Showing posts with label 1980s. Show all posts
Showing posts with label 1980s. Show all posts

Tuesday, 10 January 2017

The Munsters (1997) # 1-4, Elvira, Mistress of the Dark (1988) # 1, Elvira, Mistress of the Dark (1993) # 1-8


(I originally read these comics in mid/late December 2016)

1997 seems late in the day to attempt a revival of the 1960s spooky sitcom family, but that's what TV Comics! attempted with this four-issue series. And against the odds, it works. All stories are by C.J. Henderson with a total roster of four different pencilers. George Broderick's broad yet accomplished cartooning in issue 1, which somewhat resembles that of Neil Vokes, is my favourite. However, the art style takes a downturn for the "more realistic" in issue 3, seemingly prompted by the reaction of one nobody on the letters page. 


   


The stories are much what you'd expect, but with more action. A would-be vampire slayer arrives from "the Old Country" in issue 1 to complete his long-held objective. (In this story, it's clearly implied Grandpa is the Dracula. Was this the case in the show?) In issue # 2, the Munsters take a trip to New York and their 'ugly' niece Marilyn (the joke being, of course, that she is actually gorgeous by normal, human standards, ho ho) gets a goth makeover. Issue 3 features a multi-chapter tale with Herman and Eddie attending the latter's school father/son day and Lily going to unusual lengths to prepare dinner for Herman's boss. The fourth and final issue has the Munsters bumbling into an FBI sting at a funfair where they're mistaken for the members of a criminal gang. All issues are padded out with cast photos and interviews and a prose story in issue 1, though I skipped that.

An oddity, worth seeking out for fans.




Still in the mood for spooky silliiness, I read this adaptation of 'Elvira, Mistress of the Dark', a comedy for which I've had a soft spot since renting it on VHS back in about 1989 (though, discovering Elvira's gown-busting norks at the age of thirteen, it was less a "soft spot," more a...). 

I guess the film was considered pretty risque at the time as Sid Jacobson removes the naughtier jokes and the remaining few, such as my fave, "Here's to my big opening!", seem entirely innocuous without Elvira/Cassandra Peterson's nod and wink. Ernie Colon and Romeo Tanghal provide the art but Tanghal seems to me to have overpowered Colon's pencils, which is a shame.

For those not familiar with the movie, TV horror host and frustrated Las Vegas showgirl Elvira, a beehived valley girl with attitude and a goth fashion sense, inherits a house, recipe book and pet poodle from her deceased Aunt Morgana. However, the 'recipe book' is actually her aunt's spell book and Elvira's uncle, an evil warlock, will stop at nothing to gain its power. Horrified at first by Elvira's looks and perceived 'loose ways', the puritanical citizens of sleepy Falwell, Massachusetts are eventually won over when Elvira saves the day, but only after trying to burn her at the stake. The film takes its cues from the then-ongoing battle between the US religious Right and heavy metal culture and provides much more sexy and irreverent fun than the comic.


   
   


Elvira's ongoing comic, starting in 1993, is a mixed bag eight issues in. Editor Richard Howell enlists the talents of Paul Dini, Kurt Busiek, Jo Duffy and others to write, with James Fry, Neil Vokes, Jim Mooney and Dave Cockrum among the contributing artists. However, it's Dan Spiegle illustrating Duffy's back-up story in issues 1-6 which is the real eye candy, both in terms of his lush black and white art and his rendition of our heroine, which is definitely the sexiest thus far. A recurring theme is the clashes between Elvira and her station manager at K-WHA, Rosalind Wyck, but there's room for other matters as Elvira helps a teenage werewolf with relationship troubles and attends a class reunion (an idea supposedly contributed by Cassandra Peterson, herself). Paul Dini's stories in issues 1 and 8 were the most amusing to me, but really nothing seems to reach the comedic standard the creators are striving for. Howell's own back-up tale in issue 8 provides a nice, obscure Easter egg for comics fans, though, in that it's an unofficial sequel to Stan Lee's and Steve Ditko's 'Goodbye to Linda Brown', from the pages of Strange Tales # 97, which foreshadows both Spider-Man and the X-Men.

I'll return to this title as I find humour comics are best read in small doses.


As extras, here are Joe Jusko's unadorned front cover art and back cover for Elvira, Mistress of the Dark (1988) # 1


 


Stories from Elvira, Mistress of the Dark (1993) # 1-8 are collected in:

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Tuesday, 3 January 2017

The Demon (1987) # 1-4


(I originally read these comics in early/mid December 2016)

I'm used to reading good comics by Matt Wagner. This belated continuation of Jack Kirby's Demon series (reviewed here) isn't one of them. It's crap.

Glenda Mark, lover of Gotham demonologist Jason Blood, tracks him down in Cornwall to investigate a possible connection between Blood's other half, Etrigan, and the demon Belial, to whom he bears a resemblance. In search of answers, Mark summons Etrigan, who sends the pair in search of a mystical tome that might provide answers and good God I'm getting bored just typing this. The first issue has to be one of the most off-putting openings ever, laden as it is with reams of dull conversation between two people whose history we're expected to be intimate with already. (Remember that, at the time, Kirby's original series was thirteen years in the past.) Things get even more laborious when Etrigan arrives on the scene, speaking only in page after page of forced rhyme. (Thank you Alan Moore for that ill-advised addition.) It wouldn't be so bad if the metre of his dialogue was consistent, but it changes from panel to panel, not allowing you to latch onto the rhythm before it changes completely.

I actually read this series twice because the first time I literally started to doze off every issue. Having a generally positive opinion of Matt Wagner's work, I figured the problem must be with me and so tackled it again just weeks later. However, the second time I couldn't even finish it. This is a dreadfully dull and interminable series and reading it is just too much of a chore. Never again. 


   


The Demon (1987) # 1-4 are collected in:

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Monday, 26 December 2016

Freak Show (2005), Twisted Tales (1982) # 1-10, Twisted Tales 3-D (1986) # 1, Twisted Tales (1987)


(I originally read these comics in early/mid Octopber 2016)

'Freak Show' collects a story originally serialised over a decade earlier in the pages of Heavy Metal, by Bruce Jones and Bernie Wrightson. It's a slim fable about carny folk with a gruesome denouement straight out of Tod Browning's 'Freaks', which makes it hard to believe Jones' assertion in the foreword that he'd never seen the film. Wrightson's art is usually worth a gander and this is close to peak stuff. The three early back-up strips culled from obscure sources (in the hardcover, at least) show burgeoning talent but are otherwise unimpressive.




Jones' 'Twisted Tales', dating from around the same time, attempts to capture the EC spirit with short, gruesome, twist-in-the-tale stories. Two consecutive stories with very similar 'shock' endings threaten to derail things early on, but the comic soon finds its stride and come 'Sunken Chest' in # 3, you're usually guaranteed at least one standout tale per ish. The somewhat infamous 'Banjo Lessons' in issue # 5 is prefaced by a cowardly editorial seeking to pre-empt any offence caused by its portrayal of racism. However, art-wise there are few complaints. Legends Mike Ploog, Richard Corben, Doug Wildey, John Bolton, Bernie Wrightson and others (including Jones himself in # 4) provide sterling work. Rick Geary's one-page fillers see pointless, though. 


   
   
   


I didn't read the 3-D special as much as I just flicked through it, given all its contents are reprinted from the mother title. I will state, however, that the 3-D effect is convincing and fun.

The album from Eclipse presents three stories, leading with 'Termites from Mars'. It's less a horror story than a nostalgic recollection of late '50s youth as a 'monster kid' and echoes works of adolescent awakening and adventure like 'The Goonies' and 'Stand By Me.'


Freak Show is available in:

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Stories from Twisted Tales (1982) # 2/6 are collected in:

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A strip from Twisted Tales (1982) # 10 is collected in:

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Friday, 23 December 2016

Captain America (1968) # 261-300, The Defenders (1972) # 106/107, Marvel Fanfare (1982) # 31/32, Marvel Team-Up (1972) # 128, The Falcon (1983) # 1-4


(I originally read these comics in early/late October 2016)

Picking up what I've long considered to be the J.M. DeMatteis/Mike Zeck run of Captain America after long intending to, I came to discover that's a misnomer. They first combine to good effect in issue # 261, but it's not till later, perhaps # 270, that they start to gel and produce anything very memorable with the introduction of Cap's boyhood friend, Arnie Roth. Once the weakling Steve Rogers' protector, he's now just a tubby, balding schlub whose best years are behind him. You know, like the rest of us. (He's also a 'gay' - but don't whisper it too loudly.) Roth's a worthy addition to Cap's supporting cast, which for a change is quite fleshed out here. In particular, Steve has a romance with neighbour Bernie Rosenthal on the go that experiences its ups and downs when she declares her love for him before he's ready to do the same and also when she finally twigs to his secret identity.

The unstable creative team means the earlier part of DeMatteis' run is littered with fill-in stories by Dave Kraft, though he maintains a decent standard. Issue # 275 memorably introduces Baron Helmut Zemo, son of Cap's wartime nemesis and future Thunderbolt. Rat-man Vermin, now best remembered from 'Kraven's Last Hunt', debuts in # 272. Viper makes a worthwhile return and the writer resurrects forgotten rogue the Scarecrow with some success; less so the Porcupine. The most significant return is that of Jack Monroe, the 1950s Bucky, who after being resuscitated after a long period in suspended animation much like Cap himself, becomes his new crime-fighting partner, Nomad. Issues 286-288 conclude the future saga of cyborg, Deathlok (reviewed in full here). 


   
   
   
   
   
   
   
  
  

   


DeMatteis' run begins to rumble towards its conclusion as early as # 290 with the debut of Mother Superior, the Red Skull's daughter, though with a pleasing fill-in from Bill Mantlo and an on-form Herb Trimpe in # 291. DeMatteis indulges in some bleeding heart white guilt in # 292 and attempts to make a virtue of pacifism in # 293. In this story, Cap berates Nomad for punching out an armed felon. Let's just repeat that: Cap berates Nomad for punching out an armed bank robber (a "mixed-up kid") WHO WAS POINTING A GUN AT HIM. Oh, well. I guess it was asking too much for DeMatteis to rein in his moronic hippy tendencies forever.

It's around this point my interest started to wane. Paul Neary is not an adequate replacement for Mike Zeck (and he draws some particularly lousy women's faces). The overlong return of, and supposedly final battle with, the Red Skull meanders for too long and proves to be more than a bit anticlimactic. 


   
   
   

 


The annuals produced during this period are all below par. The later two-issue story in Marvel Fanfare, probably originally intended for DeMatteis' run on Marvel Team-Up, is enjoyable, but then I always did have an inexplicable fondness for guest star, Frog Man. 

One of Marvel's first limited series appeared in 1983, starring Cap's high-flying, sometime-partner the Falcon. It's routine stuff by Jim Owsley (latterly Christopher Priest), Paul Smith and Mark Bright, with Sam Wilson confronting gang-bangers, battling Electro and ending with a kidnapped Ronald Reagan being lectured as to how tough life is in "da hood." Good grief...


As an extra, here's Mike Zeck's cover art for the 1993 trade paperback, 'Captain America: Deathlok Lives'.




Captain America (1968) # 261-266 and Captain America Annual # 5 are collected in:

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Captain America (1968) # 261-263 are collected in:

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Captain America (1968) # 268 and The Defenders (1972) # 106/107 are collected in:

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The back-up strips from Captain America (1968) # 276-278 and The Falcon (1983) # 1-4 are collected in:

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Captain America (1968) # 280 is collected in:

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Captain America (1968) # 286-268 are collected in:

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Captain America (1968) # 290-300 are collected in:

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