The Further Adventures of Indiana Jones 12 (December 1983)

22344I can’t believe I forgot to mention Indy’s Spanish gypsy sidekick from last issue–he returns here–I think he’s based on Speedy Gonzales. There’s the yellow sombrero and the annoying dialect.

That lame character aside (made worse this issue with Marion falling for his “charm”), Michelinie continues to do pretty good work on Further Adventures. There’s this neat little subplot about these guys after Indy and Speedy continued from last issue; Michelinie just paces it all really well. I suppose Marion arriving so quick is silly, but she plays so well it’s forgivable.

Sadly, the art’s the problem here. Mel Candido is a terrible inker for both Kerry Gammill and Luke McDonnell, who split the pencilling chores. He’s a little better on McDonnell, which means the issue ends better than it starts, but not by much. It starts real ugly.

Great reveal of the relic at the end too.

CREDITS

The Fourth Nail, Chapter Two: Swords and Spikes!; writer, David Michelinie; pencillers, Kerry Gammill and Luke McDonnell; inker, Mel Candido; colorist, Bob Sharen; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 11 (November 1983)

22343It’s another great plot from Michelinie. He writes some decent exposition too. His dialogue is inconsistent though. For whatever reason he can’t write Indy’s dialogue. Everyone else’s is fine though. Very strange. I think it has to do with him writing Indy as a tough guy first, smart guy second.

The issue has Indy sort of taking a second job as a treasure hunter for a mysterious rich guy. This guy’s band of Arab ninjas (Michelinie’s description) gets Indy out of a jam in the opening. The rich guy then appears to pitch Indy the job–finding the fourth nail from Christ’s cross.

It’s all compelling–it feels very grand–and there are some excellent moments. Michelinie implies subplots without expanding on them, which is interesting–or forgetful.

The Gammill pencils are rather nice too.

Problems aside, the comic has lots of charm and technical qualities. Not bad at all.

CREDITS

The Fourth Nail, Chapter One: Blood and Sand!; writer, David Michelinie; penciller, Kerry Gammill; inker, Sam de la Rosa; colorist, Julianna Ferriter; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 8 (August 1983)

22340Michelinie wraps up the story with an all action issue. He splits it, after bringing everyone together a couple times, between the Nazis and Indy and Marion. They all discover this lost tribe of evil Atlantis descendants. It would seem the only reason the tribe is evil is to give Michelinie an excuse to keep killing them whenever a scene needs to progress. They’re really tall too; apparently Marion’s just as good as hand-to-hand combat as Indy.

Gammill and de la Rosa continue to do a good job on the art, but since it’s an action comic–with digressions–set in the jungle, there’s not much for them to draw.

There’s really nothing to this issue; Michelinie doesn’t even take the time for character moments. He rips off the end of Raiders, which you’d think Marion or Indy would comment on (they don’t).

It’s harmless and utterly pointless.

CREDITS

Africa Screams, Chapter Two: Crystal Death; writer, David Michelinie; pencillers, Kerry Gammill and Sam de la Rosa; inker, de la Rosa; colorist, Paul Becton; letterer, Janice Chiang; editor, Louise Jones; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 7 (July 1983)

22339Michelinie definitely seems to have a formula–apparently based on Raiders–Indy starts the issue on one artifact hunt, it leads to a second hunt, which somehow has Nazis involved. It’s only the seventh issue of Further Adventures and it feels like there’s not going to be much interesting outside the little character moments.

The little character moments are because Michelinie has recast Marion as a reporter who follows Indy around the globe (at least this issue). It gives him a brassy damsel in distress to occasionally rescue and someone to ask questions to make the exposition seem more natural. It’s not a bad move, it just seems weird. As Michelinie writes her, Marion is reckless and loves to drink; she’s not the standard romantic interest.

Kerry Gammill and Sam de la Rosa take over on art, hopefully to stay. They handle the period and action well.

It’s just uninteresting.

CREDITS

Africa Screams, Chapter One; writer, David Michelinie; penciller, Kerry Gammill; inker, Sam de la Rosa; colorist, Bob Sharen; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

Peter Parker, the Spectacular Spider-Man Annual (1979) #4

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Well, I’ve finally found something Bill Mantlo can write–little old ladies.

This issue is mostly about Aunt May and her mysterious behavior. Turns out her pre-Ben Parker boyfriend is back and sending her love letters and causing these very distracting walks down memory lane. Of course, New York’s in different shape than it used to be, so Peter and Nathan are freaking out. Spidey follows her, things get resolved.

It’s funny how well Mantlo writes May’s stuff, given how he overwrites the rest of the issue (and inexplicably retells Spider-Man’s origin). He doesn’t take any time to make Nathan sympathetic–he seems like a nasty old man–and Peter’s barely present.

The art’s fine, with some nice detail on the thirties New York panels.

Oddly, there’s the implication May never truly loved Ben Parker.

The Black Cat backup is moronic and infantile, though Randall’s art is decent.

Peter Parker, the Spectacular Spider-Man Annual 4 (November 1984)

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Well, I’ve finally found something Bill Mantlo can write–little old ladies.

This issue is mostly about Aunt May and her mysterious behavior. Turns out her pre-Ben Parker boyfriend is back and sending her love letters and causing these very distracting walks down memory lane. Of course, New York’s in different shape than it used to be, so Peter and Nathan are freaking out. Spidey follows her, things get resolved.

It’s funny how well Mantlo writes May’s stuff, given how he overwrites the rest of the issue (and inexplicably retells Spider-Man’s origin). He doesn’t take any time to make Nathan sympathetic–he seems like a nasty old man–and Peter’s barely present.

The art’s fine, with some nice detail on the thirties New York panels.

Oddly, there’s the implication May never truly loved Ben Parker.

The Black Cat backup is moronic and infantile, though Randall’s art is decent.

CREDITS

Memory Lane!; writer, Bill Mantlo; pencillers, Kerry Gammill and Sal Buscema; inker, Carlos Garzon. Cat and Mouse; writer, Bob DeNatale; artist, Ron Randall. Colorist, George Roussos; letterer, Janice Chiang; editor, Danny Fingeroth; publisher, Marvel Comics.