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Mage: The Hero Denied #0 and #1

Mage: The Hero Denied #0 and #1

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Mage 0So, I’ve been meaning to get back into writing comic reviews, but there’s frankly been very little out there that got me excited. I’m more of an old school comic fan, preferring the comics that would actually take ten or fifteen minutes to read. Yeah, I’m a slow reader, but even I can push through most modern comics in two or three minutes without much trouble. All splash pages and dialogue-free scenes. It seems like most modern comic writers don’t know how to tell a serial story: each issue should be its own story, as well as a part of a greater narrative.

But I’ve long been a huge fan of Matt Wagner (check out my previous reviews for Mage: The Hero Discovered and Mage: The Hero Defined), so I knew I was going to be on board for the third and final part of his Mage trilogy: The Hero Denied. Issue #0 came out in July and, while it looked great, it was basically a half-issue meant to work as a teaser for the main book, so there wasn’t much to review. Also, I got suckered in by a nice issue #0 for the Red Sonja reboot that fed into a series that was disappointing. So I decided to wait until a proper issue #1 came out before deciding whether or not it was worth my time to commit to review the whole series.

Since you’re reading this, you can guess how I feel about issue #1.

But let’s start with issue #0. (spoilers to issues #0 and #1 beyond this point)

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New Treasures: Graphic Classics Volume 26: Vampire Classics

New Treasures: Graphic Classics Volume 26: Vampire Classics

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Gothic Classics Graphic Classics Volume 14-small Graphic Classics Volume 23 Halloween Classics-small Graphic Classics Volume 26 Vampire Classics

I’ve been a huge fan of Tom Pomplun’s Graphic Classics comic anthologies for years, ever since I received a copy of the first one, Volume 1: Edgar Allan Poe, in 2001 (back when they were Rosebud Graphic Classics, a spin-off of Rosebud magazine). Some of my favorites are Volume 4: H. P. Lovecraft, Volume 14: Gothic Classics, and Volume 23: Halloween Classics (back cover here). But I hadn’t seen a new release in over three years, ever since Volume 25: Canine Feline Classics back in 2014. So imagine my surprise when I accidentally stumbled on a copy of Graphic Classics Volume 26: Vampire Classics, which snuck into bookstores on June 28. Here’s the description.

Vampire Classics features a unique adaptation of the 1922 silent film, Nosferatu. Plus a horror-western by “Conan” creator Robert E. Howard and Ray Bradbury’s “The Man Upstairs.” With “The Strange Orchid” by H.G. Wells, “Olalla” by Robert Louis Stevenson, and a short story by famed horror writer and co-editor Mort Castle.

Our previous coverage of Graphic Classics includes:

Graphic Classics Half-Price Sale
It’s Halloween Already with Graphic Classic’s Halloween Classics
Get Graphic Classics Volume 23: Halloween Classics for only $10 in October

Graphic Classics Volume 26: Vampire Classics was published by Eureka Productions on June 28, 2017. It is 144 pages, priced at $19.95. See all our recent Comics coverage here.

Hobo Fights: A Chat with Image Comics’ Rock Candy Mountain Creator Kyle Starks

Hobo Fights: A Chat with Image Comics’ Rock Candy Mountain Creator Kyle Starks

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Rock Candy Mountain Volume One-small

Image Comics is soon releasing the first trade paperback of Kyle Starks’ Rock Candy Mountain, collecting issues 1-4. The original solicitation runs as follows:

Eisner-nominated comic creator Kyle Starks would like to invite you to enter the magical world of hobos. The world’s toughest hobo is searching through post-WW2 America for the mythological Rock Candy Mountain, and he’s going to have to fight his way to get there. Lots of hobo fights. So many hobo fights. A new action-comedy series full of high action, epic stakes, magic, friendship, trains, punching, kicking, joking, a ton of hobo nonsense, and the Literal Devil. Yeah. The Literal Devil.

Who could turn down a description like that? I had a chance to catch up with Kyle for an e-mail interview about this fiesta of fisticuffs and the hobo code of honor.

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A Kick-ass Female Perspective on Comics That’s Disturbingly Close to Real-Life: The Refrigerator Monologues by Catherynne M. Valente

A Kick-ass Female Perspective on Comics That’s Disturbingly Close to Real-Life: The Refrigerator Monologues by Catherynne M. Valente

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the-refrigerator-monologues-smallThe Wonder Woman movie has received considerable buzz for depicting an interesting lead female character who actually has a personality, is not dependent on some guy to come to her rescue and truly is the star attraction; it even has a female director. It’s enough to make you forgive the silly and at this point yawn inducing CGI pyrotechnics between good and evil ending that is apparently sacrosanct in these sort of flicks. Look, I enjoyed the movie, but for all its merits it’s still a sad commentary of our times that Wonder Woman is considered somehow ground breaking. Problem is, compared to the latest crop of superhero movies (maybe even movies in general) the bar isn’t set very high.

You want some real kick-ass female perspective on the comic book world that’s disturbingly close to real-life? Check out The Refrigerator Monologues by Catherynne M. Valente. This is a series of short stories set in shared alternate comic book universe (with characters such as Grimdark and Kid Mercury and Doctor Nocturne evoking various Marvel and DC Comics personages) linked by a sort of AA session in which deceased women (with one exception who for her own reasons hangs out among the unliving) take turns explaining how they ended up in Deadtown, i.e., thanks to some male superhero or supervillian exploit.

The title of the collection is a take-off of The Vagina Monologues — the Eve Ensler play about sex and body image told from the perspectives of a variety of women representing different ethnic, sexual and class identities — and comic book writer Gail Simone’s observation that comic book women are typically hypersexualized for a male audience and often end up “refrigerated” — killed, disabled, or otherwise rendered marginalized or powerless in order to advance a male character’s storyline. Indeed, in “Happy Birthday, Samantha Dane” the title character literally ends up in a refrigerator. (And, by the way, is just one of many great comic book kind of names that Valente invents for her cast of characters. Also by the way, it’s worth noting that in Wonder Woman a male character dies to advance our heroine’s story — perhaps an intentional inversion of the refrigerator motif?)

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The Tripartite Hero: Matt Wagner’s Mage

The Tripartite Hero: Matt Wagner’s Mage

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Mage: The Hero Denied #0At the Emerald City Comicon in early March, Image Comics announced that starting in August they’d be publishing writer/artist Matt Wagner’s Mage: The Hero Denied, a 15-issue series with a half-length 0 issue and a double-sized conclusion. Hero Denied will be the final part of a trilogy Wagner began over thirty years ago, and I want to prepare for that last installment by looking back here at the first parts of the saga. The Mage books are two of the finest works of a great comics talent, urban fantasies mixing excellent action storytelling, a mastery of plot beats, and a sense of the mythic into gripping stories — and stories with a semi-autobiographical slant, no less.

Mage: The Hero Discovered was published by Comico from May 1984 to December 1986 (I read it in the three-volume 1987 Starblaze trade paperback collections). Wagner wrote, drew, and coloured the series, with letters by Bob Pinaha, and Sam Kieth inking from issue 6 through 15. The story follows Kevin Matchstick, inhabitant of the modern-day world, as he encounters a mysterious figure named Mirth who turns out to be a mage; Mirth introduces Matchstick to a grander and more terrifying world, one of wizardry and horrors, and leads him to the hidden truth of his nature and his link to a hero out of legend. Mage: The Hero Defined came out from Image from July 1997 through October 1999, again written and drawn by Wagner, this time with colours by Jeromy Cox and letters by Sean Konot. The series follows an older Matchstick through a stranger world of greater magics and other heroes; Matchstick meets another mage, faces consequences of his earlier actions, and discovers deeper truths about the archetypes behind him.

Always intended as a trilogy from the beginning of the story back in the 80s, the second and third chapters have necessarily been slow to follow because the story is in part an autobiography. Kevin Matchstick is the alter-ego of Matt Wagner: he’s drawn to resemble his creator, aspects of his story are fictionalisations (fantastifications?) of Wagner’s life, and other characters are analogues of people Wagner knows — and since Wagner’s a professional in comics, a number of the characters in the second series are thinly-disguised versions of other comics artists. The Hero Defined is therefore also an odd document of 1990s comics culture. If you don’t know the background, you don’t need to know it. If you do, you see another level to the story: artists become mythic heroes and villains. That works with the central concern of the tale — the transmutation of everyday life into archetypal struggle.

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Old New Pulp: Byron Preiss’ Weird Heroes

Old New Pulp: Byron Preiss’ Weird Heroes

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Weird Heroes Volume 1Weird Heroes was a series of eight books put out by Byron Preiss Visual Publications from 1975 through 1977, a copiously-illustrated mix of novels and short stories that aimed at creating a new kind of pulp fiction with new kinds of pulp heroes. The series had a specific set of ideals for its heroes, linked with an appreciative but not uncritical love of pulp fiction from the 1920s through 40s. Well-known creators from comics and science fiction contributed to the books, and one character would spawn a six-volume series of his own. And yet Preiss’ long-term plans for Weird Heroes were cut short with the eighth volume, and today it’s hard to find much discussion of the books online (though they’re well-remembered when they are discussed). That absence is a little surprising, as a whole new generation of writers has come along with an interest in creating new pulps. Now that we’re separated from Weird Heroes by about the amount of time it was separated from the original pulps, it’s well worth a look back at its truncated run.

Editor Byron Preiss was only 21 years old when he founded Byron Preiss Visual Publications in 1974, and the company began putting out two series of illustrated paperbacks the next year, Weird Heroes and Fiction Illustrated (which ran for four volumes with a fifth issued under a different name). Both were packaged by BPVP to be published by Pyramid Books. Weird Heroes started its run with two anthologies of short fiction that, according to Preiss’ introductions to both books, were conceived as a single volume but divided up due to length constraints. Over the course of the series’ run, it published work by Archie Goodwin, Steve Englehart, Harlan Ellison, and Michael Moorcock, alongside art by Jim Steranko, Alex Niño, Neal Adams, and P. Craig Russell.

In the editorial matter within the first book, Preiss laid out what he hoped to do with the series. Across a general introduction, a historical discussion of “old American pulp,” and an interview with Fritz Leiber later on in the book, Preiss articulated a specific sense of what old pulps did well, what they did poorly, what he wanted to take from them, and what he wanted to improve on. He also wrote about presenting an alternative to the heroes that had emerged up to that point in 1970s popular culture. Broadly, he wanted to recapture the storytelling thrills of pulp fiction and its sense of wonder, while avoiding its misogyny and racism — and unlike what he saw in both the pulps and much 1970s hero fiction, he wanted to find a way to resolve stories and conflicts without the use of violence and murder.

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The Great Savage Sword Re-Read: Vol 5

The Great Savage Sword Re-Read: Vol 5

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-SSoC-Vol5This series explores the Savage Sword of Conan collections from Dark Horse reprinting Marvel Comics’ premiere black-and-white fantasy mag launched in the mid-70s. Previous installments: Vol 1 / Vol 2 / Vol 3 / Vol 4

Volume 5 collects issues #49 – 60 (1980 -’81), and it begins with the proverbial bang. Reigning art champs John Buscema and Tony DeZuniga return for a 4-issue adaptation of the L. Sprague DeCamp/Lin Carter novel CONAN THE LIBERATOR. These four issues are gorgeous–the Buscema/DeZuniga team is firing on all cylinders.

Story-wise this adaptation succeeds far better than the previous DeCamp/Carter adaptation, CONAN THE BUCCANEER (collected in Volume 4). Whereas BUCCANEER tended to meander and lack proper pacing, LIBERATOR moves at a brisk pace and gives us more classic Conan time.

LIBERATOR is basically a military fantasy with bit of sorcery thrown in to complicate the saga of Conan’s revolt against a mad tyrant. We have a beautiful spy, a scheming wizard, and a truly insane king who butchers his own subjects in a futile quest for immortality. Here is the story untold by Conan creator Robert E. Howard: The story of exactly how Conan became King of Aquilonia.

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Voracious Volume One: Diners, Dinosaurs & Dives

Voracious Volume One: Diners, Dinosaurs & Dives

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Voracious volume 1Kill Hitler. Obviously.

But what’s the second thing you’d do if you had access to a time machine? And keep in mind, I mean “had access to a time machine” and not “built a time machine.” Because if you built a time machine, then you’d be super-aware of not stepping on any butterflies and the bootstrap paradox and causal loops. And then you’d know that the best thing to do with a time machine is nothing because the ramifications are potentially universe-destroying.

But I digress. The second thing you’d do if you had access to a time machine is go see dinosaurs. At least, that’s what you’d do if you were a guy. Most boys were fascinated by dinosaurs when they were young and, even when we’re all grown up, there’s some primitive part of our brains that thinks, “I gotta see a dinosaur some time.” It’s a really primitive part of the brain, of course. The reptile part.

Voracious deals with the Hitler in the room quite easily. When Nate Willner inherits a fortune from his mysterious dead uncle, he also inherits his secret time machine. And the time machine has only pre-set coordinates, so Nate can’t go Nazi-hunting. Instead, he gets sent directly to the age of dinosaurs.

Six panels after a beautiful two-page spread illustration of dino-times, Nate is panicking and running for his life from some very large (and very obviously herbivorous) dinosaurs. Since the time suit he’s in is equipped with weapons, he reacts to the first dinosaur that follows him by setting it on fire. And while the implications of murdering a lifeform in the past is lost on him, Nate does notice that the burnt pterodactyl smells delicious.

Being a professional chef, Nate does the only logical thing: bring the dead dinosaur back to the present, cook it up and eat it. Once he confirms that dinosaurs are delicious, Nate decides to use the money he inherited to open a restaurant and the time machine he inherited to acquire lots of free meat that’s unlike anything his customers have ever tasted. Hi-jinks ensue.

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A Mythic Crime Story: Top Cow’s Postal

A Mythic Crime Story: Top Cow’s Postal

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postal1

Regular readers may notice that I try to sample a lot of different comic series. I like individual comics, but I also try to understand the field and its sub-genres. Crime fiction has a long history in comics. Its modern incarnations include titles like Brian Azzarello’s 100 Bullets, Ed Brubaker’s Gotham Central and Criminal, among many others.

Last year I heard the Nerdist Comics Panel interview Bryan Edward Hill, a TV writer working on Top Cow’s Postal.

The premise was catchy: Eden is a town entirely populated by criminals laying low or getting new identities, completely off the grid. And the main character of the story is Mark, the mayor’s son who works as Eden’s postman and who has Asperger’s.

And it’s in development for TV.

So I checked it out.

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The Great Savage Sword Re-Read: Vol 4

The Great Savage Sword Re-Read: Vol 4

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SSoC-Vol4-CvrThis series explores the Savage Sword of Conan collections from Dark Horse reprinting Marvel Comics’ premiere black-and-white fantasy mag from the 1970s. Previous installments: Volume 1 / Volume 2 / Volume 3.

In volume 4 the superb team of John Buscema (pencils) and Tony DeZuniga (inks) continues to dominate the magazine’s “Golden Age” (i.e. the late 70s). However, this volume begins with John’s talented brother Sal Buscema stepping in for issue #37, ably inked by Rudy Nebres.

It’s a good issue, but things really take off when the regular (John) Buscema/DeZuniga team returns in #38 to adapt the story “Road of Eagles” by Robert E. Howard and L. Sprague DeCamp. This is a landmark issue: Conan has never looked more fierce, and his world hasn’t been this fully realized since Alfredo Alcala’s hyper-detailed inks in the mag’s early days.

I’ve read that Buscema didn’t care much for DeZuniga’s inks — but he didn’t really like anyone’s inks over his pencils except his own. That’s fairly common for the Great Pencillers of comics history — yet they were usually too busy with deadlines to do their own inks.

Personal taste aside, Roy Thomas obviously realized the greatness of the Buscema/DeZuniga pairing. He made sure this team worked together as often as possible: 7 out of these 12 issues feature John Buscema pencils with DeZuniga inks. Roy even tapped DeZuniga to ink two more great issues penciled by Sal Buscema (i.e. #39 and #44).

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