Mark Csaszar.  Due to F7 jumping into the time arc, he and Ivar instead end up in North Am in the year 4002 AD.  Unfortunately since F7 has been away the Earth has been invaded by the sentient alien robots the Malevs.

F7 quickly comes under the control of the Malevs, who scan his memory and learn about Ivar.  The Malev Emperor realizes that if it can capture Ivar and replicate his powers, the Malevs can travel back in time to prevent the births of Magnus and Rai, thereby ending the resistance against the invasion before it even began.

Ivar, understandably annoyed at once again being in the wrong place at the wrong time, encounters Magnus.  Soon discovering exactly who Ivar is, Magnus realizes he needs to keep the time traveler out of the Malevs’ metal clutches long enough for another time arc to materialize.  At long last one does open.

Hopping on a sky cycle while the Robot Fighter is being overwhelmed by Malev soldiers, Ivar promises that he will send help.  He then flies into the time arc, and for a minute it looks like Magnus is going to be killed, until literally out of nowhere Rai and his allies arrive to save him, with a mystified Rai explaining the nanites in his blood told him to come to here, that somehow the nanites knew Magnus needed help at this exact time & place.

And elsewhere in time, now in a vast barren desert, in an example of what Doctor Who would later describe as “wibbly wobbly timey wimey,” Ivar records a journal entry:

“Time jump report, supplemental. Make note – the next time I see Bloodshot, have him program the information about Magnus into his nanites. Have to be careful so that Bloodshot himself doesn’t learn too much about his own fate. If I understand all this correctly, the nanites will compel the man known as Rai to go to Magnus’ aid.”

Magnus Robot Fighter 33 pg 6

Having completed his report, Ivar wonders where exactly he has gotten to this time.

Both Ivar and the audience would learn the answer in the Timewalker Yearbook #1.  Published in early 1995, this annual was plotted by Jon Hartz, scripted by Kevin VanHook, penciled by Elim Mak, inked by one of my favorite artists, the talented Rudy Nebres, and colored by Eric Hope.

Offhand I didn’t recognize the name Jon Hartz, so I asked VanHook about him on Facebook.  I also told VanHook that Timewalker was one of my favorite Valiant characters. He responded:

“Jon was our head of marketing. He was also very creative and had a hand in building the character of Timewalker.

“I always liked Timewalker. I didn’t get to do a lot with him, but I enjoyed the character.”

Opening in the same place & time that Magnus #33 ended, the Yearbook has Ivar still exploring the vast desert on his sky cycle.  A loud rumbling and dust storm on the horizon comes towards him, and in the next instant Ivar is nearly overrun by thousands of stampeding dinosaurs, followed by an immense tidal wave.  Ivar belatedly realizes the desert he was in was the Mediterranean Basin, and the titanic deluge of water is the Atlantic Ocean flooding over the Gibraltar Straight to create the Mediterranean Sea.

Of course, it is now generally accepted that the cataclysmic flooding of the Mediterranean Basin actually occurred approximately 5.3 million years ago, long after the dinosaurs died out.  But, hey, I’ll let this one slide, because the spectacle of charging dinos makes for a dramatic moment, and Mak, Nebres & Hope certainly do an incredible job of depicting it.

Timewalker Yearbook pgs 2 and 3

Just in the nick of time, another time arc opens as the massive wave reaches Ivar,  bringing him to a New York City rooftop in April 1992.  This very wet & violent arrival brings Ivar to the attention of the ruthless Harbinger Foundation, which dispatches several operatives to investigate.  That, in turn, results in the Foundation’s rivals the H.A.R.D. Corps also wanting to bring in Ivar for questioning.  The Foundation’s team of Eggbreakers captures Ivar, but he is quickly rescued by the Corps.  Ivar finds himself in another one of those lovely time paradoxes when he addresses the Corps’ leader:

Ivar: Listen, Gunsliger… I know we’ve never really gotten along…

Gunslinger: Gotten along? I don’t even know you, buddy.

Ivar: That’s right… not yet.

Gunslinger: What?

Three pages later Ivar learns exactly why Gunslinger later doesn’t like him when the time traveler blows up the wrecked sky cycle in order to escape.  And two months later, waiting to catch another time arc in the Rocky Mountains, Ivar humorously reflects on the paradox…

“Have to remember to look up when I met Gunslinger. I think it was ’94 or ’95… Too bad I can’t warn myself that he’s going to slug me!  Oh, well… I’ll deserve it!”

I like the idea that Ivar kept a journal of his travels. Considering he had lived for thousands of years and he was constantly bouncing back & forth in time, it was a good way for him to keep track of his innumerable experiences.

Going back in time, at least publishing-wise, we finally get to the first issue of Timewalker.  The series spun out of Valiant’s company-wide crossover The Chaos Effect.  A dark necromantic power from the end of time follows Ivar back to 1994, where it consumes the planet’s electrical energy.

I found The Chaos Effect to be sort of an underwhelming storyline.  Whatever the case, at least it led to Ivar finally receiving his own solo book.

Chaos Effect epilogue

Ivar spends most of The Chaos Effect unconscious, but he wakes up in time for an epilogue written by Bob Hall, penciled by Don Perlin, and inked by Gonzalo Mayo.  Once again meeting Magnus, this time in the present day, Ivar shares some slightly tongue-in-cheek insights into his experiences as a time traveler:

“History’s all relative, anyway. If history describes something a certain way, and you go to the time where it happened, then you were always there… so it probably turned out the way history describes just because of you. You may as well just show up and have fun.

“Beyond that, carry condoms, a flashlight and matches, beware of the drinking water, make loud noises to scare off bears and humans, and take chewing gum. Every era likes chewing gum.”

With that Ivar leaps into the next time arc, and into the pages of his own series.

“Ivar the Traveler” is by the team of Hall, Perlin & Mayo, with colors by Stu Suchit, and editing by Layton.  Ivar’s latest journey through time deposits him in Briton during the time of the Roman occupation.  The time traveler ends up trying to fight off a group of drunk, violent Roman soldiers who are doing the whole “rape & pillage” thing, including one who spots Ivar and shouts “You!!! I told you if I ever saw you again I’d kill you!”  Of course, Ivar hasn’t met this fine fellow… yet!

Cursing the perils and paradoxes of time travel, Ivar attempts to fight off the soldiers.  And then another time arc opens, scooping up Ivar.  Looking around, the time traveler spots a Nazi patrol, and realizes he is in Europe during World War II.

Successfully infiltrating the Nazi forces, Ivar eventually ends up encountering the captive Professor Weisenfeld and his young son.  Pretending to interrogate the scientist, Ivar explains how he has come to be there:

“In 1998 you have a grandson named Mack. He’s a friend of mine and he’s fixing my tachyon compass… He told me that when I land here I have to rescue you. Otherwise he doesn’t get born and my compass doesn’t get fixed.”

And as if this story wasn’t already wibbly wobbly timey wimey enough, a minute later the Eternal Warrior bursts into the prison, leading to the following exchange:

Ivar: Gil, what are you doing here?

Gilead: You told me to come! 1934, you told me to show up here, don’t you remember?

Ivar: No! I haven’t done that yet!

Good thing for Ivar that Gil wasn’t still holding a grudge over their argument back in 18th Century France!

The brothers fight their way through the Nazis.  Gil leads the Professor, his son, and the other prisoners to safety while Ivar holds off the goose-steppers.  Ivar is shot, but another time arc materializes, and he leaps into it. His destination: the year 1854, during the Crimean War.

Ah, but that’s a story for another time… so to speak!

Timewalker 1 pg 19

The ongoing Timewalker series lasted for 15 regular issues, plus the aforementioned Yearbook, as well as a Zero issue featuring Ivar’s origin that came out a few months after the series ended.  I definitely enjoyed it.  Ivar’s adventures were an enjoyable mix of comedy and drama.

Perhaps I’ll do a retrospective on the rest of Timewalker at a later date.  But, honestly, it’s such a great series, I recommend seeking out the back issues.  Trust me, you’ll probably have a more enjoyable time reading the actual comic books than you would having me yammer on about them at this blog!

Valiant unfortunately experienced difficulties in the second half of the decade.  In 1994 they were purchased by Acclaim Entertainment, who I feel pushed the company to expand too fast.  Then the market imploded in the mid 1990s, leading to the cancellation of the line.  Acclaim did restart a handful of the series in the late 1990s, as well as creating a few new titles, but those did not last long.  At that time Acclaim appeared to have much more of a focus on developing video games based on the Valiant characters than in actually publishing quality comic books.

The Valiant universe was eventually re-launched in 2012 by a new group of owners under the Valiant Entertainment label.  Over the past several years the company has had a reasonable amount of success.  Among those rebooted characters has been our pal Ivar.  Ivar: Timewalker ran for 12 issues between Jan and Dec 2015.  The entire run has been collected into three trade paperbacks.  I haven’t had an opportunity to read those yet, but they are definitely on my “want” list.  Hopefully I will get to them soon.  After all, unlike Ivar, and the other subjects of this edition of SBTU, there’s only a limited amount of time available to me.

So many great comic books, so little time!

SBTU Immortal

Here are links to all of the other Super Blog Team-Up participants.  I hope you will check them out.  Thanks!

(Some of these links will not be active for another day or two, so if they are’t working right now then check back again soon!)

Comic Reviews By Walt: TMNT and Highlander

Superhero Satellite: SBTU Presents IMMORTAL: Peter Loves Mary Jane

Comics Comics Comics: The Immortal Dr. Fate

Between The Pages: Big Finish: Doctor Who’s Finest Regeneration

The Unspoken Decade: Archer and Armstrong: Opposites Attract

DC In the 80s: Forager – The Second Life of a Bug

Black, White and Bronze: What Price Immortality? A Review of Red Nails

The Daily Rios: Arion The Immortal: The 1992 Miniseries

Chris Is On Infinite Earths: Podcast Episode 26 – Resurrection Man 1997 & 2011

Vic Sage of Pop Culture Retrorama Podcast: I am Legend

The Source Material Comics Podcast: Vampirella “Roses For The Dead”

Dave’s Comic Heroes Blog: Multi-Man, the Immortal Foe of the Challengers

Magazines and Monsters: Kang/Immortus: Marvel Triple Action #17, 1974: “Once an Avenger…”

Radulich Broadcasting Network: TV PARTY TONIGHT – Jupiter Ascending commentary

 

A brief look back at comic book artist Ernie Colon

Comic book artist Ernie Colon passed away on August 8th.  Colon was a versatile artist.  Among the numerous projects he worked on over the decades were Casper the Friendly Ghost and Richie Rich for Harvey Comics, the fantasy series Amethyst, Princess of Gemworld with writers Dan Mishkin and Gary Cohn at DC Comics, and in collaboration with Sid Jacobson a graphic novel version of the 9/11 Commission Report titled The 9/11 Report: A Graphic Adaptation.  I cannot imagine a more diverse range of projects than that!

While I certainly cannot say that I was a huge fan of Colon’s work, I certainly enjoyed it whenever I saw it.  I have fond memories of several projects that he illustrated on, so I felt it would be nice to offer a brief look at his work on those books.

Damage Control 1 cover

Colon and writer Dwayne McDuffie co-created the superhero comedy book Damage Control for Marvel Comics.  Damage Control offered a humorous look at a construction company that specialized in repairing the buildings that have gotten wrecked in superhero battles.  The very odd & colorful staff of the Damage Control organization made their debut in Marvel Comics Presents #19, and soon after were featured in a trio of 4 issue miniseries published between 1989 and 1991.  Colon worked on all but one of the issues.

At a time when superhero comic books were very steadily heading into “grim & gritty” territory, Damage Control was certainly a breath of fresh air.  McDuffie’s scripts were clever & humorous, and the offbeat artwork by Colon was a perfect fit.

For a number of years I owned a page of original artwork from the first miniseries, which had Bob Wiacek’s inking over Colon’s pencils.  Regrettably I had to sell it a while back, but fortunately it went to a good home.

Magnus Robot Fighter 14 pg 18

In the early 1990s Colon worked on several issues of Magnus Robot Fighter for Valiant Comics.  In addition to penciling & inking, Colon also provided the coloring on several issues, resulting in some very striking and unusual artwork.  This definitely gave Jim Shooter’s stories an unsettling feeling, bringing to life a world that was more than slightly askew.

The work by Colon really suited the 41st Century setting of the series, a seeming hi-tech utopia of gleaming steel possessed of a dark underbelly.  The two part “Asylum” story by Shooter & Colon that ran in Magnus Robot Fighter #13-14 certainly contained a very palpable atmosphere.

Dreadstar miniseries 3 pg 4

In 1994 Colon teamed with writer Peter David on a revival of Jim Starlin’s incredible space opera Dreadstar.  Published under the Bravura imprint of Malibu Comics, this six issue miniseries leaped forward a number of years from the end of the previous series.  It featured Vanth Dreadstar’s teenage daughter Kalla, who has been raised from infancy by none other than her father’s arch-enemy, the genocidal Lord Papal.

The Dreadstar miniseries was very dark & serious… except when it was not.  David has always proven adept at deftly blending drama and comedy in his scripts, and his work on Dreadstar was no exception.  Colon adaptability as an artist was very well suited to illustrate such material.  He powerfully rendered scenes of grim violence.  He also ably illustrated some genuinely wacky characters and ridiculous laugh-out-loud moments.

Dreadstar miniseries 5 cover

Looking over the artwork from just these three series amply demonstrates the versatility of which I previously spoke.  Colon was a very talented artist who was at home in a variety of genres.

Colon was 88 years old when he passed away.  I had no idea he was that old, and that he’d actually begun working in comic books back in the late 1950s.  Colon certainly had a long and prolific career.  He leaves behind an impressive body or work featuring some stunningly beautiful art.