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Ultraverse Revisited: Mantra #4

ultraverse_revisited

mantra_0004Bride of Boneyard

Creator/Writer: Mike W. Barr
Penciller: Rob Phipps
Inkers: Al Vey & Barb Kaalberg
Letterer: Tim Eldred
Color Design: Moose Baumann
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: October 1993
Cover Price: $2.50

Lukasz has only just begun to figure out what this new body can do, but has already been captured and after being knocked out, wakes to find that Boneyard’s got designs on wedded bliss!

We open on Boneyard standing over Mantra, ranting about how insignificant this woman is, as if it’s so ludicrous that this final warrior might be the last hope of Archimage. As Mantra, Lukasz fights back, and manages to escape the imminent wedding between Boneyard and Eden Blake’s body, which he presently inhabits. He finds and interacts briefly with Archimage, and is unable to get the old wizard free. Barely escaping, he seeks help in a nearby village, only to be betrayed by newfound allies. Warstrike manages to show up, and is convinced to assist an assault on Boneyard’s keep. Ultimately, he and Lukasz are forced to retreat so that they might fight another day. Despite the betrayal, Lukasz–as Mantra–does manage to make some new allies in Boneyard’s realm…a factor sure to come into play later.

This may have been the first issue of Mantra that I ever read, due to getting it during Rune Month, and while not gratuitous, the cover certainly would have had my attention–between Mantra herself, the weird cyborg Boneyard, and the bright colors. At minimum, this would be the second issue I ever read of the title, and whatever order I read the issues in, I had missed issues 2 and 3, so had only the first issue and then this to go on.

The story takes us into an interesting realm–somewhat fantasy-ish (think Game of Thrones)–not quite Earth, but not entirely alien. We continue to see Lukasz finding the power of Eden Blake’s body, as well as a growing perspective on how men–and he himself–have treated women over time, particularly with bodies such as this. We get some face time with Archimage to propel things onward–contact, yet it’s not quite time for THE rescue: the story is still unfolding! Warstrike continues to be an interesting ally…perhaps moreso because I know that he gets his own series in the not-too-distant-future relative to this issue.

Visually, this is a solid issue; I like the characters’ depictions, and the flow of the art in conveying the story. It definitely has its differences from the title’s premiere…but hangs onto a good bit of the visual style and familiarity, such that I don’t know that I’d REALLY notice any particular difference if I was simply reading without paying attention to the credits!

rune_0jRune [J]: The Fury – Part One
Plotted by: Barry Windsor-Smith & Chris Ulm
Drawn & Colored by: Barry Windsor-Smith
Scripted by: Chris Ulm
Inked by: John Floyd
Computer Color by: Albert Calleros
Lettered by: Patrick Owsley
Text Pages Designed by: Jim Chadwick
Edited by: Steve Gerber

As (Agent?) Jaffrey follows up on Stone’s death, he, too, is attacked by Rune. Rune is fiercely seeking a particular boy…who we meet as the segment closes–interrupted on a phone call with his girlfriend by his father needing to talk to him about something.

This is the "penultimate" chapter of Rune #0–We’ve followed Rune through time, seeing him in his powerful younger days, how he came to be the wretched creature he is, and along his quest for restorative power. That he’s seeking Erik suggests more for Erik to come…though this chapter does not let us know exactly what role he’ll play overall.

Yet (as always) again, the art is good, and it’s consistent with the earlier chapters, this being simply the next three pages of (still) the same issue, essentially.


Once more, the Rune chapter sorta works by itself but there’s no real room for "context" on the pages themselves. In a way we get more information from the "previously" text presented ahead of the chapter than from the pages…something I’ll be interesting to evaluate in a later re-read of this story in a single go. While it adds value to the issue, it is not in itself a sufficient selling point to seek out this issue.

On the other hand…the Mantra issue itself is another strong chapter, continuing to build on characters and continuity, as we see more of several characters and their interactions, as well as Boneyard having realized who and what Mantra is, and checking in on Archimage, and generally leaving a bit of wonder in the "will he or won’t he" (Archimage) be rescued this issue. But it’s not to be, as there’s more story to be had by his not yet being rescued than a quick 4th-issue-rescue.

Whether it’s the general story, or the art, or the concept, or something else, or some combination…I continue to find this to be a series I’m highly eager to get back through, that almost leaves me regretting trying to cycle through all the titles by month rather than doing a single-title read-through of Mantra. This adds to the reaffirmation of the title as one of my favorites of the Ultraverse, whatever other titles I discover that I enjoy and "should have" read as a kid.

By itself, this issue is definitely worth a quarter to a dollar or so…definitely a "bargain bin issue," not likely worth more than $1 or so unless you’re plugging a run in your collection. Still, it’s a good issue, I myself enjoyed it, and I look forward to the next issue, as well as a number of other issues yet to come!

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Ultraverse Revisited: Mantra #3

ultraverse_revisited

mantra_0003Kismet Once…Kismet Twice…Kismet Deadly!

Writer: Mike W. Barr
Penciler: Terry Dodson
Inker: Al Vey
Letterer: Tim Eldred
Color Designer: Moose Baumann
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: September 1993
Cover Price: $1.95

We open on Lukasz–Eden–being held down by the Repo Men! They’re trying to get her mask, the source of her magical armor off, for their boss. Meanwhile, Eden’s kids are looking for her and don’t recognize her as the masked woman all the commotion’s about. Eden fries the Repo Men and makes her escape. She flies off and confronts their boss, eventually forcing a deal of sorts, pointing out that she’s the only person on Earth the mask will even work for, so it’s not in the guy’s interest to possess it anyway. She then–belatedly–remembers the kids, and collects them awkwardly from Child Services, deals awkwardly with them in the car and back at their house, and doesn’t quite convince Evie that everything’s alright. (In fact, Evie realizes quite a difference and goes to Gus–her brother–claiming this isn’t their mom!) The next day, the kids are handed off to their grandmother, after a brief run-in with Brent. Lukasz begins trying to track "the Judas" that betrayed Archimage, which leads to private investigator Dalmas. While in his office, a magical creation of Archimage’s–"Kismet Deadly"–challenges/tests Lukasz. Lukasz finds a ring in Dalmas’ safe that leads to Hamath…who in turn is killed when Kismet Deadly re-manifests, before Lukasz points out what "living" actually entails–including death! Mourning Hamath’s death but facing the practicality of it, Lukasz is decked from behind by someone whereing what looks like an Infinity Gauntlet knock-off. We then shift to someone else bound to a chair, and see that Warstrike is tracking Eden/Lukasz. Finally, Lukasz wakes to find himself before Boneyard, apparently to be a bride.

Since there’s no "previously" page, it was quite helpful that this issue basically opened right where #2 had left off…or close enough that opening on Lukasz being held down reminded me that we left off with these Repo Men pinning the body to take the mask. It’s interesting to see the development of the "superhero name" Mantra develop here: Lukasz thinking back to what he was told–to let "Change, growth, power" be his mantra; and someone overhearing the word "mantra" being spoken and taking it as the woman calling herself "Mantra." And thus, we have an on-panel, on-page explanation/reason for this body being called Mantra. Hokey as it may be, this is something I really enjoyed seeing here (and usually enjoy generally)–having some "moment" specifically reference something with its own title–book, movie, comic book–and yet not make a big deal of it. Someone hears this woman say the word "mantra," thinks she’s called herself "Mantra," tells others, and voila! Super heroine named Mantra! That Lukasz doesn’t quite "get" it and/or seems a bit annoyed by it is an added touch I like.

Story-wise, there’s a lot going on here…this is definitely a rather "compressed" issue (compared to the "decompression" in comics of the last 15+ years into 2018)…yet we still manage to have a sort of "subplot" and "immediate plot" dichotomy going on. There’s a lotta stuff happening, and we’re getting actual forward progression; Lukasz is actually going through tracking leads down and such rather than simply talking about it. As a single issue we get to see all sorts of stuff–Lukasz as Eden, Lukasz in action, Lukasz dealing with the kids, Lukasz interacting with the grandmother, and Brent; Lukasz putting this new body to use; we see Warstrike, we see Boneyard, we have references and context to Archimage and why Lukasz is in a woman’s body, etc.

Visually, this is definitely a pretty issue to look at, and I really like the coloring–especially for the stuff with Kismet Deadly. It’s just a sort of bright-and-colorful that I don’t feel I often see in comics, period (new OR old). As a late-30s male, and whatever other factors one may want to bring to the table, I do feel that I have a different sort of "appreciation" for the art than I did even as a kid…despite the art definitely grabbing and holding my attention even then! There’s that "cheesecake" element to this stuff without being graphically gratuitous…and I rather like the line it walks where a straight up live-action adaptation would almost certainly be PG-13…but it doesn’t cross the line into R-rated territory. One panel when Eden snaps at Evie threw me outta the story for a moment…Evie does not look AT ALL like a child to me, and taken out of context I’d absolutely swear her face is that of a full-grown woman, on the page. So, pretty as the art is generally and all that, it’s not perfect. But this is a comic book, and from the ’90s at that, and when it’s really one single panel and not even a page that does this, that’s not bad.

pinups_mantra0003

In addition to the story-art of the issue (and there are 24 pages of the issue itself!) we have a letter column page, and a random "pinup" with art by Paul Pelletier and Al Vey. Just a static pose of Mantra standing amidst some rocks or such, some mist floating, sword drawn…nothing particular going on, just an image of the character. We do not tend to see this sorta thing anymore, unfortunately–today, publishers seem absolutely incapable of doing something like this, as if they absolutely cannot possibly have a non-story image that ISN’T a variant cover. I love seeing this–another artist’s take on a character, shown within an issue featuring that character…yet it is NOT a variant!

I felt like this series’ story’s engaged me more than a lot of others…maybe it’s nostalgia, maybe it’s the art and having 25 more years on me, maybe all that and other factors. Something about the way I read this and enjoyed the issue as a whole makes me think it was no fluke that this was one of my favorite titles back then, as it’s quickly reasserting itself as a favorite of the bunch NOW as well.

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Ultraverse Revisited: Mantra #2

ultraverse_revisited

mantra_0002The Woman Behind the Mask

Creator-Writer: Mike W. Barr
Penciller: Terry Dodson
Inker: Al Vey
Letterer: Patrick Owsley
Colorist: Moose Baumann
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: August 1993
Cover Price: $1.95

I had a bit of deja vu opening this issue…the first page feels like it mirrors the exact cliffhanger of the first issue! Warstrike–the man who killed Lukasz–is at the door,and Lukasz is in the seemingly-weak body of a woman. Turns out that Warstrike is here to offer his aid–Notch tricked him as well, and he doesn’t take kindly to that. They part, and Lukasz–now Eden Blake–deals with kids (s)he doesn’t know what to do with, a job (s)he only knows the address (not what tasks to perform), and so on…while elsewhere, Boneyard and Notch torture Archimage, who refuses to give up his last warrior. Later, Lukasz/Eden crashes a party/auction and bumps into Warstrike in his civilian guise–Brandon Tark. The mask that Archimage and Boneyard have been after is there, and when Notch goes for it, Lukasz leaps into action, and manages to get the mask…while also discovering some new powers this Eden Blake body has. Emerging apparently victorious, Lukasz later takes the kids to a movie, figuring why not? It’s not like they’d be a problem much longer…he aims to pawn them off on the father as soon as possible. Unfortunately, the "Repo Men" encountered at the auction are also here…and the battle doesn’t go nearly so well. Combined with having to protect the kids…Lukasz–Mantra–is not in a good situation.

The Dodson art is a bit "cheesecake" and such with several panels (AND the cover) NOT being shy about how well endowed Eden’s body is. Despite that, the art overall is quite good, and pretty distinctive on the characters…particularly where costumes are involved.

I am pretty sure I’ve never read this issue before, but enjoyed it. There’s something almost cinematic about it, something that could definitely work for tv, and I’m surprised it hasn’t been picked up FOR tv given current vibes on stuff.

It makes sense to have some time seeing Lukasz adjust to the new body as well as the hints of fear that weren’t present while in other bodies: knowing there will be no next body makes everything far more dangerous than they seemed when he had endless reincarnation to keep going with. While it’s not much "development," we get to check in on Boneyard and Archimage to keep that fresh in mind, that they and their war are why we’re here.

In some ways, this could BE a first issue, had the previous issue been doled out as a #0 or a serialized bit. Still, as with other titles…this being "only" the second issue, I’d highly recommend getting the first issue along with this, as the story would be far more meaningful than specifically going for this issue in isolation. As a second issue, I definitely liked this, as it continues to develop the main character and flesh out the world/supporting cast and build on the previous issue, while also leaving some stuff to be wondering about for the next issue, along with the cliffhanger leaving us to wonder how Mantra will get out of the situation and if the kids will also make it out, etc.

This was one of my favorite Ultraverse series back in the ’90s, and so far on re-read, nothing is changing my thoughts on that. As said above, this title seems all the more "relevant" or poignant in 2018, like it would surely be championed now more than ever before. Regardless…it’s simply a fun read, with art that’s hardly bad on the (male) eyes.

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Ultraverse Revisited: Mantra #1

ultraverse_revisited

mantra_0001Reversal of Fortune

Writer: Mike W. Barr
Penciller: Terry Dodson
Inker: Al Vey
Letterer: Tim Eldred
Color Design: Paul Mounts
Editor: Chris Ulm
Published by: Malibu Comics
Cover Date: July 1993
Cover Price: $1.95

This is an interesting issue, starting at the cover. The coloring overall gives it a sort of pink look, and makes it instantly (to me) identifiable as what it is at a slight glance. The main character–Mantra–is in some odd mid-air motion like a jump-kick or sideways fastball-special…can’t really tell. But it’s from the ’90s, so doesn’t have to totally make sense, apparently…but at least you can see she has feet! Almost as much so or more prominently, you have Warstrike (a Cable-like huge overly-muscled character with a huge gun) firing away at something "off-panel" of the cover. While in the background, partially obscured by the cover dress–the title logo and the corner box stuff–you have a ghostly image of the villain Boneyard. So this is hardly a great cover in design…its being recognizable and iconic comes from being a #1–a #1 that does NOT have umpteen variants, as this was only the ’90s and not modern 2010s. The cover matches the ads that preceded it, advertising its pending arrival, and contributes to its recognizability.

As I’m essentially "over-familiar" with Prime #1 due to the audio comic, of the early #1s, this was the issue I was most looking forward to getting back to. I don’t actually recall the last time that I read this issue cover to cover rather than skimming it to verify certain details (Lukasz’s final death and the specific killer, for example), but it’s absolutely safe to say I don’t recall reading this within the last 10-15 years, if not longer. So there was some surprise on my part at stuff I’d forgotten, along with certain familiarity that’s stuck with me since the very first time I read the issue back in 1993!

We open on a frontispiece…no actual action or identification of characters, just an image of Mantra as a body/mask/cloak/armor, a black man to the upper left, a ark-haired woman to the upper right, and green energy/lightning and smoke billowing at the bottom. The creator credits and issue title are here as well. Turning the page, we meet Bill Cooper interacting with a Mr. Dalmas, apparently finalizing paperwork for a divorce. The wife has tailed the lawyer and manages to get in, appealing to Cooper to at least not turn his back on his son. While they’re dismissed, we have the growing sense of something supernatural or at least abnormal going on. A ghostly image of an old mane addresses Cooper as Lukasz, and in turn is addressed as Archimage. Cooper makes his way to a club, and getting reacquainted with Yaron, Hamath, and Thanasi. Meanwhile, someone is tied up and being questioned by a garishly-dressed man apparently called Notch. He has a ghostly image of another old figure–Boneyard! Cooper–Lukasz–and his fellows burst in, and battle commences! While the men struggle, we get a momentary glimpse of Boneyard and Archimage hand-to hand struggling themselves…as blood is shed on both sides. Cooper lays dead as the others escaped, and Notch cuts the heart from the body…making it quite official the notch he’s cut in his staff. We meet Warstrike as he answers a call, and then the scene shifts to show us a couple–Marla and Carl, apparently recently-reconciled arriving at a house…and we meet Eden Blake (the dark-haired woman from the frontispiece) interacting with her kids, mother, and her own date. Marla’s gone in while Carl properly parks the car. The view shifts to a trippy/cosmic "hall of bodies" called The Soulwalk, as we find Lukasz’s soul preparing to go into its next body…which he does as it rings a doorbell, and we see he’s displaced Carl. Breaking another heart, he walks out on Marla and an angry Eden. In Carl’s body, we follow Lukasz as he meets up with the rest of Archimage’s group–12 in all–and they get a final speech from the old man as he reveals that they’ve been betrayed by one of their own.

Boneyard arrives, Archimage is captured, his men are killed…Carl/Lukasz killed by Warstrike. Lukasz thinks this is it…before discovering Archimage–even captured–is bringing him back. Lukasz wakes up in bed next to a man, and discovers that this time, he’s been reincarnated as a woman. The woman he saw earlier–Eden Blake!  As Eden, he makes a hasty exit, and immediately experiences the some changes on the streets of LA as a woman instead of man…including being pulled into an alley for an attempted rape, before the would-be-rapist’s cigarette sets him ablaze. Eden makes it to a hospital to meet the last of Archimage’s helpers, who reveals that this is the final reincarnation, Lukasz’s soul was put into this body as a last-ditch backup failsafe, and after centuries of technology, must now embrace magic. A mask charm suddenly flips Eden into the scantily-armor-clad figure of Mantra with a cloak, thigh-high boots and arm-length gloves. As Katinya dies, police enter and assume this figure is a murderer, forcing Eden to escape. Getting home to the address on her driver’s license, she dismisses mother and kids for the night, finds this body doesn’t like whiskey, and answers a late night doorbell to find Warstrike…who knows who (s)he actually is!

Maybe it’s largely nostalgia, maybe it’s the analytical reading for this post and going back through the issue for this overly-lengthy summary of the issue. But this strikes me as a darned good first issue! We have foreshadowing in the frontispiece, a cold build from some arbitrary scene as things quickly come together, showing us good guys and bad guys, and that both sides have a master figure behind them…a 15-century struggle comes down to this final night, as Boneyard gains the upper hand…and the last surviving chance for Archimage is Lukasz, now in the body of a woman and apparently host to mystical/magical powers. We’re introduced to a number of characters on both sides, to the situation, how this battle has lasted over a millennia, and so on. We see how easily Lukasz is killed–twice!–which shows how extremely imperative it is that he be more careful than ever when he learns he can no longer simply be brought back in a new body. And like Lukasz himself…we’re left wondering at the end of the issue what’s coming next. Immediately in terms of Warstrike’s showing up to finish what he started, and whatever is to come in the ongoing battle.

Visually, this is maybe the strongest Ultraverse issue thus far to me, of the five titles. Of course, it’s Terry Dodson art, so that’s a lot of it! Barr crams so much into the story and the art so beautifully conveys it all that I feel little wonder that this is one of my favorite issues of the line.

I did not originally read this in August of 1993 when it came out–at least, I somehow have a memory of reading it in December that year. 25 years and family stuff could definitely have scrambled the timing in my memory, though. But I distinctly remember the surprise of that page when Lukasz wakes up in Eden’s body…quite an image for a barely-13-year-old, and probably a bit of an immediate imprint for the title character.

Like Freex #1, this issue came with a "bonus coupon," which could be substituted for one of the first-month coupons to redeem for Ultraverse Premiere #0. I remember having to make use of that due to being unable to get the Wizard #23 coupon for whatever reason.

All in all, this is a strong first issue well worth getting if you find it in a bargain bin, and I’m definitely looking forward to getting into #2 and onward as things develop, and filling in some of the details and such I missed when the issues were new, as it’s been in the years after the end of the Ultraverse line that I was able to fill in the early gaps in my collection!

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The ’80s Revisited: Detective Comics #572

detective_comics_0572The Doomsday Book

By: Mike W. Barr
Colored by: Adrienne Roy
Edited by: Denny O’Neil
Cover: Michael William Kaluta
Published by: DC Comics
Cover Date: March 1987
Cover Price: $1.25

Chapter One:
Artist: Alan Davis
Letterer: John Workman

Chapter Two
Artists: Terry Beatty & Dick Giordano
Letters: Todd Klein
Colors: Carl Gafford

Chapter Three
Arists: Carmine Infantino, Al Vey
Letterer: Todd Klein
Colorist: Carl Gafford

Chapter Four
Artist: E.R. Cruz
Letterer: Romeo Francisco

Centerpiece
Dick Sprang

Chapter Five
Artists: Alan Davis, Paul Neary
Letterer: John Workman

dick_sprang_remembers_detective_572

I’m finding that I’m a bit of a sucker for ’80s anniversary issues. Especially ones like this, where it’s not some round number of an issue, not a bunch of variant covers, not a relaunch or renumbering, not even the culmination of some huge story that’s overly self-aware of numbering. This seems–essentially–to be a nice, hefty, done-in-one full-length self-contained adventure…and it’s not at all hard to see where this could (by present-day standards) be dragged out as some six-issue mini-series (at least) if not multiple 2-3 issues mini-series or such.

But of course that would fly in the face of an anniversary ISSUE. In this case, celebrating 50 years of the title, not Batman himself, though the caped crusader has a definite role in the issue!

What we get here is an extra-sized issue with story elements on multiple fronts, allowing multiple art teams to work on the title, as well as the writer to flex and work with different characters that aren’t strictly Batman or his immediate Bat-group. This issue is from a time much closer to the title’s historical format with multiple characters sharing the title…even though Batman’s been the most prominent character, a number of other characters "came up" through the title, not necessarily related specifically to Batman or stories involving Batman himself.

I’ve been aware of Barr‘s work for a long time…and while I’ve come to know him as the writer of Batman: Year Two, and Camelot 3000, and Batman and the Outsiders and whatnot…I most associate him with Mantra, one of my favorite Ultraverse titles growing up in the ’90s. That a creator of a character I thoroughly enjoyed there also has such a history with Batman has been icing on the cake, so to speak.

I’ve primarily read Detective Comics from #604-onward…very much after the "anthology" format was basically jettisoned and it’s been just another Batman title. So while aware of its history, I haven’t actually read much of that history…at least not while of any age to truly appreciate it (I know I’ve read a number of issues from Grandpa’s collection, back in my earliest comic days, but that was a quarter-century ago!).

Slam Bradley finds himself with a client who’s under the gun–literally. Though Batman and Robin intervene for the moment, there’s more to the situation–and story–and he’s determined to figure it out. What he doesn’t count on is learning of a couple names with prominent ties to the past: Watson…and Moriarty. The Elongated Man–Ralph Dibny–gets involved, with a personal encounter with the villain at hand, confirming what Slam Bradley had learned. We then jump to "the past," and a tale of Sherlock Holmes…fitting to the continuity of this issue’s story, while being simply a new Sherlock Holmes story, and certainly celebrating the title Detective Comics.  The various branches of the overall story converge and we get back to Batman and Robin being on the page as all the characters come together…including a rather surprising (to the characters) figure, one that I had actually come to think would not be present in quite the way they turned out to be.

This issue is just over 30 years old, but I still step around stuff a bit. Consider this your spoiler warning.

After this line, I get into "spoilers," as I would if this had not been a three-decade old back-issue.

Batman meets a significantly-aged Sherlock Holmes here. As this was published in 1987, along with being the 50th anniversary of Detective Comics, it was the 100th anniversary of Sherlock Holmes. And with a mention of living conditions and such, and just HOW old the character looks at the end of this issue…it may have been a bit of a stretch to consider a man would live to be over 120 years old (if he was already an adult in adventures in 1887). Of course, 30 years later, this is no longer plausible in the slightest…at least to me. So it "dates" the issue, but in a good way…and it was a pleasant surprise to find that the cover was not JUST a case of being some thematic team-up where both characters appear in the course of the issue but don’t directly interact…we actually get to see Batman meet THE Sherlock Holmes. (Though I’m not gonna get into the meta-stuff of characters recognizing the STORIES but then having the story-accurate character showing up in their midst as a "real guy").

Though there were multiple art teams for the issue, with them being split up across different chapters (instead of several pages here, several there) it really served the story, and kept things from seeming choppy or such. Batman didn’t seem to be in much of the issue, but where he was, he seemed "’80s-accurate" to me; and the other characters (that I’m less familiar with, particularly from this time frame) all work and don’t stand out as contradictory to whatever I do know about them. The cover led me to believe (in conjunction with something I’d read in the past) that the focus of the issue might’ve been a Batman/Sherlock Holmes team-up/adventure. I was initially disappointed, as I thought when I bought the issue that it’d be a team-up. As the issue went on, it took on more a sense of reality, history, and "legacy" that I found intriguing…such that it was simply a treat to have the aged Holmes show up at the end as he did.

There’s a nice "center spread" by Dick Sprang that makes for a good touch, and far out-beats contemporary practices where it would have been a variant cover or a couple of variant covers. It’s just a nice double-page art piece showcasing Sprang‘s take on the characters.

I believe I paid $6 for this issue, against its $1.25 cover price. By contemporary comics’ standards, this was well worth that price and then some. For time it took to read, it more than out-matched contemporary comics, at the "inflated" or "priced back issue" dollar I paid for it. This would absolutely be worth getting out of a bargain bin…and I have no problem with having paid a slightly more "premium" price for it as an actual, priced back issue and not something from a bargain bin. This stands alone as a singular, strong issue, and other than knowing that the characters exist, you don’t really need to know any present-day (at the time) continuity to enjoy this issue; FROM this issue, I would not be able to tell you myself offhand what was going on in issues immediately before or immediately after this issue.

Highly recommended!

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The ’90s Revisited: Wildstorm Chamber of Horrors #1

wildstorm_chamber_of_horrors_0001Warblade
Story: Ron Marz
Layouts: Bernie Wrightson
Finished Art: Alex Bialy
Colors: Lee Ann Clark
Computer Color: Ominous Color

Lord Emp
Story: Steven Grant
Art: Trevor Scott
Color: Gina Going
Computer Color: Quantum Color

Tapestry
Story: Merv
Pencils: Jason Johnson
Inks: Chris Carlson
Color: Monica Bennett
Computer Color: Ominous Color

Savant
Story:
Jeff Mariotte
Pencils: Tom Raney
Inks: Al Vey
Color: Gina Going
Computer Color: Ominous Color

Framing Pages
Pencils:
Aron Wiesenfeld
Inks: John Beatty, Alex Garner, Al Vey
Color: Monica Bennett
Computer Color: WildStorm Effects, Ominous Color
Production: WildStorm Effects

Letters: Chris Eliopoulos
Cover: Simon Bisley
Pinup: Jeff Rebner & Richard Friend
Editor: Jonathan Peterson
Editorial Coordinator: Amy Zimand
Cover Date: October, 1995
Cover Price: $3.50

Well, that’s an extremely long list of creator credits for this issue! For purposes of this post, I suppose that’s my fault, as I’m not breaking them up for individual-segment thoughts on writing/art/etc. Because while I read the issue, I quickly realized it’s a collaborative one-off piece…essentially a bunch of characters coming together, hanging out, exchanging stories while doing so…and different creators handling the different parts that are then stitched together into this single comic book.

I found this issue in a quarter-bin, and the main reason it even caught my attention was the "generic" Wildstorm in the title…then drew me in with the Chamber of Horrors bit. Hey, Halloween is almost here, and I haven’t acknowledged October. So I’d thought ok, I’ll get this issue, and maybe read it in time to do a post before Halloween. So here we are.

I know the "high points," or the "bullet points" of Image in the ’90s…and largely consider (personally) that most of what gives "The ’90s" a bad rap in comics IS the Image stuff. And while there’s some nostalgia for me, I’ve yet to really dive in and erase the blind spot so much of ’90s Image still has for me. That said, or as such…I’m not all that familiar with characters in this issue…very few by name, just looking at them. I recognize a few, and a couple others sort of look familiar…but this is a jam piece I fail to appropriately "appreciate," I’m sure.

This issue is–as said–a "jam piece," with 5-6 "creative teams" involved in multiple segments that collectively make up the issue. At its core, characters come together and wind up in their own space at a party, but outside of "authorized space" at the museum that’s hosting them, and are free to tell stories amongst themselves that would not work for a general public. So the characters swap stories about horror situations they’ve found themselves in–from dating/making moves on a body possessed by spiders, to experience with the Salem Witch Trials, to a mirror that led to horrible versions of what should have been one’s best dream.

As a whole, this issue was entertaining enough. Reading it, I simply breezed through–I noticed the visual changes, but the story overall seemed relatively seamless…or at least, nothing jarring that didn’t mesh with the other parts. As said, I’m not familiar enough with any of these characters or individual series to come to the table with any real expectations, so stuff really just "is."

The art’s not bad in and of itself…though I really "see" a lot of ’90s Image in the stuff (considering this IS "’90s Image," that’s to be expected!). For a 25-cent purchase that I had zero real "expectation" for going in…I honestly enjoyed the issue, and it was worth the purchase and reading. Despite the title, and the cover, other than it incidentally being the characters gathering around a Halloween party, this could be "any time," just messed-up situations or "out there" stuff.

I never knew this issue existed, nor sought it out. I wouldn’t say it’s really anything to go to great lengths to acquire…but it’s worth a 25-cent purchase/read-through, and can serve (at least visually) as a sort of "sampler" of stuff being put out at the time.

There’s an ad in the back of the issue for a $30 "chromium" poster version of the cover…which makes me wonder if there might be a "chromium" version of this issue out there somewhere. If there is, I obviously haven’t seen it. The cover image gives me a bit of deja-vu…so perhaps I’ve seen it before without consciously taking it in; maybe I’ve seen the poster; maybe just the ad. (Or perhaps there’s some promotional trading card from Wizard with this image on it that I’ve seen).

Though titled Chamber of Horrors…you could definitely find worse horrors than this issue.

The ’90s Revisited: Uncanny X-Men #308

uncanny_xmen_0308Mixed Blessings

Writer: Scott Lobdell
Penciler: John Romita Jr.
Inkers: Dan Green, Al Vey
Letterer: Chris Eliopoulos
Colorist: Steve Buccellato
Editor: Bob Harras
Published by: Marvel Comics
Cover Date: January 1994
Cover Price: $1.25

This issue brought back a number of fond memories, as well as a new feeling as I “noticed” the art rather consciously this time. Having this issue relatively on-hand for this reading is something I must credit to fellow blogger Chris Sheehan, whose comments/discussion of the issue prompted the purchase and encouraged making the time for the re-read. It was his post that prompted me to re-purchase the issue (for the convenience of immediate availability in print without digging through umpteen unorganized longboxes to locate my original copy).

For a single issue, there’s a lot packed into so few pages. Essentially, though, we have Scott and Jean–Cyclops and Phoenix–walking the grounds outside the X-mansion. For once, there’s no overt threat, no villain interrupting, the world-at-large doesn’t need immediate saving, etc. Just a young man and woman spending time together, enjoying cool fall weather (well, Thanksgiving Day) and doing so amidst a larger group also living on the premises. So we get a bunch of “moments” between characters…and while the couple reminisces, they also come to a decision about their future.

This issue is one of a handful of X-Men comics I recall from the early/mid 1990s where we basically just have the characters hanging out at the mansion, interacting with each other in down-time withOUT having to deal with some villain or crossover or whatever. And reading this in 2016 where every story is written for the trade, and every trade is part of some big event and every event leads into the next with no time between…this issue is highly refresshing. There just aren’t issues like this anymore (at least not from Marvel/DC!).

The story itself is very much what I prefer in comics, giving us the characters, “quiet” “moments” and generally giving us a glimpse of what these characters do, how they might interact when not in the midst of fighting for their survival. We get to see them presented as actual people…which makes them that much more truly relatable (at least, to me!).

I remember thoroughly enjoying this issue over 20 years ago…and I enjoyed the story now. Unfortunately, while I don’t recall noticing the art–back then, if I did it didn’t throw me–but this read-through I REALLY consciously noted the art…and between this and bailing on a Superman story some time back for so disliking the art, I must conclude that as a general thing I dislike Romita Jr.’s visual style. There’s something to the style–sometimes a sense of sketchiness, other times something to faces and lips particularly that just doesn’t work for me and proved flat-out distracting to me, taking me out of the story itself. Which, while a complaint that I have, myself, is not to suggest the art is bad…it’s just definitely not to my taste, and it now being a conscious thing, it’s something I can watch out for.

And then, regardless of the linework and such itself, I had consciously forgotten (but hey, deja vu or such!) how much I dislike the flipping and flopping one must do to read certain ’90s comics, when the artists played fast ‘n loose with the “traditional” comic page and layouts. Some pages read fine, but rather than just varying panels across one or two pages, where one can just page through the issue with a single physical orientation and be fine…here, we’re given some instances with a double-page piece where you have to turn the comic sideways for a top-to-bottom experience with the issue physically turned sideways; others where the issue must be turned on its side for a then-typical left-to-right experience, and so on. Rather than being able to just lay the issue flat and page through, reading, while say, eating a bowl of cereal as breakfast it requires an active, physical experience of manipulating the book, which gets distracting and kicks one out of the story.

All in all, though…this is an excellent X-Men comic that I paid less than $4 for, and got so much more from it than any $3.99 new comic I can think of. If you know your X-Men and enjoy such stories, or have never read this, I’d urge you to give it a shot, if you can get the issue for (or less) that $4. If you find it in a 25-cent or 50-cent bin, all the better!

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