The Dome: Ground Zero, Published by DC Comics, copyright 1998, 64 pages, cover price $7.95.

As in any entertainment medium, experimentation within the field of comics is important. And, while a handful of computer-generated comics were produced in the 80's and 90's, for my money, DC's graphic novel entitled The Dome was one of the most worthwhile.
When the U.S. military detonates its' latest experimental bomb…,the Quantum Bomb…, the after-effects are wholly unexpected. An ancient alien spaceship is activated, and an age-old plan is re-activated. Is the Dome of evil origin? Does the plan threaten humanity? And how will the story's protagonists find the answers before the military destroys the Dome entirely? These questions are the linchpins of an entertaining plot by long-time comic book professional Dave Gibbons. His characters, if not terribly original, have convincing motivations and believable dialogue. The story hits an intriguing pace early on, and holds it nearly all the way through, creating a fun ride for readers.
A combination of painted art and computer-generated graphics, much of Angus McKie's work is quite striking, even beautiful. However, as computer technology improves on pretty much an annual basis these days, the 1998 graphics will likely seem stiff, and even antiquated to some. Still, the art never distracts from the story. And who knows? It may even be a draw for older readers who were more into video games during the 90's.
Adding to the total experience is a short interview with McKie concerning the challenge of producing a computer generated graphic novel. I can see this appealing to other artists, and even fans of comics history.
All in all, The Dome is a solid sci-fi thriller that fulfills the promise on the back cover of "a new kind of graphic experience with all the punch of a blockbuster action movie."
It's recommended for older readers, and fans of science fiction and thrillers. Find it at comics shops, conventions, and online auctions and retailers.
Review by Mark Allen

Conan The Barbarian: Conan The Reaver, published by Marvel Comics, copyright 1987, 64 pages, cover price $6.50.

In The Reaver, Conan is leader of the Thieves Guild, and intent on looting a king's treasure trove, while eluding a much-feared creature called "The Mother of Darkness". A straightforward tale, to be sure. As is common in Conan yarns, however, it isn't the intricacies of the story that are the highlight, but the intensity, purity and realism of the characters, as well as the action and artwork.
Emotions run high in this tale, be they results of the contempt of the elite for those less fortunate, the ghastly glee of a pagan priest as he offers a helpless sacrifice, the horror experienced as one comes face-to-face with the Mother of Darkness, or the seemingly selfless acts of one considered a barbarian.
One of the attractive qualities of the Conan character is that he is not complicated. He is what he is; a rough-hewn, severe, and sometimes-borish Cimmerian. That, in part, is his charm. Such honesty is refreshing and entertaining, especially in an uncomplicated action tale such as this.
As one would expect, swordplay abounds. After all, a Conan plot without the clash of steel is like a western sans gunplay; who wants to see that? While some of the action could be called extreme, it is also visually powerful and engaging.
From an artistic standpoint, this graphic novel has a near-perfect team, consisting of comics veterans John and Marie Severin. A brother/sister collaboration, John provides the pencils and inks, while Marie ably applies colors that are vibrant, without being garish. As a 30+ year comics fan, I have come to believe that there are a few artists out there whose work merits recognition, wherever it appears. The Severins are such artists.
Conan The Reaver is highly recommended for Conan fans, or anyone who likes an action-packed period piece. It is not suggested for younger readers, due to violent and horrific images.
(Got any comics work you would like reviewed? Send it to Mark Allen, P.O. Box 394, Keyes, OK, 73947.)
Review by Mark Allen

A Suspended Animation Classic from 2000, by Michael Vance.

Comics Legend Wayne Boring
Comics legend Wayne Boring played a major role in visually defining the most well known super-hero in the world during the peak of Superman's popularity.
Born in 1916, Boring attended the Chicago Art Institute and the Minnesota School of Art before joining Superman's creators in their first office in Cleveland, Ohio in 1938. He was 22. With artist Paul Cassidy, Boring was the first to ghost Superman when the demand for the character outstripped the supply from creators Jerry Siegel and Joe Shuster. His thirty year stint as Superman's artist on both the comic books and newspaper strip remains unequaled.
Stiff is the first word that leaps to mind when most critics describe Boring's style. Melodramatic is often the second adjective. While it is true that Superman and his cast were often drawn with exaggerated and dramatic gestures and stances, two words cannot adequately describe Boring's unique style.
Boring's art was BIG.
It added a heroic quality to his characters beyond their actions, and almost a mythological stature to his already larger-than-life protagonist. Reporters Lois Lane and Jimmy Olsen, villain Lex Luthor and cast were all players in a paper opera who represented human types as well as individuals. Boring's art added an epic quality to their paper lives.
He made readers feel they were a part of a much larger human drama, a struggle not only of individuals but of a species that could reach for and attain the stars.
Boring's comic book work included: Superman, Action Comics (1938--68, DC), Slam Bradley (1937-'39, DC), Spy (1937-'38, DC), Superboy (c1950, DC), Toni Gayle and Blue Bolt (1945-'48, Novelty), Gullivar of Mars, Captain Marvel (1972, Marvel).
Boring also worked on the Prince Valiant and Davy Jones comic strips (1968-'71). He died in the late 1980s.
Some older comics are expensive or difficult to locate. Price guides or comics dealers help. Comics shops, conventions, mail order companies and trade journals are good sources. Prices may vary, be sure you shop around.
Boring's work is highly recommended.
Review by Michael Vance

Son of Superman, Published by D.C. Comics in bookshelf format at 96 pages, priced at $14.95.

I love "Elseworlds" tales. Just like Marvel Comic's What If…? and the "imaginary tales" of Golden- and Silver-Age D.C. Comics, they give creators a free hand with some of the most interesting and entertaining fictional characters around today. An "Elseworlds" tale from 1999 is, in my opinion, one of the finest.
Jon Kent is the son of Clark Kent, aka Superman. His powers brought to the surface by an incredibly powerful solar flare, he decides to take up the mantle as the new Superman. Joining the terrorist organization known as "The Supermen", led by Pete and Lana Ross, he takes up their cause of stopping a war of "economic segregation" being waged by the U.S. government.
Raiding a secret instillation owned by Lex Luthor, Jon and the Supermen make a bombshell of a discovery which, coupled with his association with terrorists, puts him at odds with the government-funded and military garbed team, the Justice League of America.
This is a rapidly paced, highly entertaining story, even for an "Elseworlds" edition. Characterization, however, is where it rides the highest. Very high marks go to writers Howard Chaykin and David Tischman. They have created a son of Superman who is as believable as a teenage kid looking to score a date, as he is a fledgling superhero seeking to fill his father's boots. Equally as entertaining is this story's "dysfunctional family" of JLA members, whose attitudes range from idealistic to indifferent, to downright treasonous.
I found the actions and reactions of the JLA members to the events around them fascinating. This was a very fresh take on the characters.
The artwork is by J.H. Williams III, one of the most talented young artists in comics today. He has a style that is a bit dark and moody, and was perfect for this story. His work is inked by Mick Gray.
Son of Superman is highly recommended for Superman fans, as well as those who enjoy intriguing twists on well-known characters.
Mark Allen

Xenozoic Tales, published by Kitchen Sink Press, 32 pages, prices vary.

I really like dinosaurs. I think I've mentioned that in this column, before. And, I enjoy well-done comic book material on dinosaurs. For my money, Xenozoic Tales is probably the best series ever done on the subject, from both art and storytelling standpoints.

Xenozoic Tales is set 600 years in the future, where dinos roam once more, and souped-up automobiles race alongside them. An odd combination, to be sure, but creator/writer/artist Mark Schultz made it all work. Main characters Jack Tenrec (expert mechanic and all-around adventurer) and Hannah Dundee are as interesting as any comic characters out there today, and the storylines are fresh and engaging.

While an above-average storyteller, Schultz's real strength lies in his artwork. He is a student of the Golden Age artists, and it shows. His mastery of the human form, mechanical structure, landscape, and, of course, dinosaur physiology, are mutually impressive. His style is highly reminiscent of exceptional artists like Al Williamson, Lou Fine and Wally Wood; quite an artistic baton to carry, but Schultz does so as well as anyone in comics.
The only snag is that the future of Tales is questionable at best, the last issue having been published in October of 1996. Schultz's production has ground to a halt, and whether the entire yarn will ever see the light of day is unclear, but the existing material is well worth searching out.

Xenozoic Tales is highly recommended for any and all who enjoy exciting stories and great art. All are affordable, but early issues may be difficult to find.

The series was reprinted under Marvel Comics' Epic imprint in the early '90's with the title Cadillacs and Dinosaurs (It even enjoyed a short-lived cartoon series of the same name). Hardcover collections have been published by Kitchen Sink Press, and soft cover editions by Dark Horse Comics. Try comic shops, comic conventions, and online auctions for best success.

Review by Mark Allen

Comics Legend John Buscema

John Buscema produced his first professional comics work in 1948 for Timely Comics. That initial year netted him experience in several different genres, including romance, western and crime comics.

After a stint in the Army, and subsequent honorable/medical discharge in 1951, he did freelance work for several different publishers, including Atlas (formerly Timely), Quality, Dell, Ace, Charlton, and many others.

In 1958, Buscema left the floundering comics business for greener pastures in commercial art. Just eight years later, however, he was lured back to Marvel Comics (formerly Atlas/Timely) to make his considerable mark on one of the most crucial periods in the history of the medium, the Silver Age.

From 1966 until his death in 2002, the lion's share of the artist's work was done for Stan Lee's "House of Ideas", as Buscema's stellar work on The Avengers and The Silver Surfer, as well as a 14-year association with Conan The Barbarian, made him one of the most respected and loved figures in comics.

His work was extremely prolific, having drawn at least one issue of virtually every Marvel comic during his prime, and many covers over the years.

John Buscema's art always appeared to be that of a man who loved what he did, and invested heavily in it. His style is as compelling as it is intricate. His heroes are bold, powerful, and always action-ready, whether they wear tights, a sword or a loin cloth. His women are alluring, be they damsels, warriors or heroines. And his locations consistently appeared as settings with which he was infinitely familiar. In short, Buscema seemed to render his craft with a deep appreciation for every character and element of a story.

Space doesn't allow a complete listing of all of John Buscema's work. Seeking it all out, however, is sure to keep an individual busy for some time. As a personal aside, this reviewer has always found his '70's Tarzan work for Marvel to be underappreciated. But, whatever you find, it is almost certain to be highly recommended.

Mark Allen

Comics Legend John Byrne

John Byrne appeared on the comics scene when he illustrated a two-page story which appeared in Nightmare #20, published by Skywald Publications. From Skywald, Byrne went to work for Charlton Comics in late 1974, where his co-creation, Rog 2000, saw publication in back-up features of E-Man. Byrne's art was also seen in other Charlton books, such as Wheelie And The Chopper Bunch, Emergency!, and cult favorite, Doomsday +1.

Byrne's rise to prominence, however, began at Marvel Comics. Providing art for books such as Iron Fist, The Champions and Marvel Team-Up (all subjects of childhood nostalgia for this columnist), gained the attention that landed him on X-Men. Along with writer Chris Claremont, and inker Terry Austin, Byrne helped push the book, which was already growing in popularity, to new heights. For many fans, his is still the definitive Wolverine.

While working with Marvel's merry mutants, Byrne also penciled eleven issues of The Avengers, and nine issues of Captain America, both fan-favorite runs.

After X-Men, Byrne's star rose even more when he began a 61-issue run on The Fantastic Four. Many fans, even today, declare his FF work second only to that of Stan Lee and Jack Kirby.

In 1986, Byrne began a considerable amount of work on DC Comics' Superman. Beginning with the miniseries, The Man of Steel, the writer/artist scaled back the Kryptonian's powers, and made him a more sympathetic character. Reworking Superman's origin and history, he also successfully simplified things for fans, old and new alike. Many have remarked that his Superman bears a striking resemblance to Christopher Reeve.

John Byrne's art has always been characterized by dynamism and realism. No surprise, as two of his self-proclaimed influences are Jack Kirby (known for his own dynamic style) and Neal Adams (known for realism). His is a style particularly suited for the superhero genre.

John Byrne's work has also appeared in Marvel's She-Hulk, Alpha Flight, Incredible Hulk, Star Brand, X-Men: The Hidden Years, DC Comics' Wonder Woman, JLA, Action Comics, Doom Patrol, and many, many others. His self-published work of note includes Next Men, Babe and Danger Unlimited.

Not all of his work has met with critical and fan success, but the work of John Byrne in general has made quite an impact on the field of comics, and is highly recommended.

Mark Allen

It's always exciting when comics creators can broaden and more deeply define a classic character. And, as so many popular super heroes have even more interesting villains, this is all the more true with the bad guys. A great example of this is Spider-Man/Doctor Octopus: Year One, published by Marvel Comics in 2005.

Writer Zeb Wells takes readers on a guided tour into the psyche of the fan-favorite Spider-villain, Doctor Otto Octavius. Beginning in his childhood, Wells lays some great after-the-fact groundwork on who Doc Ock is, and why. From his relationship with his parents, professors, colleagues, a potential love interest, and, of course, a certain wall-crawling hero, it all seems fresh and new. Wells also manages to present Ock as a sympathetic, yet frightening, character, making this collected story hard to put down from start to finish. Extremely interesting is the root and nature of the villain's obsession with Spider-Man, earning Wells hearty kudos.

Kaare Andrews lends his considerable artistic talents to the story, bringing wonderfully vibrant life to the characters. Visually, he stays true to the classic look of Ock, while being unafraid to take chances with some more realistic design characteristics where his mechanical appendages are concerned. His subtle variations were enough to make me wonder why Ditko, the Romitas, Andru, or any of the other classic Spidey artists never thought of similar possibilities. Also a great storyteller, Andrews weaves an artistically astonishing tale which pulls the reader along effortlessly, while lending a subtle ominous overtone to the whole, which foretells what long-time fans already know: that Doctor Octopus will be/is one of Spider-Man's most intelligent, ruthless and dangerous villains ever.
All in all, this is a great addition to the Spider-Man mythos, and worthy of inclusion in fans' collections. It is highly recommended to all but the youngest of Spider-Man fans.

Review by Mark Allen

The Interman, published by Octopus, 128 pages, $19.95.

Van Meach does jobs for people; hard-to-do jobs. In fact, he has a reputation for doing the impossible, like recovering the nosecone of a downed satellite from the ocean floor, with no help or equipment. Or, single-handedly rescuing an expedition team from K2, the world's most savage mountain. You see, Van is...special. He's an "adapter," the result of a genetics experiment, co-sponsored by five countries, which took place in the '60s. The project was meant to create agents who could "re-write their own dna," and Van was a successful product. Now, however, he's being hunted by the forces responsible for his creation; he's a loose end, an agent unaccountable to them, and they mean to see that he's "shut down." With the help of the famous naturalist Dr. Richard Keele, and an international hit man, simply called "Outcault," Van seeks to evade his pursuers, come "above ground," and find his "sister;" the only other operative created by the Interman project.

Creator, writer and artist Jeff Parker created a winner with this graphic novel. Winning writing has created three-dimensional characters who are complex and full of surprises. Van is a powerful force, uncomfortable with abilities that are still a mystery to him. Outcault is a savvy, secretive man, who, despite his aid, is still an unknown quantity whom Meach is wary of trusting completely. Then, there's May, the other product of Project: Interman; what is her secret? Will she be an ally to Meach, or his most dangerous foe? Yes, winning writing has created great characters, and a nail-biting plot.

Winning art is the icing on the cake. Bold lines, expressive characters and beautifully-rendered settings make this work almost as much fun to look at as it is to read. Almost. I've always believed that the best comics are story-driven; The Interman only bolsters that opinion.

Highly recommended for all but the youngest of readers, find it at comic shops, conventions and online auctions.

Review by Mark Allen

Conan The Barbarian #'s 1-24, published by Marvel Comics, 32 pages, back issue prices vary.

One of the best series ever produced by Marvel Comics was, in my opinion, Conan The Barbarian. Begun in 1970, Conan was the first adaption of Robert E. Howard's wandering Cimmerian to comic books. It made an instant splash among what became rabidly loyal readers, most likely due to the ready-made fan base inspired by the novels.

To simply label Conan a "sword and sorcery" comic does it an injustice. Though it certainly had it's share of wizards and magicians, and there was, indeed, plenty of steel clashing and teeth-gnashing, this particular sequential series was about a man of indomitable will, from a hard, unforgiving place, making his mark on the world. Whether the world liked it or not. The character was harsh, but fair. Crude, yet, in his way, civilized. Strong, but vulnerable. (Oh, how that barbarian hated and feared magic!) And, while certainly not chivalrous, Conan had a soft spot for the damsels in distress. As long as they didn't give him attitude.

While much of these character traits were, of course, established long before the comic book adventures, writer Roy Thomas is certainly to be given monumental accolades for his work in adapting the character to the four-color medium. His affection for the subject matter was evident on every page.

Looking back, one of the most exciting things about those first 24 issues of Conan was witnessing the rapid growth and developing maturity in the work of artist Barry (Windsor) Smith. With his work looking very much like a series of Jack Kirby knock-offs in the first few issues, the young artist quickly began to come into his own. In short order, his figures became more lifelike, his settings more intricate, his storytelling more dynamic, his women certainly more beautiful and his barbarians and warriors more formidable. In short, Smith's work went from being the Marvel "house style", sometimes pushed by Stan Lee, to being a truly ground-breaking, awe-inspiring series of renderings which has influenced the character, the fans and the comics world to this day.

Those 24 issues of Conan The Barbarian have been reprinted more than once, and are highly recommended. Get them however you can.

Review by Mark Allen

Superman/Fantastic Four, published by DC Comics, 64 pages, $9.95, treasury format.

This week, I wanted to recognize a work which has enjoyed it's tenth anniversary this year. And, since I've always been a sucker for crossovers, this review is particularly enjoyable to write.

Superman/Fantastic Four took some of comicdom's most iconic characters, and placed them in a highly-entertaining situation that was, for all intents and purposes, a fanboy's dream. Long story short, when he becomes convinced that Galactus was responsible for the destruction of Krypton, Superman seeks out the F.F. in an attempt to learn more about the devourer of worlds. Adventure, intrigue, and a surprising plot twist concerning a certain Kryptonian, ensue. With little doubt, what occurs within these pages is something comic book readers never thought they would see.

Writer and primary artist Dan Jurgens treated fans to a larger than life (or, at least larger than the average comic book, thanks to the oversized treasury/tabloid format) cosmic adventure in the best traditions of the old Marvel and the new DC. With no lags or slow spots, readers were treated to a captivating page-turner that made us glad the two companies were on friendly terms.

The art of the book could not have been in better hands. There are a few artists about whom it could be said are continuing in the grand tradition of Jack Kirby. Jurgens is one of those artists. His characters are bold, his storytelling dynamic and the action is wild and in-your-face! The inks of Art Thibert mesh well, the colors of Greg Wright are bright and appealing, without being garish, and comics fans profit from what is, in my opinion, one of the most well-executed company crossover events ever produced.

Superman/Fantastic Four is a story which reminds us that superheroes can be fun. Now, someone remind the two companies which produced it.

Best of all, it is recommended for all readers, young and old. Find it at comics shops, conventions and online retailers and auctions.

Review by Mark Allen

I live in the tip of the Oklahoma Panhandle - otherwise known as "the middle of nowhere." Those who live here know we're living in no-man's land, and we're ok with it. After all, we have some of the clearest night skies in the nation for star-gazing, as well as great neighbors, the people out here being friendly and outgoing. And, we're 30 minutes or less from Kansas, Texas, Colorado and New Mexico, so lots of beautiful scenery is close by.

Wondering what my point is, yet? I do have one. It's that I'm cut off. Cut off from comics shops and comics fans. Cut off from the goings-on of the medium. Sure, there's the internet, but I work for a living and I have a family. I don't have time to be online day in and day out. Besides, who would want to?

See, I remember the day when every comic I picked up contained the promise of a great surprise. Just on the next page was the possibility of a cliffhanger involving my favorite character, which would cause me to gasp in disbelief, both at the hero's precarious situation, as well as the unenviable prospect of having to wait a painful 30 days for the next exciting installment. Upon completion, I might roll up that wonderfully-entertaining-yet-excruciatingly-frustrating mag and whack my chest of drawers with it. Or, maybe swat a few Mego superhero action figures. The thought of doing so with a precious collectible may be sending some of you through the roof. It was nothing to me and my friends, back in the day. After all, comics storage at that time meant shoving them in your back pocket, or tossing them in your closet amongst toys, games and dirty clothes that never made it to the laundry room. I seem to have a vague recollection of one of my friends folding comics three of four times so they could fit in his FRONT pocket. And, yes, some of those were Silver Age books. Anyone need oxygen, yet?

So, again, my point: There was a day when there was no "comics journalism." No media constantly and incessantly reporting on the things that had yet to happen. These teasers and party poopers, continually extracting information on the future events and predicaments of our favorite characters from only-too-willing creators were not yet spoiling the fun for readers. And yet, there are those who anxiously await the newest edition of Wizard Magazine, or The Comic Buyers Guide, and the latest updates to various comics web sites the way we "old timers" used to anticipate the newest issue of The Amazing Spider-Man, The Fantastic Four, Batman or what-have-you.

Don't get me wrong - I enjoy some aspects of those publications. Various interviews, historical pieces and even editorials are often a joy to read. But, I have no desire to know what's going to happen to any character in any particular storyline....until I read it, myself. I don't want hints, clues, spoilers or previews. Not from the internet, a magazine or even comics shop chatter. Believe it or not, I like it that way. I wonder if I'm alone in that...?

So, in a way I guess I'm living my childhood all over again. Comics are fresh, and the promise of a cool surprise contained within each story is back. I don't miss the weekly (or more) trip to the Comic Empire of Tulsa that I enjoyed for so many years living near that city, though I do miss the owner, and other friends. And, when I do make the rare trip back, or the much shorter trip to Big Apple Comics in Amarillo, I just try to keep my ears closed to any current events rap session. No comics gossip for me, thanks. I'll have my sequential entertainment with a side of blissful ignorance.

Mark Allen

A Suspended Animation classic review from 2000, by Mark Allen.

Aztek, published by D.C. comics.

Back in 1996, D.C. Comics began a series called Aztek. Aztek was Curt Falconer, a man raised by monks and trained by an outfit called the "Q Foundation," to be their champion against the shadow god "Tezcatlipoca," who they believed would one day threaten Earth. He was also the latest in a line of "true believers," dating back centuries, to wear the Aztek costume, which was powered by a fourth-dimensional power source, making him a fairly powerful individual.

Aztek showed a lot of promise as a superhero book. The combination of an intriguing lead character with a solid supporting cast, set in a brand new city in D.C. lore (Vanity), gave the book the best foundation any new comic could have. The creators also had Aztek encountering other popular D.C. heroes (Green Lantern, Batman, The JLA), and sparring with some of it's most threatening villains (Joker, Parasite, Amazo, and string-pulling by Lex Luthor). Of course, none of the above is surprising when you consider the creators of Aztek; Grant Morrison and Mark Millar, of JLA fame.

The art on the book was also very good. Penciler N. Steven Harris showed a dark, moody style which fit the series perfectly. Ken also penciled all ten issues of the book without a stand-in, which seems to be an unattainable ability to most new artists today.

And yet, despite having everything going for it, Aztek's sales figures deemed it unworthy of continued production, and it was given the ax by D.C. Aztek went on to join the JLA, but was hardly ever used in the book, and recently died in JLA #41, the culmination of the "Mageddon" storyline. Once again, given the ax.

All ten issues of Aztek can most likely be found in back-issue boxes at your local comic shop, for quite reasonable prices. They will entertain and mystify many who have never read them. Unfortunately, they will also leave those readers wishing for more. Alas, it would seem that this is not to be.

A Suspended Animation Classic review from 1989, by R.A. Jones.

The Rocketeer Adventure Magazine Magazine #s 1 & 2/Comico, publishers/$2.75 (originally)/available in comic shops/for all ages.

Everyone dreams of flying, whether with the wings of an angel or the jets of an airplane or the rockets of a space ship. Dave Stevens brings those dreams to life with his pen in the pages of "The Rocketeer Adventure Magazine." And if you share his fascination for adventure and for America in the 1930s, you're invited to soar to new heights with Cliff Secord - The Rocketeer!

Cliff's an aviator who occasionally straps a rocket to his back and dons a single-finned helmet to take to the skies. Cliff shares a common parent with Indiana Jones in the pulp magazines of the '20s, '39s, and '40s - a parent full of action, intrigue and excitement whose only interest was to entertain.

An added delight in Rocketeer is a wealth of outlandish gadgets that promised to be our future. Among these in the Autogiro - half airplane and half helicopter - that seems to symbolize the spirit of adventure and experimentation of the 1930s.

In the first two issues, Cliff follows his angry girlfriend to New York City to recapture her affections. He falls afoul in a nightclub fight, however, and broke and broken-hearted, Cliff becomes an operative for "Jonas", himself a shadow of one of the most famous of pulp crime-fighters. Together, they become embroiled in a serial murder investigation that promises Cliff will be the next victim!

This magazine's back-up feature, "Brucilla, The Muscle", by Michael Kaluta, concerns a troupe of 'girl scouts' - The Galactic Girl Guides - who resemble The Little Rascals thrust hundreds of years into the future. Although it suffers from too great a dose of 'cute', "Brucilla" is an apt companion to the exploits of The Rocketeer, full of fun, movement and colorful characters.

"The Rocketeer Adventure Magazine" is fun, and if you enjoy flights of fancy into the near past or forward into the distant future, you'll find both in this exceptional but infrequent comic book. Both Stevens and Kaluta deserve the highest praise for some of the best art in comic books or strips today.

Ultimatum #’s 1-4, published by Marvel Publishing, Inc., 32 pages, $3.99

1 Sometimes, loyalty hurts. Case in point: Because I ordered all five issues of Marvel’s Ultimatum miniseries, I still owe my comic book retailer $3.99 for the last issue. “Why does that hurt?” you might ask. Read on, and beware of spoilers.

Billed as a miniseries in which big things happen, Marvel is hyping the final installment as a “series finale that will shock fans for years to come!” True enough of the first four issues. But, is shock, minus any significant characterization, worth the hefty price tag?

The afore-mentioned shock is partially due to an evil mutant (The Blob) cannibalizing a member of the Avengers (The Wasp), with her death being “avenged” by her husband (Yellow Jacket) when he bites the Blob’s head off. Literally. And, though fans may justifiably expect to see Sabretooth (another evil mutant) rip a wing off of The Angel (an X-Man) with his teeth, or Magneto snap the neck of X-Men founder Charles Xavier, what was the point of Dr. Strange being squeezed until his head exploded? This is not just shock, but schlock.

Far from being meaningful, the deaths of characters with such history behind them seem much smaller than they should be, the fact that it took place in Marvel’s much younger Ultimate universe, notwithstanding.

There are more deaths, caused by world-wide disasters engineered by Magneto, but it all feels forced.

The only good thing about the series is the incredibly detailed art of David Finch. His work crackling with energy and emotion, Finch could one day become a master of comic book art...., IF he can learn to be a bit faster, and tone down the super-model quotient among his female characters.

So, am I stuck buying issue five of Ultimatum? Yes. Am I done ranting about it? You bet. Should YOU buy it at cover price, or wait eagerly for the trade paperback? Ummmmmm....

Ultimatum is only recommended for the most hardcore Marvel-head, and only if you may suffer heart, kidney or nerve damage if you DON’T get it. It’s the cheapest form of prevention.

Review by Mark Allen

The Punisher: A Man Named Frank, published by Marvel Comics in 1994, 48 pages, cover price $6.95.

Classic westerns are one of my favorite indulgences. Well-defined heroes and villains, as well as clear lines of right and wrong, black and white. That's "classic", in my book. That's also an apt description of The Punisher: A Man Named Frank, from Marvel Comics.

The story isn't much different from the modern-day origin of this hard-edged scourge of crime. A man loses his wife and children to outlaws and seeks revenge afterward. And, even though the reader is left with the assumption that his war on crime continues at tale's end, perhaps the fact that we only see the guilty parties reap the whirlwind is why this Frank Castle seems a more sympathetic figure than his 21st Century counterpart. And, despite the lengths he goes to avenge his family, there is never any question that Frank is the hero of the story. That sympathy, as well as the dastardly and despicable nature of those vile villains, is why praise for entertaining characterization has to be laid on the shoulders of writer Chuck Dixon, a long-time comics mainstay.

In comics, however, a good story isn't worth much without pretty pictures with which to tell it. That's where John Buscema comes in. What can one say about Buscema's art work? Plenty! John is a legend in the biz, and for good reason. His penchant for strong heroes, thoroughly unpleasant villains and grand action are evident by his expert ability to illustrate them in awe-inspiring fashion. His work grabs the reader and doesn't let go without a fight. Of particular interest is the unbounded suffering and determination etched in Castle's face early on, as he struggles to survive a harrowing fate. Very nearly epic.

The Punisher: A Man Named Frank is recommended for those who enjoy westerns, or just an uncomplicated, straightforward action tale. Find it at comics shops, conventions or online retailers and auctions.

Review by Mark Allen

Batman: Battle For The Cowl, issues 1-3, published by DC Comics, 40 pages, $3.99.

For those not "in the know" where the world of comics is concerned, DC comics has (seemingly) killed off Batman/Bruce Wayne. A new hero's head is needed on which to hang the cowl, and that was (ostensibly) the point of DC Comics' three issue miniseries, Batman: Battle For The Cowl. I wish I could say that the result lives up to the hype and promising premise.

In a story written and drawn by Tony S. Daniel, the character of Nightwing (who is also Dick Grayson, the first Robin) struggles with his hesitancy to take on the role of the "caped crusader", while a dark usurper mars the Dark Knight's legacy with murder and mayhem, rather than justice.

With a huge supporting cast of Bat-allies, both frequent and occasional, there are some interesting and fun moments for longtime fans of the material. Unfortunately, there is not much in the way of character development, other than a villain's sliding further down the slope of madness. And, for those who have been away from the Batman books for a long while, there will be some head-scratching and confusion over some of the characters, such as Bruce Wayne's son, Damien.

The most glaring criticism of this series has to be the fact that readers are left unsure of the identity of the new Batman. Turning to the last page, expecting a payoff, I was left with the feeling of having my pocket picked, instead. Boos and hisses for DC, the real villains.

The best feature of this story is the art. Clear, dynamic and based in realism, Daniel's style is a wonderful storytelling vehicle for what is, if not much else, an action-driven tale, and Sandu Florea's ink work is icing on the cake.

Batman: Battle For The Cowl is recommended for died-in-the-wool Batman fans who have been following the character for the last few years. It's not for young readers, due to violent and disturbing imagery.

Review by Mark Allen

If there's one thing every long-time comics fan probably has in common, it's that there are some comic books in our collection that we're not quick to admit we have.

No, no, own up. In the very back of that long box, with no classification and under no specific filing, there is at least one four-color-ish periodical that, though you're loathe to part with it for some inconceivable reason, you don't want anyone to know about. Ah, the sensitive psyche of the highly-evolved comics fan.

"Evolved, you say?" I do, indeed. And, while the following may not be exactly how it happens for every collector, based upon my own experience and observations, as well as that of many folks who I've observed and with whom I've conversed, it's in the ball park.

You see, given time, the average collector grows quite discerning. Assuming the hobby is begun in childhood, it most likely progresses along these lines, or something similar: They begin collecting as many comics as possible, enamored simply with the sequential magic that brings such a distinctive kind of escapist entertainment. From there, they choose one or more favorite characters, seeking to acquire as many stories as possible containing that character - all of them, if possible. Eventually, they begin to notice the work of specific artists, selecting a favorite, and this leads them to follow the work rather than just a specific character. For a time, they may even seek to categorize their collection by artist, though this ill-conceived plan is usually, thankfully, short lived.

Then, as age and maturity bring expanded horizons and interests, they begin to explore different genres. Oh, not that the spandex scene loses it's charm for all (as it does for some), but there grows a desire for something more - deeper, more meaningful storylines and characterization that resonates to a greater degree with that individual. Quite simply, something more mature.

Over time, the collector becomes "refined." Their discerning tastes lead them to pour over the new comics rack with great care, scoffing silently at much of the flotsam that seems to crowd the all-to-rare comics gems nearly out of view. They are often found rifling through the back-issue bins, seeking out those treasures of old, the heady scent of newsprint bringing on an almost euphoric state. But, alas, they sometimes come up empty handed and are left to muse over the sorry state of affairs that is today's comics industry with a sympathetic retailer. Long-standing questions once again take center stage. "Where is today's entertaining and affordable anthology book?" "Where are the great stories that can be read in one to three issues?" "Why can't Erik Larson fill an issue of Savage Dragon, with great characterization, instead of meaningless fight scenes and impossibly-proportioned objects of pubescent fantasies?" Oh, the sorrow and suffering that is the collector who, esthetically, has grown more mature than the artistic field in which he or she used to find such joy.

Yet, despite this elevated sense of self, well-earned by two or more decades of ink-blackened fingers, and from having survived the almost-totally-art-driven cultural desert that was the comics industry of the early-to-mid-nineties, there remains hidden in the dark places those long-denied acquisitions. Could it be Dell's Frankenstein or Dracula, in which such long-time horror classics are made into costume-wearing superheroes of the painfully-below-average variety? Perhaps an issue (or, THE issue) of Bitter Young Cranks' Poop Jelly, purchased solely on the basis of that silly, yet somehow magical title? How about the amazing, if less-than-gritty adventures of Tod Holton: Super Green Beret? Or, even a copy of the first issue of Power-Puff Girls. After all, having been such a discriminating reader for so long, it's only right to occasionally placate your inner..8-year-old.....(gulp) girl..? Oh, wait, you bought that because you knew it would appreciate, considering the popularity of the cartoon. Whew! That's a relief!

Heck, even the adventures of M.F. Enterprises' Captain Marvel have been known to show up in some long-time collectors' boxes. " Split !" Hmmm. As a battle call, it's not exactly up there with "Avengers Assemble," or "It's clobberin' time," but it has it's own subtle charm. Or not.

So, be honest about those secret comics. You've nothing to be ashamed of, as you are a distinguished collector of the highest order!

Still, it might not be a bad idea to seek out some kind of support group. Or even better, you could start one in your parents' basement!

Just be sure to let me know when the meetings are held.

(Mark Allen would like readers to know that he owns none of the comics mentioned - he's just sympathizing with those who do. Honest.)

Daredevil Volume 1, issues 353-365, published by Marvel Comics, 32 pages, prices vary.

Daredevil is one of Marvel Comics' oldest and most endearing characters. Originally, he was the carefree swashbuckling hero. Along the way, however, he became the dark, gritty, Batman-like street-level crime fighter.

For those who may have hopped off the D.D. bandwagon at the time of his more realistic turn, may I suggest Daredevil Volume 1, issues 353 through 365, from 1996-97. These issues represent a return to the character's roots, and were (primarily) created by the team of Karl Kesel (writer) and Cary Nord (artist).

Under Kesel's direction, Daredevil once again became the fearless, smile-inducing, devil-may-care hero who could trade quips with anyone. After years of the darkness and near-psychoses which seemed to plague the character and his title, this was a welcome change. Kesel also worked wonders with the book's support cast, making them more interesting than they had been in several years, and kept readers hooked with more than one interesting plot line.

The art style of Cary Nord is, in my estimation, one of the best the series has ever seen. Nord had a realistic style that fit the book by giving the setting a gloomy, morose appearance. "What's that, mister reviewer? Didn't you just imply that Daredevil had been made too dark?" Yes I did, and I assert again that the CHARACTER works better when he is lighthearted, because he then becomes a foil for the urban setting of Hell's Kitchen, which SHOULD be characterized by the unsettling shadows and tones which Nord used. A hopeful character in a depressed setting is more evocative than one who simply reflects what is around him.

Incidentally, the artist excelled at drawing the book's action sequences, as well as the more subdued scenes, (such as courtroom appearances) about which he has since said he enjoyed equally.

This particular run of Daredevil is recommended for purists who were fond of the character "in the day", as well as any who simply enjoy well-done superhero fare.

Review by Mark Allen

Cap's Revolving Rep.

If you've never read a single comic book in your life, you've probably still heard the name Captain America. Though not the first character inspired by national patriotism, he is definitely the most well known. But, let me suggest something else that makes Cap stand out - something that sets him apart from any other comic book character: I'm talking about his representative baggage.

As far as I can tell, there have been three distinct periods in which Captain America was a representative of a particular time, event, and even a distinct frame of mind. Anyone slightly familiar with comics history knows that the character got his start during World War II, a time that needed noble figures, as co-creator Jack Kirby once stated.

Introduced in 1941 by Marvel Comics, known then as Timely, he was the first character to ever be introduced in his own book, instead of a short story in an anthology comic. It was a good gamble, as the Captain became the most popular red-white-and-blue adventurer to grace the comic page. His covers leaped brilliantly to life with Cap battling Nazi madmen, Japanese forces, the Axis super-villain the Red Skull, and even Hitler, himself. Captain America became the embodiment of patriotic fervor in a time when it was greatly needed. Feelings changed drastically, however, when Timely revived the star-spangled hero in 1954.

Following the Korean War, when many were bitter over the loss of loved ones and the "naive" true-blue patriotism of the 40's grew to a more introspective frame of mind, Captain America was criticized more than appreciated. Targeted by politicians and comedians, alike, as being an extremely conservative embodiment of out-of-date sentiments, the short-lived three-issue run elicited mostly negative response from the public.

Perhaps one of the most telling images of the character at that time was one of him, with his sidekick, Bucky, both silhouetted by the explosion of an atomic bomb, practically in worship of it's destructive power. A bit unnerving, even today. As an aside, it's fairly obvious that the disfavor of the 50's version was actually inspiration for one of my favorite Captain America stories, which ran in issues 153 through 156, in 1972. The real Cap and his partner the Falcon battled the Cap and Bucky of the fifties, who were portrayed as bigoted, distrustful and generally unbalanced. The two had replaced the real deal, who, as stalwart fans know, was frozen in an ice burg, in a state of suspended animation, until found and revived by the Avengers. This brings us to…

March of 1964, and the fourth issue of Marvel's fledgling series, The Avengers. This landmark work of sequential art reintroduced the hero of WW II. It was at this time that Captain America entered his third representative phase. You see, Marvel Comics had done more than dump the Timely moniker. They had begun doing something truly unique; creating heroes with real character. They had faults. They had problems. They didn't lead perfect lives. Heck, they were human. Cap fit right in, as he struggled to find his place in a world which no longer looked familiar to him.

Despite this conundrum, however, he, along with the company's other characters, now represented the Marvel Age of comics, a time when adults began to sit up and take notice of the four-color periodicals, once more. When college students who were steeped in the study of physics and philosophy made time for The Incredible Hulk and The Amazing Spider-Man. When comics were not just for kids, but could be read by them. Oh, Cap was still the embodiment of the good old U.S. of A., but he was also a co-herald of a time when four-color literature returned to greatness.

So, the next time you look at Cap, straighten up, a little. Tuck in that shirt! Have a little respect, mister! (Or missy, as the case may be.) There's a lot of history, there, and the guy's come a long way and endured much to get where he is today.

Regards,

Mark Allen

Some of the best characterization ever done in comics has been in DC's Robin, protégé of Batman. And, of the several youngsters who have occupied that role, it is my opinion that Tim Drake has shown the most character depth. One of the highlights of his development into the Caped Crusader's erstwhile partner was a 1991 miniseries (also available in a collected edition) entitled Robin II: The Joker's Wild. In said tale, the youth gets a baptism of fire, so to speak, when he matches wits with Batman's greatest nemesis, "the Clown Prince of Crime". One significant, yet important, detail kept this from being just another Joker yarn, and that was the fact that Batman was out of town, leaving the Boy Wonder to face an incredibly dangerous foe on his own.

Chuck Dixon is perhaps the most accomplished writer where Robin is concerned, and this is one of the high points of the character's history, as well as Dixon's career. The reader sees Tim tackle his own failures and shortcomings, not with self-indulgent whining and "introspection", in the sometimes-overdone Marvel Comics manner, but by changing and adapting his strategy. In short, they see the character grow into much more than just a "kid sidekick".

Dixon also infused Drake with a multi-layered personality, establishing his love for computers and role-playing games, and revealing that his friends were not part of the "in" crowd. Those kinds of additions deepen the character, considerably.

Artist Tom Lyle injects the story with all of the drama, action and emotion needed to complete this fun superhero romp. His clear lines and well-defined characters always enhance the story, his version of Robin remains one of my favorites to this day.

Robin II: The Joker's Wild is recommended for any fan of well-done superhero fare, that is also infused with great character work. Find it at comics shops, and online retailers and auctions.

Review by Mark Allen

There are right ways and wrong ways to make superhero comics appeal to adults. DC Comics did it right in 2003 with H-E-R-O.

The second revival of a Silver Age concept, H-E-R-O told the story of individuals who gained super powers through a mysterious device. However, instead of subscribing to high ideals, fighting the good fight and generally improving conditions and circumstances for themselves and others, dealing with the seeming windfall of great abilities brought disappointment, and even disaster. H-E-R-O: Powers and Abilities collects the first six issues of the short-lived, but superior, series.

Writer Will Pfeifer handled characterization in a masterful fashion, giving readers a full view of humanity that is as real as you can find in the capes-n-tights genre. These are not the cardboard cut-outs of so many superhero tales, but representations with human foibles and shortcomings that are sometimes difficult to look at, but captivating in their honesty. And, while certainly not putting forth a hopeless view of people in general, (as proven by the story of Jerry Feldon) Pfeifer's characters remind us of how fallible we are, and how quickly our "best" ideas can give birth to consequences we never expected.

Helping to set the tone of the story is the art of Kano. Painting a somber atmosphere with a darker palette than that seen in most stories of super daring-do, Kano's work is a perfect example of how an artist can give a "lift" to a story that is already well-conceived. What's more, he is able to pull off nine-panel pages, splash pages, and everything in-between with a storytelling flair that escapes many artists today. After this offering, I will forever consider Pfeifer and Kano one of comics' dream teams.

H-E-R-O: Powers And Abilities is highly recommended for those who enjoy thoughtful, in-depth characterization, with a side of superhero action. All but the youngest of readers should seek it out.

Review by Mark Allen

Having reviewed for the Suspended Animation column for about 9 years, there have been a few books which, for one reason or another, have been placed on the back burner and seen to later than they deserved. One or two have simply become misplaced for a time in my disorganized glut. That was the unfortunate case with Para, from Penny Farthing Press.

Para is the story of a young woman re-finding herself. After years of resentment over her father's death, and rejection of the idea of following in his footsteps as a scientist, Sara Erie embarks on an adventure which purposes to dispel the mystery behind her father's demise. Ultimately, it also restores her desire to be like him.

I've never seen a creative team do such a great job of combining sci-fi elements with such an unnerving air of horror. Into a plot that focuses on a handful of scientists' work with a groundbreaking particle accelerator, writer Stuart Moore injects some of the most unsettling and other-worldly elements in my recent memory of fiction-reading. He also creates interesting characters, and manipulates events in a way that, while not always surprising, manages to keep the reader's attention and interest.

My only regret where this book is concerned is it's use of multiple artists, resulting in a near-jarring transition for readers. While Pablo Villalobos, Claude St. Aubin and Frederico Zumel each render the characters and surroundings in competent fashion, Villalobos' style possesses the most detail and realism, both of which are important in such a tale. I also believe him to be the best storyteller of the three. However, the artistic situation does not ruin this entertaining read by any stretch.

All things considered, Para is an achievement worthy of admiration, and is recommended for fans of science fiction, or emotionally evocative stories in general. It is recommended for teens and older readers. Find it at comics shops, or online retailers and auctions.

Review by Mark Allen

Nearly ten years ago, Marvel Comics marketed a 12-issue comic book series entitled Marvel: The Lost Generation. I passed it by.

A week ago, I netted all 12 issues on Ebay for a song...., and found out they were worth the original cover price.

Set in the Marvel Universe's past, before the origin of the Fantastic Four took place, the story is the brainchild of long-time comics pro John Byrne, who wrote and drew the series. TLG takes several characters previously seen in Marvel stories, throws them in with quite a few dreamt up by Byrne, and gives readers a tale chock-full of well-done characterization and slam-bang superhero action.

The story is driven by the plight of Dr. Cassandra Locke, who is using time-travel in an attempt to prevent a tragedy involving the series' premiere super team, The Front Line. Utilizing the "back in time" theme, the numbering is done in reverse, with the first issue being 12 and the last 1. While unusual, and smacking of a bit of gimmickry, it does nothing to hamper the entertaining nature of the book.

As is always the case, Byrne's art proves to be some of the most dynamic in the industry, and his storytelling ability is second to very few, even today. His heroes are true-blue and his villains are vile. Panels brim with action, drama and tension whenever the story calls for it-which is often, in this yarn. I suppose all of that is just another way of saying that John Byrne is one of the best tights-n-capes artists the comics world has ever seen. Yeah, that sounds about right.

Marvel: The Lost Generation is recommended for all fans of superhero action on a grand scale. Find it at comics shops, and online retailers and auctions. And for goodness' sake, if you enjoy it, email or write Marvel and ask them to issue a trade paperback collection. This work deserves it.

Review by Mark Allen

Most comics fans have somewhere within them that insecure enthusiast who desperately desires to prove the merit of comics as an art form. I manage to keep mine under control for the most part. I hope you do, as well. For those occasions when you are unable, however, I would like to suggest a very impressive work to utilize in proving your point.

Anne Steelyard: The Garden of Emptiness is a graphic novel written by Barbara Hambly. In it, she treats readers to a sweeping epic, the quality of which hardly ever makes it to the big screen, much less your local comics shop.

Into an amazingly well-crafted story rife with archeologically- and supernaturally-based adventure, the author drops main character Steelyard, who is equally enthralling. A young woman from a fine family, she struggles with the expectations which loved ones and high society have of her, while fighting to keep her independence and adventurous lifestyle. It is good fortune, indeed, that Hambly is successful in involving the reader in the adventure. It is also a testament to her talent.

Artists Claude St. Aubin, Alex Kosakowski and Ron Randall infuse Anne Steelyard's world with every bit of the sense of mystery, excitement and awe that such a tale should host, their realistic styles meshing seamlessly so that the reader is never jolted by a sudden art change. To be honest, I never even realized there were multiple artists until I read the credits..., AFTER reading the story.

Colorist Mike Garcia's work never overwhelms with garishness, or underwhelms with washed-out hues. His work, like that of the rest of the artisans on this project, is very near perfect.

And the best part of it all? This is act one of three.

Encased in a beautifully painted (and admittedly cheesecake) cover by Glen Orbik, Anne Steelyard waits to be discovered by all but the youngest comics fans.

My only regret is that I never met Gertrude Bell, on whose life the story is based.

Mark Allen

Allow me pose a pointed question: Have you ever refused to buy a comic book because it lacked the proper amount of profanity? I didn't think so. I've never heard that complaint, in over 30 years of reading comics, and 16 years patronizing the same comics shop in Tulsa.

You've probably guessed already that I'm one of those "comics purists," as I call us. We are those ridiculously puerile fans who simply refuse to "grow up" and realize that using profanity is simply the way of the world, nowadays. "Just shut the *&%! up and accept it" some may say. Well, I can't. There are too many examples of well-done, best-selling comics stories out there that don't employ such language.

Perhaps you've sensed my frustration, and wonder what the catalyst was for this little tirade. (Then again, maybe you haven't, and don't care. Feel free to keep surfing.) It happened when I read Ex Machina: The First Hundred Days, a graphic novel from Wildstorm. It's one of those rare works in comics that is intelligent enough to be compared with anything currently seen in fiction. However, it also has what I consider a huge flaw; language for which many-a-child has tasted a bar of soap. The f-word is a particular favorite.

I'll be honest. I don't understand the need for comics to mirror society in this way. I mean, we're talking about fiction, here. Superhero fiction, at that, in the case of Ex Machina. Regardless of the political intrigue, main character Mitchell Hundred still controls all types of machinery with his mind, and has a past that includes strapping a jet-pack onto his back and playing hero. Would readers really have to suspend disbelief any more if there was no "potty language"? Additionally, here we are smack dab in the middle of a medium of which it can still be said has a desperate need for more new readers, despite the presence of graphic novels and comics digests in bookstores, and it almost seems an attempt is being made to alienate those who are uncomfortable with such language and don't use it on a daily basis...or even at all.

An Associated Press - Ipsos poll conducted in March of 2006 found that "62 percent of 18- to 34-year-olds acknowledged swearing in conversation at least a few times a week, compared to 39 percent of those 35 and older." My question is whether or not that means 38 percent of younger comics fans, and 61 percent of those 35 and older are actually offended enough to avoid buying comic books with frequent profanity. And, before you say "No way!" through your hat, find a poll conducted within the comics community to support your view. I don't know of one. Or by all means, conduct one. (Just make sure it's scientific.) It might be worth it to some of the publishers in order to find out if they are shooting themselves in the foot where sales are concerned, especially considering that two thirds of those polled said that it bothered them when people used profanity.

So, ultimately, what's my point? Just this: There is little to no chance anyone is going to be offended by a great story lacking profanity - they'll simply buy it. It is much more likely that some people WILL be offended by the same story peppered with it. They probably WON'T buy it. Is it really worth it to a publisher to sacrifice sales for their books to contain "adult" language?

And, for those who would argue creative license, I would simply ask "What's creative about profanity?" It's simply copied. It takes no creative energy and adds no depth to a character. And as far as it being adult, it can probably be heard on every elementary playground in the country.

Seems to me, if comics really want to grow up, they'll clean up.

Mark Allen

If the comics medium is an art form, (and I believe it is) then one has to assume the existence of some "masterpieces" of sequential entertainment. Understand, I don't throw that term around willy-nilly, if I ever have at all. I'm about to, however.

In 1999, a publishing company called Cross Plains Comics produced what is, in my mind, one of the most entertaining, innovative and downright beautiful works in comics. With the (achieved) intentions of bringing attention and doing justice to the works of Robert E. Howard, Myth Maker was a collaboration of amazing writing and breathtaking art work, all accomplished by some of the most talented professionals in the industry.

Here's a rundown of stories and art styles that fans will encounter within: "Men of The Shadows" and "Dream Snake" by Tim Sale and Matt Hollingsworth, "Spear and Fang" by Richard Corben and Eric Hope, and "Dermod's Bane" by Kelley Jones, Laurie Smith and George Freeman.

Long-time comic book writer Roy Thomas adapted the stories, and he and Sale pulled them all together in a unique and engrossing fashion. I have never been more intrigued with the storytelling in a comic book. There are moments of high action, engaging supernatural sequences, and chilling terror in this one work.

Additionally, fans will enjoy pin-up art by the likes of Rafael Kayanan, John Bolton, Michael Kaluta, Mark Schultz, Steve Lightle and Colin MacNeil, a bit of history on comics adaptions of Howard's creations by Thomas, and a short bio on Novalyne Price Ellis, author of a well-known Robert E. Howard memoir, by Rusty Burke. All things considered, this is something that no comics art fan, comics history fan, or for that matter, Howard fan, should be without. It truly is....(wait for it)....a masterpiece.

Robert E. Howard's Myth Maker is recommended for adult readers due to violent imagery. Find it at comics shops, and online retailers and auctions.

Review by Mark Allen

Even during these difficult economic times, I still make the occasional impulse purchase. I did so twice recently while visiting various comics shops in Tulsa.

The first story in X-Men vs Hulk is a 22-page tale from the mutant team's past. Logan (aka, Wolverine) sets up a "challenge" for teammate Colossus, by orchestrating a confrontation between the armored X-Man and The Hulk. And, it's pretty much non-stop action from there.

The story is written by X-Men veteran Chris Claremont, who proves once again that, where Marvel's mutants are concerned, he is as strong on characterization as he is on pumping a tale full of adrenaline. Artist Jheremy Raapack turns in dramatic, big-as-life visuals that round out the story well.

Also noteworthy is the reprint of X-Men (Vol. 1) #66, another tale of the Children of The Atom battling the Jade Giant. This classic was written by Roy Thomas and drawn by Sal Buscema. 'Nuff said.

If all of that isn't enough, X-Men vs Hulk is free of ads, to boot! Kudos to Marvel!

Hulk vs Fin Fang Foom showcases another previously untold tale in which Marvel's gamma-irradiated monster battles a creature created in the publisher's pre-superhero days. The story, by Peter David, pits the creatures against each other in Antarctica, with a global warming research team caught in the middle. (Don't worry, no political axes to grind, here.) It's a fun story, with a creepy air, ala John Carpenter's The Thing, that ends with, you guessed it, another monster slugfest.

Artist Jorge Lucas manages great emotion in his characters, superior detail and a style that is reminiscent of Jack Kirby.

This book also contains a reprinted Marvel classic (Fin Fang Foom's first appearance in Strange Tales #89) by Stan Lee and the aforementioned Kirby.

Both books are recommended for fans of fun stories you don't have to think too much about, as well as comics history buffs.

Mark Allen

Comics Legend Sal Buscema

Sal Buscema began his career in comics in 1968 when he landed an inking job with Marvel Comics. He started out inking his brother, John Buscema's, artwork, and went on to become a penciler himself. In the beginning, he drew in a "house style". However, the "look" of Sal's pencils developed to a point at which they characterized the company, rather than the other way around. It's fair to say that Buscema also influenced at least one (perhaps two) generations of comics fans and artists.
Remembered most favorably for his work on the characters Spider-Man, The Hulk, Captain America, The Defenders and Rom: Spaceknight, the artist is also known for his long individual runs on two titles in particular: The Incredible Hulk and The Spectacular Spider-Man, and for his speed, at one time drawing as many as four comics a month!
Buscema's art was and is characterized by a rich fluidity, and possessed an almost manic quality, both of which made it ideal for the high-octane, slam-bang action common to superhero fare. This is not to say that his style only serves action scenes well, however, as he has pretty much mastered comic book art in all of it's forms, whether frantic or subdued. In fact, I don't think it's out of bounds to call Sal Buscema one of the best comic book artists of all time.
Throughout the years, his art has been served best by particular inkers, making it appear more three-dimensional. Of note, the talents of Rudy Mesina (The Rampaging Hulk, No. 9), Bill Sienkiewicz (The Spectacular Spider-Man, Nos. 220-229), Ernie Chan (The Incredible Hulk, Nos. 210-212, 214-220), and Gerry Talaoc (The Incredible Hulk, Nos. 291, 293, 294, 297-309) have all proven wonderful matches for Sal Buscema's pencils.
The art of Sal Buscema is highly recommended. And, because he has been so prolific over the years, it's not hard to come by, price-wise. Check your local comics shop and online auctions and retailers for single issues as well as collections.

Mark Allen

The Hulk At A Crossroads

For those who enjoyed the much-touted "Planet Hulk" storyline from a couple of years ago, I'd like to suggest another tale in which Marvel's Jade Giant took a wild ride out of this world. You'll find it in a 1984-85 saga, contained in issues 301 through 313 of The Incredible Hulk.

In issue 300, Doctor Strange banished the Hulk from Earth, as he had become a creature no longer under the influence of Bruce Banner's persona, and was totally given to unrestrained rage and murderous destruction.. Marvel's "Master of The Mystic Arts", placed the Hulk at a dimensional crossroads, the "doorstep" of many different worlds. Here, it was believed, the Hulk could do no harm and no harm would come to him. Well, one outta two ain't bad.

This storyline did something that's always interesting for a character who is well-established, well-defined and in a bit of a rut; it put him in unfamiliar territory. Fans were treated to situations in which The Hulk was no longer "the strongest one there is", but was in fact in danger for his very life, more often than not.

These issues represent the tail-end of Bill Mantlo's stint as writer on the title, and they are a fitting crescendo. Perhaps his greatest accomplishment was making the Hulk an even more sympathetic character than before, despite being nearly devoid of the power of speech. That, and giving fans a fantastic slugfest between the Hulk and an N'Garai demon (a reference X-Men historians should recognize) in issue 308.

Sal Buscema provided art for all but three of the issues mentioned. My appreciation for him can be found in last week's Suspended Animation column. It should suffice to say that the action of these issues could not have been better served by anyone in the biz, then or now.

These issues are recommended for Hulk fans, as well as those who like mystical storylines with plenty of action. Look for them at comics shops and online retailers and auctions.

Review by Mark Allen

What if Superman, besides being a well-known superhero, was also a merchandising institution? (In his world, not ours.) And, what if, from toy lines, comic books, clothing lines, video games, etc., he funded his own national law-enforcement agency? Well, wonder no more, because that's the premise in DC Comics' The Mighty..

Writer Peter J. Tomasi weaves an engrossing tale about a super-man ("Alpha One") born of atomic testing, loved by the masses and heroic to a fault. Despite the awe and inspiration he sows among the populace, however, there seems something...disturbing, lurking just under the surface. And, when the captain of Section Omega, the afore-mentioned police force, is mysteriously murdered, it sets up an intriguing mystery.

Tomasi does what a writer is supposed to do; he hooks readers from the very beginning and doesn't allow them to "wriggle" off the line. In this case, he does it with a story that appears straightforward, but is obviously hiding important information, which makes it nigh-impossible to turn away.

Characterization is also well-done, as Captain Shaw's replacement is quickly established as a sympathetic, likeable figure, seeking to grow into an important role and get out from under previous public perceptions. Sound complex? It is. In the best way.

Peter Snejbjerg's art leaves little to nothing to be desired. Dynamic, emotive and characterized by well-defined line work and lots of shadowing, it serves the action of a superhero tale quite well, while communicating the proper sense of underlying menace and dark mood. Additionally, his storytelling and panel arrangement are smooth and well-executed, delivering readers a well-paced story that's easy to follow.

In short, The Mighty is a well-executed sequential tale suited for adults who enjoy action, drama and mystery. Due to some violent imagery and (unnecessary) language, it is not recommended for younger readers.

Find The Mighty at comics shops and online comics retailers and auctions.

Review by Mark Allen

When discussing legendary comic book creators, no roll call is complete without the inclusion of Bob Layton.

A former apprentice of Wally Wood and protégé of Dick Giordano (two more comics legends), Layton is part of that "plucky" group of comics professionals who got their start producing fanzines. Most notable in that field was his co-founding of CPL/Gang Publications (CPL being short for the fanzine Contemporary Pictorial Literature) and his work on The Charlton Bullseye for Charlton Comics.

Layton's work could be described as "polished", clean lines and clarity of storytelling being hallmarks of his realistic art. He is at his best when he inks his own pencil work, but is also known as a strong inker all around, improving on the work of many pencil artists. No doubt the word "polished" is, in part, a subconscious influence of the work for which he is probably most fondly remembered by fans: that on Marvel's Iron Man.

Layton worked on two different runs of the original Iron Man series, co-plotting with writer David Michelinie on both. He inked the pencils of John Romita, Jr. on issues 116 through 154, and finished the art of (primarily) Mark D. Bright and Jackson "Butch" Guice between issues 215 and 250, acting as primary penciler on several of the last ten issues. Layton helped give a more technological look to Iron Man, and aided Michelinie in developing a deeper and more emotionally vulnerable man inside the armor, Tony Stark. Their "Demon in a Bottle" storyline is considered legendary in the comics industry.

Layton is also known for being one of the primary creative minds behind the Valiant Universe. He is the co-creator of DC Comics' Huntress and Marvel's X-Factor, working with Paul Levitz and Jackson Guice, respectively. He also created Marvel's second comics miniseries ever in Hercules: Prince of Power, a beautiful and extremely underrated work.

The work of Bob Layton is some of the most memorable in comics history, and is recommended for..., well, everyone.

Mark Allen