Firestorm, The Nuclear Man 1 (March 1978)

Firestorm, The Nuclear Man #1 What an awkward first issue. Writer Gerry Conway has a lot of story to tell, since he covers the origin of Firestorm and has to introduce the two alter egos, but there’s also a couple action sequences. His solution for having to convey all the information isn’t original–he uses expository dialogue. Lots and lots of expository dialogue.

Offsetting the exposition is the playful nature of Conway’s narration–from the first issue, Firestorm feels more like a Marvel comic, between the colloquial tone of the narration and penciller Al Milgrom’s New York City backdrop.

Milgrom’s has some rough patches–Firestorm has a funny looking face–but it’s fine for the most part.

With the rush of information and characters getting introduced, not to mention Conway harping on Firestorm’s teenaged alter ago, Ronnie, having low-self esteem. At least he’s got a personality, while Professor Stein (the other alter ego) doesn’t.

CREDITS

Make Way For Firestorm!; writer, Gerry Conway; penciller, Al Milgrom; inkers, Klaus Janson and Joe Rubinstein; colorist, Adrienne Roy; letterer, Todd Klein; editor, Jack C. Harris; publisher, DC Comics.

The Further Adventures of Indiana Jones (1983) #21

The Further Adventures of Indiana Jones 21

There are a bunch of inkers on this issue. They stay consistent until the finish, when it’s very obvious the inker has changed. The final inker changes Steve Ditko’s pencils so much, it barely looks like the same comic.

Ditko doesn’t do a great job on Jones, but it’s really cool to see his old standard panel arrangements used again. And the eyes. Love the eyes. It’s a shame Priest didn’t write the issue as a retro thing to match Ditko, but given the number of inkers, I’m sure no one at Marvel had any idea who was drawing it when Priest was writing it.

The story itself is lame. It’s a lot of action and some silly villains. Priest continues to flush the romance between Indy and Marion… Not to mention playing up Marcus Brody being tough.

Priest is also really bad with the setting. He writes too modern.

The Further Adventures of Indiana Jones 21 (September 1984)

Indy 21 There are a bunch of inkers on this issue. They stay consistent until the finish, when it’s very obvious the inker has changed. The final inker changes Steve Ditko’s pencils so much, it barely looks like the same comic.

The story itself is lame. It’s a lot of action and some silly villains. Priest continues to flush the romance between Indy and Marion… Not to mention playing up Marcus Brody being tough.

Priest is also really bad with the setting. He writes too modern.

p style=”font-size:11px;”>CREDITS

Beyond the Lucifer Chamber; writers, David Michelinie and Christopher Priest; penciller, Steve Ditko; inkers, Bob Wiacek, Steve Leialoha, Jack Abel, Al Milgrom, Carl Potts, Edward Norton and Danny Bulanadi; colorist, Rob Carosella; letterer, Joe Rosen; editor, Eliot Brown; publisher, Marvel Comics.

Marvel Treasury Edition 28 (July 1981)

Was Jim Shooter paying himself by the word, because I don’t think I’ve ever read more exposition in a comic book. It’s terrible exposition too, but I suppose the sentences are grammatically correct. For the most part.

But what I can’t figure out is the artwork. The combination of John Buscema on pencils and Joe Sinnott on inks produces one of the worst eighties comic books I can remember seeing. Superman’s figure is strangely bulky, with a little head. But the facial features on everyone are awful. It’s a hideous thing to read.

The story concerns Dr. Doom trying again to take over the world, which is boring. The interesting stuff is Clark working at the Bugle and Peter working at the Planet. They should do a series. But not by Shooter, who makes Peter constantly horny.

Interesting to see the black chick after Clark though.

It’s an awful comic.

CREDITS

The Heroes and the Holocaust!; writers, Marv Wolfman and Jim Shooter; penciller, John Buscema; inkers, Joe Sinnott, Terry Austin, Klaus Janson, Bob McLeod, Al Milgrom, Steve Leialoha, Walt Simonson, Bob Layton, Brett Breeding, Joe Rubinstein and Bob Wiacek; colorist, Glynis Wein; letterer, Joe Rosen; editor, Milgrom; publisher, Marvel Comics.

DC Universe: Legacies (2010) #6

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Perez inking Ordway produces a good result and, even though Wein’s writing has weakened again, the issue is moderately successful. Wein’s basically recapping post-Crisis big events here—mostly Legends and the reforming of the Justice League. As far as a summary, it works pretty well—though I think they’re leaving out Millennium or whatever.

But the narrator again takes center and his story gets even lamer. First, his reformed crook brother-in-law is crippled, making the pair very annoying as they form this homoerotic codependency. Second, the timeline is all messed up again. The character looks like he’s in his mid-thirties, but if he was born in the 1920s… he should be in his sixties.

The backup, with Giffen and Milgrom on the art, is a Legion thing. The writing’s lame and Giffen draws teenage Superboy like he’s fifty. Maybe Giffen should be drawing the series protagonist.

Dark Horse Presents (1986) #109

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I can’t believe I’m about to make this statement—I liked Milgrom’s story the best. It’s some charming little thing about a guy treating his roaches as pets (after all other attempts at pet owning in New York fail). Milgrom’s style is more comic strip than I’ve seen and it works. Even if the protagonist does look like Peter Parker with a receding hairline.

Pope’s One Trick opens the issue and I remembered all the characters in this installment. One of them was mentioned briefly in the first installment. One Trick doesn’t seem to be meant for a lengthy, interrupted read. Pope’s pacing suggests it should be read in a sitting (I know Dark Horse traded it eventually).

Devil Chef ends this issue… it’s a slightly less annoying read knowing Pollock won’t be back with it next time.

And French’s Ninth Gland? Still no real story, just incredibly, uncomfortably weird.

Dark Horse Presents 109 (May 1996)

Devil Chef ends this issue… it’s a slightly less annoying read knowing Pollock won’t be back with it next time.

And French’s Ninth Gland? Still no real story, just incredibly, uncomfortably weird.

CREDITS

The One Trick Rip-Off, Part Nine; story and art by Paul Pope; lettering by Michael Neno. Devil Chef, Part Three; story and art by Jack Pollock. The Ninth Gland, Part Four; story and art by Renée French. New York Pets; story and art by Al Milgrom. Edited by Bob Schreck and Jamie S. Rich.

Peter Parker, the Spectacular Spider-Man (1976) #95

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I guess this issue is better than the last one. Milgrom’s directly continuing it, which will probably wreck havoc in the monthly Spider-Man continuity over in Amazing, and he keeps his recap of the previous issue brief.

The writing is still bad–in the case of Cloak and Dagger and the Black Cat, very, very bad–and the art is still exceptionally weak, but at least it all passes somewhat painlessly. There’s nothing idiotic this time, just a bunch of bad dialogue and plotting. The pacing isn’t terrible–the issue takes a while to read because Milgrom has maybe nine different characters who get thought balloons. Lots of villains appear. It’s lame, but it’s not breezy.

Suffering through these issues, I wonder how anyone made it through this period of Spectacular. Black Cat alone would have made me quit reading the comic.

Another bonus: Peter whines less this issue.

Peter Parker, the Spectacular Spider-Man (1976) #94

Ppssm94

What would I do without Al Milgrom? I’d never have been able to understand this issue, like when Cloak and Dagger talk to each other about their origin. Or when Peter thinks all about the problems he’s been having with the Black Cat and then explains their last adventure together.

But Milgrom is dealing with a beloved character and supporting cast so I guess he doesn’t actually have to be writing anything interesting. Or have any story developments–Black Cat is still a complete twit, who hates Peter Parker and only likes Spider-Man–wait, she’s mentally ill? Explains tons.

So, it’s a bad soap until the lame villain arrives (Silvermane?) and kicks Spidey’s butt.

Milgrom’s art is worse than usual. There’s one place where he reuses the same panel three times in unison (for powering on the alien costume).

The comic doesn’t have a point or any charm, eighties nostalgia or otherwise.

Peter Parker, the Spectacular Spider-Man 95 (October 1984)

Suffering through these issues, I wonder how anyone made it through this period of Spectacular. Black Cat alone would have made me quit reading the comic.

Another bonus: Peter whines less this issue.

CREDITS

The Dagger At the End of the Tunnel!; writer and penciller, Al Milgrom; inker, Jim Mooney; colorist, Bob Sharen; letterer, Diana Albers; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.