The Further Adventures of Indiana Jones 16 (April 1984)

22348 It’s a very fast paced issue from Michelinie. Maybe he knew he had Trimpe and Colleta back on art and didn’t want to make the reader suffer. That explanation is as good as any, especially when one considers the resolution to the previous issue’s cliffhanger–crabs attacking Indy–is the longest sequence in the comic.

For example, the bottom of the ocean submarine sequence reads faster. Somehow Michelinie never feels rushed–Indy and Katanga (who continue to make a great pair) are always in constant danger, the speedy storytelling actually provides relief for the reader. There’s no delaying the constant twists.

The art does have its expected terrible points. Besides Indy looking totally different for the issue’s finish, there’s one amazing panel of him swinging through the air where the artists make it look like he’s sliding down something.

It’s a rushed read to be sure, but a decent one.

CREDITS

The Sea Butchers, Chapter Two: Death on Dark Waters; writer, David Michelinie; penciller, Herb Trimpe; inker, Vince Colletta; colorist, Robbie Carosella; letterer, Joe Rosen; editor, Eliot Brown; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 15 (March 1984)

22347 Herb Trimpe and Vince Colletta on art. I can’t remember the last time I’ve seen more rectangular, two-dimensional headed people.

They actually don’t too bad. They don’t do well, but not too bad. Michelinie over writes Indy’s thought balloons for the action scenes, trying to make everything seem logical, so at least one can read instead look at the art.

The story involves Indy running afoul the Japanese navy–it’s pre-war so the animosity is there but not the hostility–which is cool. Sadly, he also runs into some very unlikely pirates. Michelinie would have done far better with just one villain.

But Michelinie does do really well giving Indy a sidekick in Captain Katanga, the smuggler from Raiders. The two men prove a fine pair. Michelinie really does do a good job developing the characters from the source material.

It’s nothing to get excited about, but okay.

CREDITS

The Sea Butchers, Chapter One: Island of Peril; writer, David Michelinie; penciller, Herb Trimpe; inker, Vince Colletta; colorist, Robbie Carosella; letterer, Joe Rosen; editor, Eliot Brown; publisher, Marvel Comics.

Batman Family 17 (April-May 1978)

3140 This issue has a neat thread running through its three feature-length stories. The Huntress (from Earth-Two) comes to Earth-One for a visit. In the Batman story, she meets him and Robin. Then she teams up with Batgirl and Batwoman. For the finale, her going home sets off the events for Man-Bat and the Demon’s story.

Gerry Conway and Jim Aparo’s Batman story is okay. Conway pauses on some character stuff–Batman meeting his “daughter”–but ignores other obvious moments, like Robin’s girlfriend being a shallow mean girl. Dick’s upset most of the issue, so his Aparo brow fits. And the ending twist’s decent.

Bob Rozakis writes a lot better than Don Heck draws the three female superheroes teaming up. Lame villain characterizations, but great stuff with Batgirl.

The winner is the Man-Bat and Demon story. Rozakis’s script is fun and Michael Golden’s artwork is breathtaking.

CREDITS

Scars; writer, Gerry Conway; artist, Jim Aparo; colorist, Adrienne Roy. Horoscopes of Crime!; writer, Bob Rozakis; penciller, Don Heck; inkers, Bob Wiacek and Vince Colletta; colorist, Jerry Serpe; letterer, Clem Robins. There’s a Demon Born Every Minute; writer, Rozakis; artist, Michael Golden; colorist, Serpe; letterer, Jean Simek. Editor, Al Milgrom; publisher, DC Comics.

Thor: Tales of Asgard (2009) #6

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So, for a forty year old comic, originally serialized in back-ups (and a double sized reprint), this issue is essentially a done in one. Thor and his sidekicks (are they called the Warriors Three?) hunt down this bad guy (called Mogul, no relation to the intergalactic Superman villain–this Mogul is from the Mystic Mountain, or Zanadu, or Xanadu or Zandu–lots of spellings) and set out to depose him from his throne.

And Mogul doesn’t appear very intergalactic here.

He’s Muslim.

He’s, in fact, a stand-in for Mohammed, which Lee’s readers probably wouldn’t have realized but I think Stan did. And Stan has Thor and his sidekicks fight for the American way.

In other words, it’s a very political comic book. More, I think, than any Silver Age Marvel book I’ve ever read.

Still good stuff. And, hey, with Bill Everett on inks, Kirby’s art is luscious.

Thor: Tales of Asgard 6 (October 2009)

And Mogul doesn’t appear very intergalactic here.

He’s Muslim.

He’s, in fact, a stand-in for Mohammed, which Lee’s readers probably wouldn’t have realized but I think Stan did. And Stan has Thor and his sidekicks fight for the American way.

In other words, it’s a very political comic book. More, I think, than any Silver Age Marvel book I’ve ever read.

Still good stuff. And, hey, with Bill Everett on inks, Kirby’s art is luscious.

CREDITS

The Tragedy of Hogun!; inker, Vince Colletta; letterer, Art Simek. The Quest for the Mystic Mountain!; inker, Colletta; letterer, Sam Rosen. The Secret of the Mystic Mountain; inker, Colletta; letterer, Simek. The Battle Begins!; inker, Colletta; letterer, Rosen. Alibar and the Forty Demons!; inker, Colletta; letterer, Simek. We, Who Are About to Die…!; inker, Colletta; letterer, Simek. To the Death!; innker, Bill Everett; letterer, Simek. The Beginning of the End!; inker, Colletta; letterer, Rosen. The End!; inker, Colletta; letterer, Simek. Writer, Stan Lee; penciller, Jack Kirby; colorist, Matt Milla; editors, Lee and Mark D. Beazley; publisher, Marvel Comics.

Thor: Tales of Asgard (2009) #5

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It’s Thor versus Fanfir for the (first?) time and Odin busts out his awesome “Star Trek” viewscreen to see everything going on.

The way Lee lays out the story… while it was originally serialized, plays well read in a sitting. Thor and his sidekicks have to go fight Ragnarök’s coming–by preventing an arms race it almost sounds like in the first section, but quickly it descends into a big battle.

Loki’s been banished for this stuff, so there’s none of his mischievous nonsense.

What’s interesting is how Lee sets up the subsequent story as a possible continuation, but not really… Odin’s still talking about sending Thor on a secret mission to gauge his abilities, but it’s not clear if it’s the battle, the fight against Fanfir or the stuff on the boat from the last issue. It makes everything seem very smooth and gradual, even if it’s really not.

Thor: Tales of Asgard 5 (September 2009)

It’s Thor versus Fanfir for the (first?) time and Odin busts out his awesome “Star Trek” viewscreen to see everything going on.

Loki’s been banished for this stuff, so there’s none of his mischievous nonsense.

CREDITS

The Hordes of Harokin!; letterer, Art Simek. The Fateful Change!; letterer, Simek. The Warlock’s Eye!; letterer, Simek. The Dark Horse of Death!; letterer, Sam Rosen. Valhalla; letterer, Rosen. When Speaks the Dragon!; letterer, Simek. The Fiery Breath of Fafnir!; letterer, Rosen. There Shall Come a Miracle!; letterer, Rosen. Writer, Stan Lee; penciller, Jack Kirby; inker, Vince Colletta; colorist, Matt Milla; editors, Lee and Mark D. Beazley; publisher, Marvel Comics.

Thor: Tales of Asgard (2009) #4

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How did Stan Lee–I mean, seriously–how did he okay Colletta’s inks? I mean, I’m not a salivating Kirby enthusiast, but Colletta just sucks the life out of his art here. I’m thinking the eighties Super Powers books from DC to tie in to the action figures had more merit.

And it’s really a darn shame, because Lee’s story–until it gets annoyingly convenient–is really cool. I’m not sure I’d have liked to read it as a back-up over six months, but he’s got a whole Thor on a quest thing going, with a cast of interesting characters (odd how many Asgardians are, it turns out, complete cowards).

And why does Loki get such benefit of doubt? His nickname’s “Prince of Evil” or something along those lines. You’d have to be a complete moron to not notice.

Oh, wait. Colletta’s inks did make the witch look creepy.

Thor: Tales of Asgard 4 (August 2009)

And why does Loki get such benefit of doubt? His nickname’s “Prince of Evil” or something along those lines. You’d have to be a complete moron to not notice.

Oh, wait. Colletta’s inks did make the witch look creepy.

CREDITS

Maelstrom!; letterer, Art Simek. The Grim Specter of Mutiny!; letterer, Simek. The Jaws of the Dragon!; letterer, Simek. Closer Comes the Swarm!; letterer, Simek. The Queen Commands; letterer, Simek. The Summons!; letterer, Simek. The Meaning of… Ragnarok!; letterer, Simek. Aftermath!; letterer, Sam Rosen. Writer, Stan Lee; penciller, Jack Kirby; inker, Vince Colletta; colorist, Matt Milla; editors, Lee, Cory Levine and Mark D. Beazley; publisher, Marvel Comics.

Thor: Tales of Asgard (2009) #3

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Did Marvel get Matt Milla to recolor these stories to try to sell them to a broader audience (I mean, isn’t the trade just going to be a Thor product pre-movie release) or to try to make the Vince Colletta inks less horrific?

I want to talk about the stories, but… after reading this issue–the first with only Colletta inks throughout–a moment needs to be taken to talk about this subject. His inking reduces Tales of Asgard. There’s still Lee’s exuberance, still Kirby’s macro-enthusiasm, so it’s Colletta who makes it lesser.

There’s a story arc forming here, Thor and Loki on a quest, with Odin directing them (with a hidden motive). There’s also some “Loki as a Problem Child” stories and it’s hard to believe anyone would associate with him as an adult given the crap he’s pulled.

It’s nice stuff. Shame the art doesn’t hold.