Wait, What? Ep. 140: THX-1138 GIVING

 photo de0961cb-26be-4fa6-bfd9-a27180b8bde2_zpse36de14a.jpgIt's Tom Scioli's American Barbarian family at a feast--that's pretty Thanksgiving-y, right?

Yes, and hello! Maybe not as late as usual, but probably twice as rushed as I managed to survive Thanksgiving #1 last week and now have to start packing and planning for Thanksgiving #2 this week.

So: behind the jump, show notes of a somewhat speedy kind and the actual podcast itself. Join us, will you not?

00:00-13:36: This is the third time we’ve recorded together in a week, so we are a bit punchy and Graeme is very busy!  Initial topics covered under the "holy cow Graeme is so busy" rubric: CGI werewolves vs. practical effects werewolves, how scary Dr. Who should be, Fakesgiving, Batsgiving, Guy Fieri Tex Wasabi, and more. 13:36-28:02: Returning to the subject of Batsgiving -- what’s up with that? Jeff asks Graeme.  Stephanie Brown, Catwoman’s butt, genetically designed DC artists, Lois Lane: A Celebration of 75 Years, the challenge of weekly comics, and more. 28:02-34:12:  Comics we’ve read!  Scooby-Doo Team Up #1 by Sholly Fisch and Dario Brizuela! (Yes, this is a book we both read.) 34:12-39:12: Harley Quinn #0 by Jimmy Palmiotti, Amanda Connor, and a slew of artists. Also discussed: Deadpool, Ambush Bug, humor in superhero books, redrawn page confusion, and more… 39:12-42:09: Batwoman issue #25 by Marc Andreyko with art by Trevor McCarthy, Andrea Mutti, Pat Olliffe and(!) Jim Fern. Discussed: putting your best foot forward, making trite things triter, speedily padding out your show notes entries with inessential list items. 42:09-46:45: Sex Criminals #3 by Matt Fraction and Chip Zdarsky.  Discussed: Jeff being wrong, Jeff being terrible, humor in non-superhero books, top ten tips to a ineffable, non-flabby butt, more tips for list-padding, etc. 46:45-54:53: Time for Graeme’s Agents of SHIELD update—Update! it’s still terrible!  Also mentioned: Heroes, X-Files, fantasy TV flashes in the pan, etc. 54:53-1:00:24: Afterlife with Archie #2 by Roberto Aguirre-Sacasa and Francesco Francavilla! With a bonus Gray Morrow black & white story that felt like actually felt like a generous bonus. Interestingly, despite the lesbianism and implied incest, we discussed neither, nor did Jeff mention the nagging feeling he had that he was reading brilliantly repurposed Glee fanfic, nor did we talk about the importance of discussing all the things that could have been discussed but weren't when trying to make one look like one's giving others their money's worth with regard to show notes, etc. 1:00:24-1:01:23:  American Barbarian by Tom Scioli!  Yes, we’ve raved about this book before but Jeff is raving about it again since, in an uncommon display of reverse serialization, Scioli is offering digital issues of the webcomic-turned-graphic-novel at .99 on Comixology. 1:01:23-1:10:36:  Avengers: Endless Wartime by Warren Ellis and Mike McKone.  Graeme read it, Jeff did not and his narrative strategies for show notes puffery has run out.  Perhaps he should try pulling a card from the online Oblique Strategies deck! Hmmm, the strategy is "What wouldn't you do?"  And so the second half of U2's career is explained. 1:10:36-1:18:33:  Essential Captain America Vol. 7 by various and assorted.  And a possibly crazy plan is possibly maybe hatched!  Seriously, I should sit down and figure out if it's even doable, this thing we came up with.  It seems pretty crazy. 1:18:33-end: Closing comments! Corrections and Amendments!  A bit of shilling for Jeff’s book (with the best stuff done by Graeme, unsurprisingly)!  Another link to our guest appearance on House to Astonish!  And best wishes to you for a happy Thanksgiving, while acknowledging we will not be back next week!

Well, there we have it. That was smartly put together and annotated, wasn't it?

Episode is live (or liveish) on iTunes, and also available right here, by gum:

Wait, What? Ep. 140: THX-1138 GIVING

As always, we hope you enjoy and thanks for listening!

"I Tried Everything Else." COMICS! Sometimes Chaykin's Awake!!!

Hopefully you all made it through any storms okay, my American friends! If you did I've got some rubbish about comics for ya.Content! You might not want it, you might not like it but it's there!

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G.I. COMBAT #5 Featuring The Haunted Tank Art by Howard Victor Chaykin Story and Words by Peter J. Tomasi Coloured by Jesus Arbutov Lettered by Rob Leigh The Unknown Soldier Art by Staz Johnson Written by Jimmy Palmiotti and Justin Gray Coloured by Rob Schwager Lettered by Rob Leigh The Haunted Tank created by Russ Heath and Robert Kanigher The Unknown Soldier created byJoe Kubert and Robert Kanigher DC Comics, $3.99 (2012) Photobucket

First up, I have to thank Corey (Ottawa) for bringing this comic to my attention. If it wasn't for our Canadian Contingent I'd not have known the art chores on this were by everyone's favourite filth peddler Mr. Howard Victor Chaykin! I wasn't expecting much here to be honest, I thought he'd probably be busy drawing comics too frisky for the UK to have any electrolytes left over for a book about a, well, a haunted tank.  I don't know if it's being able to clip art the shit out of this book due to its emphasis on hardware but the bits that aren't hardware have Howard Victor Chaykin pounding the pages with a barrage of highly entertaining images. Unlike, so I hear, the pounding he's giving the pages in that other (banned) book.

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Tomasi gives him a totally stupid story to illustrate involving a nutty veteran clad in The Flag being tank-napped into a supernatural rescue mission while being pursued by Wonder Woman's high-tech ex Steve Trevor. It is nonsensical stuff but, I don't know if you've ever given it much thought but, the whole concept of The Haunted Tank isn't going to win any awards for realism. So why not go wide on the goofiness.  Chaykin seems to be enjoying himself and it all comes together a lot more successfully than some of his recent efforts. Not once did Jesus Arbutov's colour work have me reaching to ring the police and at times I was tempted to throw back my head and bellow Blessed-style "CHAYKIN'S AWAKE!!!"  Maybe he just enjoyed ringing up his russety pal Russ Heath and irritating him by going "Pop! Just drawn a tank! Pop! Just drew another! These computers are great! Now how long did it used to take you to draw these tanks, Russ? Pop! Drew another! Hey, I ever tell ya I can see the beach from my window?" I don't know, I just really enjoyed his stuff this time out. It was GOOD!

WOLVERINE MAX #1 Art by Roland Boschi & Connor Willumsen Written by Jason Starr Coloured by Dan Brown Lettered by VC's Cory Petit Wolverine created by Len Wein, John Romita Snr and Herb Trimpe Marvel, $3.99 (2012) Photobucket

While Jason Starr is a good writer of novels and I have also been known to enjoy the work of Roland Boschi the real reason I picked this up was because of Connor Willumsen. He does not disappoint! Boschi's pages seem somewhat rushed and concern the present day Wolverine fighting sharks and having no memory of why he ended up doing that. Also, his legs grow back and everyone is only slightly perturbed by this. Perturbed's too strong a word actually. I know health care professionals are rushed off their feet and are basically the busiest people in show-business and The Japanese are a modest people...but I think two legs growing back, bones and all, would cause more than a raised eyebrow and a muttered aside, suggesting such an event is more a case of exhibitionism than it is straight up miraculous. Jason Starr's handling of Wolverine's talents but in the real world is off to a choppy start is what I'm saying.

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Willumsen, however, burns rubber from the off with his flashback scenes which portray Daniel Day Lewis from There Will Be Blood stepping into the original Claremont/Miller mini-series but in a grubbily humming Underground Comix stylee. So amazing are his inky doings that even the writing seems elevated with Victor sounding especially characterful in his disdain for the normals. I would buy this series purely for the further expansion of these elements.  I would but Marvel seem to have upset Connor Willumsen so much that he has jumped ship. His work will not be appearing in any subsequent issues of WOLVERINE MAX and so I will not be buying them as without him this comic will be less than GOOD! Well done there, Marvel! Yes, that is sarcasm.

DAREDEVIL: END OF DAYS #1 Art by Klaus Janson and Bill Sienkiewicz Written by Brian Michael Bendis & David Mack Coloured by Matt Hollingsworth Lettered by VC's Joe Caramagna Daredevil created by Bill Everett and Stan Lee Marvel, $3.99 (2012) Photobucket

I asked my LCS why they sent this (you're darned tooting I did) and they said it was because I liked Janson and Sienkiewickz, which is true. What they failed to factor in is that ladling the  steaming hot writing of Brian Michael Bendis over the top of their efforts is, at this stage in the game, like climbing a stepladder to fart repeatedly right in my face as I admire a Vermeer. It's distractingly puerile and pretty quickly spoils the whole experience. The best bit (i.e. the very worst bit of very many bad bits) is when Ben Urich's (very long, very, very fucking awful) monologue accuses his audience (his readers, geddit!) of not appreciating words. This is super-awesome because he's being written by someone who treats the English language with all the care and attention of a hungover abattoir worker placing his bolt-gun to a steer's head.

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This is a writer who seems to have a working vocabulary of, maybe, fifty words and whose solution to every writing conundrum (an introduction to The Incal, an introduction to a HVC art book, a recipe for quiche, instructions on how to install a Norton Commando Boyer ignition etc) is always a chatty, faux-conversational, uninformative, space devouring style which smashes grammar's head in with a brick and is in no way to be taken as an indication of a complete inability to write anything approaching a joined up sentence. Christ, this is why I ask my LCS not to send his (dismal, dismal) stuff. This comic is smug, vacuous, inane, pandering, complacent ineptitude par excellence. This comic is CRAP! I did not like it.

THE INFERNAL MAN-THING #3 Art by Kevin Nowlan Written by Steve Gerber Lettered by Todd Klein Also "...Man-Thing!" from Savage Tales #1 Art by Gray Morrow Written by Gerry Conway & Roy Thomas Man-Thing created by Stan Lee, Roy Thomas, Gerry Conway and Gray Morrow Marvel, $3.99 (2012) Photobucket

And so we close the comic and close the curtain on one Steve Gerber as he defies the laws of nature and reality to bow out of comics for the final time, some four years after his physical death. As we bite back the tears lets allow a manly clap on the back for Kevin Nowlan who did Gerber proud twice over with beautifully considered art to which he then applied a thoughtful and innovative colour palette.  Together with this final VERY GOOD! chapter of Gerber's playful, humane and imaginative end-song Marvel have also included Manny's first appearance.  Whether placing an ending with a beginning together in such close proximity is Marvel's way of acknowledging the Cycle of Life or just another attempt to squeeze a property until the pips squeak we'll probably never know. (Steve Gerber would have known.)

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FATALE #8 By Sean Phillips and Ed Brubaker With colours by Dave Stewart Fatale created by Sean Phillips and Ed Brubaker Image, $3.50 (2012) Photobucket

I've not been impressed with this series so far but I will admit that while this issue still wasn't terribly good it was a whole lot better. Maybe it had something to with a sudden upswing in the density of incident or the fact that Phillips' art seemed more lively since he was given a couple of occasions on which to strut his stuff style-wise.  I still don't find it to be convincingly evocative of a time and place; it'll take more than some beards in a VW van to make me swoon at the authenticity of the '7os vibe, man.  At times I can almost smell the spirit glue holding all the sideburns on. Most deflating of all is the fact that the series is still hamstrung by bizarrely conservative and old-fashioned sense of horror (tentacles! men in robes with daggers! cemeteries!) which means the horror is never actually, well, horrible.

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The humourlessness of the whole thing has also struck me recently; this was unfortunate because I then realised I couldn't recall one incidence of humour in all the work I've read by this author. That's a lot of pages in which to not crack a smile. Maybe it's me. Senses of humour are personal after all but still  the funniest thing in FATALE #8 is when the rather tasteless competition in the lettercol results in one John Cleaver out writing this whole series with just one paragraph. Mind you, if any readers do want to send me pictures of them crying while they remember horribly traumatic events from their lives they are welcome to do so(*). Get really close in there so I can see the fat bulbs of those tears bloating from your sad ducts, kids! The winner could receive a pen! So, yeah, this issue was OKAY! and you can buy it from The Savage Critics Digital Shop...here! (Although if more than 10% of the comics reading audience do so a big red light starts flashing and Brian Hibbs starts rushing everyone to the shelters as AROOOGA! AROOOGA! echoes rounds his shaggy head. It's a true fact, cats and kittens!)

(*) Don't do this. It's a joke.

ACTION COMICS #13 Featuring... Superman in..."The Ghost In The Fortress of Solitude" Art by Travel Foreman Written by Grant Morrison Coloured by Brad Anderson Lettered by Steve Wands Superman in..."A Boy And His Dog" Art by Brad Walker (p) & Andrew Hennessy(i) Written by Sholly Fisch Coloured by Jay David Ramos Lettered by Patrick Brosseau Superman created by Jerry Siegel and Joe Shuster DC Comics, $3.99 (2012) Photobucket

It's strange the connections your mind makes. In my head Morrison's recent callous remarks regarding the treatment of Siegel and Shuster and the portrayal of animals throughout his work suggests to me one of those lovely people who care more for the feelings of animals than those of people. Which is all really cuddly on the surface until you press them on the issue and they suddenly hiss at you that people deserve what they get! Which I find a less than generous rationale and more than a little confusing in its mix of sentiment and insensitivity. Almost as confusing as this comic which I have a strong suspicion makes no sense but as I too have a soft spot for tales of the gud dog I'll let its muddled nature pass this time and say this comic was OKAY!

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So yeah, those were certainly some words about what I believe scientists are now calling COMICS!!!

"I'm A MAN, And I'll LOVE You As A Man Loves A ..." Comics! Sometimes There's A Film Out As Well! (John Carter!)

So, yeah, there's a John Carter film out on Friday. Not that I ever get to the pictures anymore but, hey, you might! In the meantime you could read this about some comics featuring the same character. It's a thought isn't it. Probably one more than went into the writing of this. Hey, can CGI do this?: Photobucket

No, no it can not. You lose CGI!

I guess I should start with a disclaimer: I'm not really an Edgar Rice Burroughs fan; indeed I don't even know if I have read the source novels for these comics. So if you're looking for an informed Burroughsian monograph you might want to jump off right here. What follows is just some old gimp prattling about some comics, because what he really likes is comics. And prattling.

 

EDGAR RICE BURROUGHS’ JOHN CARTER OF MARS: THE JESSE MARSH YEARS Drawn by Jesse Marsh. Scripted by Paul S. Newman. Foreword by Mario Henandez. Collects Four Color Comics #375, #437 and #488, originally published in 1952 and 1953 by Dell Publishing Co., inc. (Dark Horse Books, 2010, $29.99)

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I bought this book because once I'd seen the cover it refused to entirely leave my mind and was constantly hovering there urgently pressing me to purchase it at some point. I think it was the really solid no-nonsense blacks that fixed the image to the page and into my mind. At the time I had been admiring Don Heck's solid blacks and this seemed to play off and feed into that brief flare of interest. Also, there was something very Gilbert Hernandez about it what with the intentionally(?) stilted poses , the harsh crease lines and the occasional smattering of dots for texture. So I bought the book with some Christmas money and prepared to be disappointed. Obviously the cover was just a lucky image that Dark Horse were using to lure credulous punters like myself into buying reprints of justly forgotten chaff as the Hollywood version of the material slowly hove into view.

I was wrong.

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Mars circa 1952.

This book was fantastic. Jesse Marsh is fantastic. This isn't actually news to anyone except me it seems. He's actually on the list of possible inductees into the 2012 Eisner's Hall of Fame. Casting my mind back I recall interviews with Alex Toth and Howard Victor Chaykin (who is also on the 2012 Hall of Fame list. What a dilemma!) in which both mention Jesse Marsh. Still, it's one thing hearing about a comic artist's work and seeing it.

Actually looking at it Marsh's work looks totally ahead of its time. Wait, let's back up. I'm not saying anyone could mistake these comics for modern comics. The very nature of the material works against Marsh in this regard. For a start each of the three reprinted comics are tasked with adapting an entire Edgar Rice Burroughs' novel in 32 pages. There's no time for shilly-shallying, no room for indulgences like splash pages, very little chance for a panel's art to be unadorned by narration or dialogue. No, Marsh has to fit it all in to a series of pages consisting of (roughly) 6x6 grids where his greatest indulgence is to let two such panels bleed together either vertically or horizontally. And he doesn't get to do that all that often. Cramped and constricted as he is by the format Marsh has the technique to deliver the equivalent of putting on a musical in an elevator. That's where the 'ahead of its time' bit comes in; in the actual art.

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The Incomporable Dejah Thoris - Circa 1952.

There's a colossally impressive understanding of design on show. Because Marsh is working in the highly strictured world of '50s comics (and Gold Key were particularly inflexible in format) Marsh is unable to do anything about the actual page design but the design of the panels themselves are beautifully chosen to balance the elements within them. And (get this) the actual elements within the panels are further forays into design by an artist who was clearly just so incredibly good at what he did he could do the incredible just to keep himself amused. What other reason can there be for the pictures/sculptures/scenery with which Marsh surrounds his characters? His sculptures and pictures are so good I have the suspicion that they are actual object d'art that only my lack of breeding and education prevent me from identifying. The fact they change from panel to panel (even when the scene has not changed!) suggest Marsh was just larking about. But, what larks!

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Martian Action! Circa 1952.

But, no, you aren't going to mistake these comics for the cutting edge of Now. Marsh's work does have its failings but although the characters may be stiff  it must be said they are distinctive. The "incomparable" Dejah Thoris seems to have been modelled on the actor Emily Watson which can't be right? John Carter isn't terribly expressive but he does look like himself in every scene and doesn't look like anyone else and you can't always say that about even modern comics. Although the big thing everyone gets sweaty about with Burrough's Mars novels is that everyone is nudey rude except for weapons and jewelry everyone here is fully dressed.  So, I guess purist might balk but all the incident, adventure and momentum of good pulp entertainment remain intact. Given the task of illustrating the functional script of Paul S. Newman Marsh manages to not only provide work which does so but at the same time carves out room to indulge his own idiosyncrasies and interests in a way which actually serves to enhance the work rather than distract or undermine its primary purpose: to entertain.

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John Carter circa 1952.

One for the folks interested in form rather than content, or the talent rather than the character if you like.  VERY GOOD!

 

EDGAR RICE BURROUGHS’ JOHN CARTER OF MARS: WEIRD WORLDS Art by Sal Amendola, Murphy Anderson, Gray Morrow and Joe Orlando. Written by Marv Wolfman. Introduction by Marv Wolfman. Collects stories from Tarzan #207-209 and Weird Worlds #1-#7, originally published in 1972 and 1973 by DC Comics. (Dark Horse Books, 2011, $14.99)

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In 1971 as a hedge against the possibility that super-heroes had outstayed their welcome DC comics cast about for properties to replace them. Tarzan and the other ERB properties, including John Carter, caught DC's fancy since they were still adventure themed but more sober in appearance than super-heroes. This tells us that people are always predicting the end of super-hero comics and sobriety is pretty subjective. Good news for drunks, then! Great news for The Incomparable Joe Kubert who took the lead on the project. While his creative talents were focused on Tarzan he took on editorial duties for the other ERB character, such as John Carter. According to Bill Schelly's Man of Rock: A Biography of Joe Kubert (which I am filleting facts from in an attempt to look knowledgeable) Murphy Anderson and Marv Wolfman got the John Carter assignment because they were big John Carter fans. Apparently Michael William Kaluta wanted the gig but Murphy Anderson got it, mostly because he shared an office with Pappy Joe Kubert and was asked first. Not exactly high drama but that's what happened.  (You could have guessed Granite Joe Kubert had edited these stories because he can't help sticking his inky fingers in the Gray Morrow chapter on on pg17-22.) Anyway, the comics that resulted are collected in this book.

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Mars circa 1972.

Given the fact that fully two decades separate the work in this volume and that contained in the Marsh volume discussed earlier it's interesting to see how the comic art approach has changed. There's a lot more variety in page design in 1971 with panels inset into double page splashes, flashback panels with wobbly edges, decorative chapter headings a la old timey newspaper strips and on and on. What's clear is that the artist has far more freedom to control the visual presentation of the material. In between Marsh and Anderson's work something new has appeared: pacing. There is no pacing in the Marsh book; there's no opportunity for it. But in this volume it's evident that the writer/artist are able to actually pace their material. The material may have set limits as to length but these limits are far more generous than those Marsh was labouring under.

Photobucket The Incomparable Dejah Thoris circa 1972.

There's also a lot more freedom with regards to sex'n'violence. In the '50s material the incomparable Dejah Thoris was wrapped up like a shoolmarm but by the '70s she's certainly giving herself a good airing. Don't worry though because in the '50s John Carter was decked out like a Hussar but by the '70s he's all raggedy loincloth and musky muscles so noone's playing favourites here. Poor old Jesse Marsh had at best a couple of panels to depict savage action on worlds unknown but Anderson et al fare better with plenty of room to swing a Thark.

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Martian Action! Circa 1972.

The ERB books didn't really sell very well and after a while moves were made to bring in cheaper foreign artists which probably explains why Murphy Anderson's contributions stop on pg. 68 and Sal Amendola finishes off the rest of the book. I'm not saying Sal Amendola was foreign (to American shores) but I am betting he was cheaper.  After the somewhat traditional art preceding it the book suddenly explodes into a Barbarellatastic mindmelt of groovy layouts and gear designs, man. Well, it tries to. Alas, Sal Amedola is hampered by a lack of talent but the surfeit of ambition he possesses almost overcomes this. I said "almost". It isn't very pretty but I admire the energy; that's about as good as it gets with the Sal Amendola stuff. He does, however, chuck in some nudey rudery for the hardcore Burroughs' fans which is amusingly cheeky of him.

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John Carter circa 1972.

As a complete TPB this one disappoints in that it starts off with some strong and solid work by industry vets but is compromised halfway through by market considerations to ultimatley produce a collection that I can only call OKAY!

 

EDGAR RICE BURROUGHS’ JOHN CARTER OF MARS: WARLORD OF MARS Art by Ross Andru, Bob Budiansky, Sal Buscema, Ernie Chan, Dave Cockrum, Ernie Colon, Frank Giacoia, Larry Hama, Carmine Infantino, Gil Kane, Bob McLeod, Frank Miller, George Perez, Walt Simonson, Mike Vosburg and Alan Weiss. Words by Chris Claremont, Peter Gillis, Bill Mantlo, Alan Weiss and Marv Wolfman Foreword by Michael Chabon Collects John Carter, Warlord of Mars #1-#28 and Annuals #1-#3 originally published in 1977-79 by Marvel Comics. (Dark Horse Books, 2011, $29.99)

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Pulp got Gil Kane early and pulp got Gil Kane but good. Although he was often opining that Comics needed to mature itself in terms of subject matter, he, himself, was never able to escape the grip pulp held on his imagination. Gil Kane was a great, great man but his tastes could tend to the unsophisticated. Luckily since that was the very problem he berated comics for he may have been held back creatively but it didn't hurt him commercially. Particularly in the '70s when pulp's stock was strong in the comics market and he had plenty of juice himself.

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Mars circa 1977.

In the '70s Kane spent a lot of time working up books he'd be interested in doing, starting them, realising he couldn't produce pages fast enough to pay him enough, leave the book, work up a book he's be interested in doing...and rinse, repeat. He was like the goddamn Littlest Hobo of comics or something ("There’s a voice that keeps on calling me. Down the road is where I’ll always be").  I'm being 'exasperated' because that behaviour makes it really hard to get good long runs of his stuff in collections. Obviously I know that's really not any concern of Gil Kane but  equally obviously it does mean I'm glad to have this volume.

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The Incomparable Dejah Thoris circa 1977.

So, yeah, my primary interest in this volume is the Gil Kane stuff. That's a good 190 pages. After that my attention started to wander a bit but I can assure you that the Gil Kane on these pages is some good Gil. As usual his natural glory is clothed by inks by someone else which isn't ideal but hardly a deal breaker. Most of the time the inks are by Rudy Nebres or other Filipino artists of the period. Which is fine as this  lends everything an ornate quality appropriate to the pulp material. It helps make up for Kane's shortcomings. Oh, I love old Gil I do, I do but he did suffer from visual generalisation quite a bit. C'mon, we speak freely here; his future buildings and his ancient buildings are only distinguishable because the latter have some cracks in and a tree growing out of a window while the former doesn't. So, while it's usual to bemoan the fact it isn't Kane on Kane action for this volume it works out okay; the ripe inking lends everything a distinctive character Kane would probably have omitted if left to his own devices.

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Martian Action! Circa 1977.

Where Kane doesn't need any help is in portraying the supple violence of well honed bodies in motion, communicating the lusty allure of his sexy ladies and his even more alluring men and basically creating such an atmosphere of raw physicality that it practically removes the readers glasses and tells them they are beautiful. Or something. I like Gil Kane's art, it sends me. Of course like any good bad boy he's gone when he's had his fill and Kane's departure makes the book stumble a little but the continued use of Rudy Nebres gives it enough visual continuity to keep it upright and interesting. For a while anyway. Storywise it's just the usual pulp stuff. In that it's more important that things happen than that the things that happen actually make sense. In fact the more outlandish and sense defying the better. The Headmen of Mars by Bill Mantlo and Ernie Chan is a particularly proud erection to the joys of sheer momentum and excess over intellect. It's pulp and it's written as such so the words don't treally bear close examination. Ah, but that's what they want you to think. If, however, you do pay attention to the words you find that EDGAR RICE BURROUGHS’ JOHN CARTER OF MARS: WARLORD OF MARS is in fact lubricated with sly innuendo and at times this reaches such steamy excess that it wouldn't be too great a surprise if the pages dilated at the touch of your enquiring fingers or let loose a soft sigh at the insistent pressure of your questing gaze.

I'm not joking. Not only are John Carter and the Incomparable Dejah Thoris continually on their way to/from the boudoir but you get the impression that if it weren't for all these Master Assassins of Mars, zombie hordes, air-pirates of Mars etc. they would be quite happy just letting John Carter make good on all his multiple breathy promises to "love her as only a husband can love a wife", "kiss her as she has never been kissed before" and "get right in there and root around like a monkey looking for nuts".  This reaches delirious heights on p. 306 when the text reads:

"With a SKILL that still occasionally SURPRISES me--I MATCHED course and speed with Dejah's flier and DOCKED the two craft together. A moment later I was at her ENTRY HATCH--With a cry torn from her SOUL, she sprang into my arms --I will not DWELL on what happened next."

Oh, do dwell, Chris Claremont, dwell!

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John Carter circa 1977.

And you know what? That's great! The John Carter and The Incomparable Dejah Thoris actually resemble a couple with a working sexual attraction. Okay, it might be somewhat exaggerated in a pulp stylee but maybe if my muscles were three times as powerful as any other males I imagine I'd be a lot more popular too.

I really liked this book but I think I've made it clear that that that's primarily because of the presence of Gil Kane, a tendency for my own interests to run to the unsophisticated and an appreciation for healthy smut. If you do not share these pleasures you probably won't find this to be GOOD!

(Apparently Marvel have released the same comics in a colour over-sized Omnibus. They are probably even better in colour. Sighhhhhhh.)

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Mars. The Incomparable Dejah Thoris. John Carter. ('Mars Action' about to occur) circa 1977.

Have a good weekend and remember to read some COMICS!!!