Junk Food For Thought

Reviews- PRODIGY. VOL. 1: THE EVIL EARTH, PLANET OF THE APES ARCHIVE VOL. 2: BEAST ON THE PLANET OF THE APES, THE IMMORTAL HULK VOL. 1: OR IS HE BOTH?, and THE IMMORTAL HULK VOL. 2: THE GREEN DOOR

2019-11-10T07:55:00.001-05:00

PRODIGY. VOL. 1: THE EVIL EARTH (Image, First Printing, 2019; Softcover)

Collects Prodigy. #1-6 (cover dates December, 2018- June, 2019)

I like Mark Millar. His stuff doesn't always fry my mind but there is usually enough of a hook to intrigue me enough to keep going. I'm not sure if I'm in for the next volume or not. This is close to his Nemesis series, and I enjoyed that one a lot more than I did this one.

PLANET OF THE APES ARCHIVE VOL. 2: BEAST ON THE PLANET OF THE APES (Boom, First Printing, 2017; Hardcover)

Collects material from the Planet of the Apes Magazine #1-11, 21 (cover dates August, 1974- June, 1976)

I am hoping that Disney buying Fox means that Marvel will eventually get the Planet Of The Apes license back and we can get proper, comprehensive reprints instead of Boom's arranged by storyline method of collecting. While these are nicely done books I prefer material to be collected in publication order. I'm glad that these were finally reprinted. They have since been falling out of print and are now commanding some money on eBay. I'm keeping mine.

THE IMMORTAL HULK VOL. 1: OR IS HE BOTH? (Marvel, First Printing, 2018; Softcover)

Collects Avengers #684 and Immortal Hulk #1-5 (cover dates May-November, 2018)

THE IMMORTAL HULK VOL. 2: THE GREEN DOOR (Marvel, First Printing, 2019; Softcover)

Collects Immortal Hulk #6-10 (cover dates November, 2018- February, 2019)

I had heard endless great things about this title, so when I saw them at the library I had to give them a spin. Wow! This is very similar in tone to the first six issues of The Hulk by Stan Lee and Jack Kirby, only infused with modern sensibilities. The original take on The Hulk was Horror/monster-tinged, Cold War paranoia. This take is similar, replacing The Cold War paranoia with the horror of humanity and conspiracies involving our own Government, who seek to weaponize the methods which made Bruce Banner turn into The Hulk.

The Absorbing Man appears in the second book, and he is one of those villains that never ceases to make me smile when he shows up to fight someone. They have reissued both of these trades in one hardcover. I will pick this series up at some point in some format. Time and money are both in shorter supply these days for me when it comes to comic books, but this is a series that I would like to reread.

Review- DEAD MAN LOGAN VOL. 1: SINS OF THE FATHER, RELAY VOL. 1: REALITY DENIED, Questprobe #1-3 and Marvel Fanfare #33, THE MAGIC ORDER VOL. 1

2019-10-16T07:13:00.001-04:00

DEAD MAN LOGAN VOL. 1: SINS OF THE FATHER (Marvel, First Printing, 2019; Softcover)

Collects Dead Man Logan #1-6 (cover dates January-June, 2019)

Good stuff that should have just been more issues of Old Man Logan. But hey kids, a new #1! I am trying to not bag on the industry, but these endless relaunches seem to be a case of diminishing returns and jumping off points for older readers without a mass influx of new readers. We are at a point where we should just go to cover dates instead of issue numbers.

RELAY VOL. 1: REALITY DENIED (Aftershock, First Printing, April, 2019; Softcover)

Collects Relay #0-5 (cover dates May, 2018- April, 2019)

Brilliant stuff. There has been no news of any more issues, which stinks. Let's hope that we'll see more sooner than later.

Questprobe #1-3 and Marvel Fanfare #33 (Marvel, cover dates August, 1984- January, 1987)

Computers were for nerds in 1984. My family being able to afford a computer in 1984 was as far fetched as my family being able to afford a rocket ship. Plus, what on Earth could we possibly need a computer for? The old world is pretty funny in retrospect.

I bought issue 2 off of the spinner rack in October of 1984. I still say that it was intended to be issue 97 of Peter Parker, The Spectacular Spider-Man and was recut at the last minute to include the Chief Examiner. Go back and reread it, you'll see what I mean. The portions that tie in are almost entirely on separate pages and seem spliced in. Peter Parker, The Spectacular Spider-Man #97 was essentially an inventory story with little ongoing subplots. Questprobe #2 was way more tied into the current series with the supporting cast featured. Marvel Fanfare #33 was intended to be the fourth issue but was cancelled when the computer company who made the video game went bankrupt. It was released a couple of years later in that inventory story clearing house series.

THE MAGIC ORDER VOL. 1 (Image, First Printing, 2019; Softcover)

Collects The Magic Order #1-6 (cover dates June, 2018- February, 2019)

Magic seems to have been reduced from childhood fantasy to the dustbins of history. Children, with their home computers and surround sound television, no longer have a need for magic. Magicians used to be a popular thing at kids' birthday parties. Technology has killed magic.

This was good enough for me to buy a Volume 2 if or when it happens. I still like magicians and all that jazz.

Reviews: ANT-MAN/ GIANT-MAN EPIC COLLECTION VOL 1: THE MAN IN THE ANT HILL, WOLVERINE: OLD MAN LOGAN VOL. 10: END OF THE WORLD, CRIME PATROL ANNUAL VOL. 2, FANTASTIC FOUR BY JOHN BYRNE OMNIBUS VOL. 2

2019-09-24T06:55:00.003-04:00

There is no longer a void for this blog to fill. Talking about binding, paper, and restoration is now the norm, not the exception. My work is done in that regard. There are endless YouTube reviews, message boards, etc. I will pop in with pellet reviews. Consider this the “how I spent my summer vacation” book report.

ANT-MAN/ GIANT-MAN EPIC COLLECTION VOL. 1: THE MAN IN THE ANT HILL (Marvel, First Printing, 2015; Softcover)

Collects the Ant-Man/Giant-Man stories from Tales To Astonish #27, 35-59 (cover dates January, 1962- September, 1964)

While this is one of the “lesser” titles of the Silver Age, it was still a lot of fun to read. Readers with modern sensibilities will dislike the “you're just a girl, Wasp” vibe to some of the earlier stories, but this was a pre-women's lib era. I have a soft spot for Egghead and The Human Top. Seeing Ant-Man transition into Giant-Man was pretty cool.

WOLVERINE: OLD MAN LOGAN VOL. 10: END OF THE WORLD (Marvel, First Printing, 2018; Softcover)

Note: Book actually released in 2019.

Collects Old Man Logan #46-50 and Old Man Logan Annual #1 (cover dates October-December, 2018)

Good stuff, although it was pointless to end the series here. Rebooted numberings lose readers in the long run.

CRIME PATROL ANNUAL VOL. 2 (Gemstone, 2000; Softcover)

Collects Crime Patrol #12-16 (cover dates June-July, 1949- February-March, 1950)

EC remains the gold standard for comic books, even here in the “Pre-Trend” era collected here. The first steps toward EC becoming a Horror comic company happened here, with the introduction of The Crypt Keeper in a handful of stories until the final issue, which was basically the first issue of The Crypt Of Terror. Within a few issues that title would change into the more familiar Tales From The Crypt.

Gemstone used some pretty kick ass glue. This book is almost 20 years old and doesn't even creak when you open it.

FANTASTIC FOUR BY JOHN BYRNE OMNIBUS VOL. 2 (Marvel, First Printing, 2013; Hardcover)

Collects Fantastic Four #261-295, Fantastic Four Annual #18, 19, Alpha Flight #4, Avengers Annual #14, Thing #10, 19, and material from Epic Illustrated #26-34, Thing #7, What If? #36, and What The--?! #2, 10 (cover dates November, 1983- January, 1991)

1984 and 1985 were the zenith of western civilization. The spinner racks at 7-11 were filled with gold month in and month out. I thought that it would last forever, as children tend to do. Little did 10-11-12 year old me know that this was the second golden age of Marvel, and arguably the last time that every single title was hitting high marks at the same time. John Byrne remains a favorite of mine, and this stuff still holds up decades later. Hard to pinpoint a favorite issue, but #276 was one I read several times on the Christmas break from school in 1984.

Review- The Replacer

2019-06-30T17:41:00.001-04:00

The Replacer (Aftershock, cover date April, 2019)

Writer: Zac Thompson

Artists: Arjuna Susini

Colorists: Dee Cunniffe

Marcus is a young boy whose loser father has a stroke. The real question is was it a stroke, or was dad possessed by a demon who tricks everyone into believing that his father had a stroke? Or is young Marcus mentally insane? I'm not answering that here, but the story plays it right down the middle and lets you decide for yourself. I have my own personal answer. This was a good read with decent artwork.

The OCD zone- This is the part where I go into tactile sensations and materials used in physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

Binding: This was solicited as a graphic novel in Diamond Previews. When it was released it was a saddle stitched (read: stapled) “64 page graphic novella”. Seems like a bait and switch to me. Even the Aftershock website lists it as a “64 page prestige format graphic novella”. It's a fat stapled comic with a cardstock cover, folks.

Review- STRANGER THINGS: THE OTHER SIDE

2019-05-25T09:57:00.001-04:00

STRANGER THINGS: THE OTHER SIDE (Dark Horse, First Printing, 2019; Softcover)

Collects Stranger Things: The Other Side #1-4 (cover dates June, 2018- January, 2019)

Writer: Jody Houser

Artists: Stefano Martino and Keith C. Champagne

Colorist: Lauren Affe

If any series lends itself to the comic book format, it is the nostalgic Netflix series Stranger Things. This four issue mini-series shows what happens to Will while he is trapped in The Upside Down. Key moments in the series are shown from the other viewpoint, and it's really cool. Fans of the series will eat this up. If you haven't read the series I am not certain if this will make a lot of sense, especially at the end.

It would have been cool if this were presented and framed like a 1983 comic book with flat colors, cheap pulp paper, and “Ben Day” dots. Then again, this series skews to a younger demographic than this fortysomething old man, and those kids seem to dislike the presentation of old comic books.

I read this book in one sitting with my 12 year old son, who loves the series. Heck, I even got him the action figures for his birthday last year. He's at the right age where the vibe of the show clicks with that sense of wonder we all have at that age before life grinds us down to a stump. He loved this book and so did I. I'm looking forward to more Stranger Things comics, and I am really, really looking forward to Season Three. Is it July 4 yet?

Paper stock: Thick glossy stock.

Binding: Perfect bound trade paperback.

Cardstock cover notes: Matte coating with spot varnish. The matte portions have sufficient protection from scuffing, a problem many matte finish covers seem to have. This is good, since copies of this book are likely to circulate through libraries across the country.

Review- WOLVERINE: OLD MAN LOGAN VOL. 9- THE HUNTER AND THE HUNTED

2019-05-20T19:07:00.000-04:00

WOLVERINE: OLD MAN LOGAN VOL. 9- THE HUNTER AND THE HUNTED (Marvel, First Printing, 2018; Softcover)

Collects Old Man Logan #41-45 (cover dates August- October, 2018)

Writer: Ed Brisson

Artists: Francesco Manna (#41-42) and Juan E. Ferreyra (#43-45)

Colorists: Carlos Lopez (#41-42) and Juan E. Ferreyra (#43-45)

This volume consists of two stories over five issues rather than a bloated six part arc. Things move fast, make their point, and we all move forward. I like it. The first two issues collected here show Old Man Logan take on Kraven The Hunter. Come to think of it, it really doesn't make sense why Kraven had never hunted the greatest animal of them all, does it? It's a match up that is so obvious that you smack your head wondering why nobody had ever done it before.

The rest of the book shows OML's rematch with Bullseye. As much as I enjoyed the more cerebral era of this title early on, I have to admit that the more straight up superhero fare is great fun. Seeing an older Wolverine realizing the limitations of age unfortunately rings more true with me with each passing day. Like Old Man Logan, my prime is in my rearview mirror. And like Old Man Logan, I'm also too damn stubborn to fold.

Paper stock: The semi-glossy coated stock Marvel uses is getting thinner and thinner as time goes on. I get it, rising paper costs, diminishing demand for paper, etc, but I can still grumble about it.

Binding: Perfect bound trade paperback.

Cardstock cover notes: Laminated cardstock. The cardstock Marvel uses is also thinner these days, although it helps to make the book sit in your hand like a fat periodical, so it's not all bad.

Review- DREAMS OF THE RAREBIT FIEND

2019-05-10T19:09:00.001-04:00

DREAMS OF THE RAREBIT FIEND (Dover, 2013 Printing; Softcover)

Collects sixty Dreams Of The Rarebit Fiend strips which were originally published in the New York Telegram 10/07/1904- 8/31/1905

Writer and Artist: Winsor McCay

This is the 2013 printing of the 1973 facsimile edition of the original 1905 hardcover. As of this writing one could get a 1905 original for a mere $10,000 on eBay. Or you can do what I did and buy the 2013 reprint which is still floating around out there for under 20 bucks.

As in the 1905 hardcover and 1973 facsimile edition, the strips are reprinted here in black and white. They are shrunk down from their original publication size, although the Dover editions are 10% larger than the 1905 hardcover. Like the 1973 edition, this 2013 printing omits the final strip due to its unfavorable portrayal of minorities.

Rarebit is apparently some sort of toasted cheese snack, and these unfortunate folks ate them before bed. Apparently this Welsh rarebit gives folks nightmares which probe their innermost fears and desires. This predates McCay's signature strip, Little Nemo In Slumberland but treads the same boards: the realm of dreams. Unlike Nemo, this is not a fun, surreal read, but a bizarre probing of anxieties.

This book is wider than a standard graphic novel.

Linework restoration: I don't have any source material to compare.

Paper stock: Matte stock.

Binding: Perfect bound.

Cardstock cover notes: Laminated cardstock cover.

Review- MARVEL MASTERWORKS: THE AVENGERS VOL. 14

2019-05-05T11:44:00.002-04:00

MARVEL MASTERWORKS: THE AVENGERS VOL. 14 (Marvel, First Printing, 2014; Hardcover)

Collects Avengers #129-135, Giant-Size Avengers #2-4 (excluding reprint back-up stories), and Foom #12 (cover dates November, 1974- June, 1975)

Writers: Steve Englehart and Roy Thomas (#132 and GSA #4)

Artists: Sal Buscema, Dave Cockrum, Joe Staton, George Tuska, and Don Heck with additional Inking by Joe Giella, Frank Chiaramonte, and John Tartaglione

Us old guys like to bemoan the crossovers. Things were so much better way back when, we say as we sit around the Internet equivalent of playing checkers on checkerboard on top of a barrel at the general store. This book is proof positive that these sort of sales gimmicks are nothing new, as fans were required to buy both the monthly title and the double-sized, twice as expensive Giant-Size issues as well every month in order to get the complete story.

This was a double dip upgrade over the long out of print Celestial Madonna trade paperback. I think that I enjoyed the story more this second time reading it, as the Swordsman/Cotati/tree marriage bit was harder for me to swallow the first time around. Whenever I see stuff like that now I just shake my head and think Ah...the '70s. To be fair, none of these guys expected to have their work dissected in deluxe hardcover decades later or to ever appear on the big screen. We've come a long way, folks.

I am sucker for Kang and all of his timeslip ret-con goodness. This is nowhere near as confusing as all of the timeslips in Avengers: Endgame, though. Mantis was never done right on the big screen.

While this particular book is out of print you can get the same material with the same restoration (and a ton of other issues) in The Complete Celestial Madonna trade paperback. I will stick with this book. No more dips for me.

Linework and Color restoration: These books are so expensive because of the level of restoration done to the material. The beauty of it is that folks like me are willing to pay the premium and then the material is later reissued in cheaper formats. Everybody wins!

Paper stock: Coated stock with a slight sheen.

Binding: Sewn binding.

Dustjacket and Hardback cover notes: Laminated dustjacket with spot varnish. The hardback has faux leather grain and dye foil stamping.

Review- THE AMAZING SPIDER-MAN OMNIBUS VOL. 2

2019-05-01T11:52:00.001-04:00

THE AMAZING SPIDER-MAN OMNIBUS VOL. 2 (Marvel, First Printing, 2012; Hardcover)

Collects The Amazing Spider-Man #39-67, Amazing Spider-Man Annual #3-5, The Spectacular Spider-Man #1, 2, and the Spider-Man stories from Not Brand Echh #2, 6, 11 (cover dates August, 1966- December, 1968)

Writer: Stan Lee

Artists: John Romita, Sr. with Don Heck, Larry Lieber, Jim Mooney, Marie Severin, Mike Esposito, Bill Everett, and Frank Giacoia

While I love Steve Ditko, I prefer the artwork of John Romita, Sr. a whole lot more. I remember teenage me arguing with some nerds at the comic shop circa 1987. This guy said Ditko all the way. I argued that Ditko is great and laid the foundation, but it was John Romita, Sr. who defined the contemporary Spider-Man that we know and love. This was right before Todd McFarlane would do a hard reset and make Ditko the only acceptable reference point for the character for decades to come. Those of us who were Bronze Age children know Romita's version as the one who adorned t-shirts and luncboxes.

This stuff is art of the highest order. There are too many highlights for me to do a blow by blow, but I'll take a shortcut and tell you that if you are not familiar with this run that it is top shelf material and it belongs in everyone's library.

PLEASE NOTE THAT THE FOLLOWING APPLY TO THE 2012 FIRST PRINTING OF THIS BOOK.

Linework and Color restoration: There are a couple of issues here which look like they could be improved upon if better source material surfaced. I am uncertain if the second printing of this book used any original artwork which may have surfaced since this book was released.

Paper stock: Coated stock with a slight sheen. This is closer to glossy than matte.

Binding: Sewn binding. Like many older Omniboo, this has developed the dreaded Omnibus sag due to gravity and the weight of the book block. Some folks use post it note pads to prop up the block, others store them spines down. I like to live dangerously and store my books vertically.

Dustjacket and Hardback cover notes: Laminated dustjacket. The hardback has faux leather grain and dye foil stamping. The second printing does not have that.

The hardback has ugly creases on it after reading it.

Review- DAUNTLESS DURHAM OF THE U.S.A.: 1913-1914

2019-04-28T07:55:00.001-04:00

DAUNTLESS DURHAM OF THE U.S.A.: 1913-1914 (Hyperion Press, First Printing, 1977; Hardcover)

Collects Dauntless Durham Of The U.S.A. daily strips from January 22, 1913-January 31, 1914

Writer and Artist: Harry Hershfield

Harry Hershfield's vaudeville melodrama is a charming snapshot of a world long gone. It was a backward looking piece even in it's day, with ironic takes on villains of the late 19^th century. Durham seeks the hand of his beloved Katrina in marriage. At first Lord Havaglass was trying to steal her away, but he was soon replaced with Desmond, the star of Hershfield's previous strip Desperate Desmond. This is when the series really gets going.

Desmond launches one caper after another trying to steal Katrina away. I mean he literally tries to steal her away, as kidnapping must not have been as frowned on back then as it is today. The capers and pissing contents between Durham and Desmond run the gamut of the absurd. There is a real charm to this strip.

Unlike many strips of the era, minorities are portrayed across the board as a melting pot, with stereotypes used as less caricature or more characteristic. There is a huge difference, as one is intended to offend and the latter offends because times and society has changed. One must use proper historical context when reading old material, because nothing from the past can measure up to the values of 2019.

I learned a lot of words when reading this book.

It is fascinating to see then-current events referenced (the new buffalo nickels, Hoover Dam, and many more). Old slang and old songs are referenced as well, and I had a blast using Google and YouTube to experience these as I read the book. It is incredible to be able to add an extra layer of reference to this material in a historical context.

This page is not in this book, but I provide it to demonstrate how this strip looked when originally published. Old newspapers were huge.

Volume 194, No. 2 of The Official Gazette Of The United States Patent Office lists a claim use date of January 22, 1913 for this strip. American Newspaper Comics by Allan Holtz confirms this date as the start of this series. The Buffalo Enquirer ran the intro strip on January 25, 1913 with the story beginning on Monday, January 27, 1913. Pinning down dates on old strips is a wild game of dice, as syndication often meant that strips appeared on different days in different markets. (Thanks to Brent Swanson and Buddy Lortie of the Sunday newspaper comics 1890-1950 Facebook group for providing the answers for the second and third sentences of this paragraph.)

This strip ended when Hershfield created Abie The Agent, the long running strip which he is most remembered for. There is a nice happy ending to wrap things up. This strip is all but forgotten. Indeed, I wouldn't have even heard of it had I not checked Art Out Of Time from my local library and been exposed to it. I hope that Library Of American Comics will reprint this in one of their LOAC Essentials books, as that is the ideal format for this vintage of strip.

Linework restoration: The primitive reproduction methods used in the stone age of 1977 yielded surprisingly decent results. I know that Library Of American Comics or one of the other publishers could do better today, but credit where credit is due. There area few spots that are bad in this book but given the tools that neanderthal 20^th century man had to make this book with I would say that this is a good restoration job for the time and serviceable by 2019 standards.

Paper stock: Matte stock.

Binding: Sewn binding that has held up pretty well.

Hardback cover notes: You don't see textured casewrap like this anymore. Primitive man feared nuclear annihilation from Russia and used production methods that ensured that their books would survive the nuclear winter.

Review- PLANET OF THE APES: WHEN WORLDS COLLIDE

2019-04-23T06:48:00.003-04:00

PLANET OF THE APES: WHEN WORLDS COLLIDE (Boom, First Printing, 2019; Softcover)

Collects Planet of the Apes: The Time Of Man #1 and Planet of the Apes: The Simian Age #1 (cover dates October- December, 2018)

Writers: Jeff Jensen, David F. Walker, Ryan Ferrier, Dan Abnett, Phillip Kennedy Johnson, and Matt Kindt

Artists: Jared Cullum, George Schall, Lalit Kumar Sharma, Carlos Magno, Morgan Beem, and Matt Smith

Colorists: Jared Cullum, George Schall, Gabriel Cassata, Gabriel Cassata, Morgan Beem, and Joana Lafuente

This book compiles two giant-sized one-shots which were both anthologies of various points in Apes history. One was set in the original quadrilogy (sic?) continuity, the other in the more recent trilogy continuity. It's a fairly mediocre bunch of stories, perhaps the laziest Apes offering that Boom has done yet. It's like they are trying to kill the brand with these uninspired rehashes. The only ones that seemed worthwhile were the nod to the original Marvel black and white Apes magazines storyline Terror On The Planet Of The Apes and the Cloud And Rain story which showed Koba's subversion in action.

Paper stock: Thick glossy coated stock.

Binding: Sewn binding.

Dustjacket and Hardback Cardstock cover notes: Thick cardstock with a matte finish.

Review- Shogun Warriors #1-20

2019-04-19T18:39:00.002-04:00

Shogun Warriors #1-20 (Marvel, cover dates February, 1979- September, 1980)

Writers: Doug Moench and Steven Grant (#15 only)

Artists: Herb Trimpe with Inking by Dan Green, Al Milgrom, Jack Abel, Mike Esposito, Steve Mitchell, Bruce Patterson, Mike Vosburg (Pencils #15 only), and additional cover art by Terry Austin, Walt Simonson

Nostalgia is a funny thing. There are times when it's warm embrace is like a trusty old blanket, and then there are times when fond remembrances are best left in childhood. Like a lot of fortysomethings, I had Shogun Warriors toys as a kid. I had Raydeen and Great Mazinga in the '70s and loved them. They were solid toys that a kid could beat the heck out of and they kept on trucking.

I owned issues 1 and 14 as cheapo back issues circa 1983. I have been wishing and hoping for an Omnibus of this book for years. Over the years I pieced together a run of this title for little money, and started reading the series a while back.

The verdict? Well, Doug Moench is a fine writer who has done a lot of good work elsewhere. Herb Trimpe shines with silly Jack Kirby inspired monster stuff, and giant robots fighting giant monsters are right up his alley. The title has a certain pedigree of talent. The general vibe is that not a lot of effort went into this since it was a cheesy kids comic, which is fine since that was the intended audience for the toys and this comic book. There are times when the series is entertaining but by and large it, much like Marvel's Godzilla comic, were simply bottom rung Bronze Age titles which are now held in high regard solely based on nostalgia. That said, I can't wait to buy this in hardcover someday. Someday science will come up with a name for my malady. I offer the term Shaw Syndrome to science.

Review- MS. MARVEL EPIC COLLECTION VOL. 1: THIS WOMAN, THIS WARRIOR

2019-04-15T12:38:00.001-04:00

MS. MARVEL EPIC COLLECTION VOL. 1: THIS WOMAN, THIS WARRIOR (Marvel, First Printing, 2018; Softcover)

Note: Book was actually released in 2019

Collects Ms. Marvel #1-14, Marvel Team-Up #61, 62, and Defenders #57 (cover dates January, 1977- March, 1978)

Writers: Chris Claremont and Gerry Conway

Artists: Jim Mooney, John Buscema, Sal Buscema, with John Byrne, Keith Pollard, Carmine Infantino, George Tuska, Dave Cockrum, Joe Sinnott, Dave Hunt, Tom Palmer, Frank Giacoia, Steve Leialoha, Sam Grainger, and Dan Green

The original series has held up really well, less damsel in distress and more strong independent career woman determined to make it, both as an editor of a magazine and as a superhero.

I was pleasantly surprised to see how forward thinking the writing was, but with Chris Claremont in charge for most of the book I should have known better. Claremont was ahead of his time in more ways than one.

The artwork is good, solid Bronze Age fun done by the usual journeymen of the day. I really enjoyed reading this book.

Linework and Color restoration: This is the same restoration found in the Marvel Masterworks hardcovers. High def all the way.

Paper stock: Matte coated stock. This is a pinch whiter and glossier than what we have been getting in Epics so far but it's still nice.

Binding: Perfect bound.

Cardstock cover notes: Laminated cardstock cover.

Review- GUARDIANS OF THE GALAXY: TOMORROW'S AVENGERS VOL. 1

2019-04-12T06:36:00.001-04:00

GUARDIANS OF THE GALAXY: TOMORROW'S AVENGERS VOL. 1 (Marvel, First Printing, 2013; Softcover)

Collects Marvel Super Heroes #18, Marvel Two-In-One #4, 5, Giant-Size Defenders #5, Defenders #26-29, and Marvel Presents #3-12 (cover dates January, 1969- August, 1977)

Writers: Arnold Drake, Steve Gerber, Roger Stern, Gerry Conway, Roger Silfer, Len Wein, Chris Claremont, Scott Edelman, and Stan Lee

Artists: Gene Colan, Sal Buscema, Don Heck, Al Milgrom, and John Buscema, with Mike Esposito, Frank Giacoia, Vince Colletta, Pablo Marcos, Howard Chaykin, Terry Austin, Bob Wiaceck, Dave Hunt, John Tartaglione, and Joe Sinnott

Reading this book was about as much fun as chewing chalk. Mediocre is the kindest word I use when describing these stories. This book is for masochists and completists only.

It was acceptable for parents to hit their kids in the '70s. Believe me.

Linework and Color restoration: Fair but not Marvel Masterworks level. It doesn't matter though, as the material is weak and the best restoration in the world couldn't save it.

Paper stock: Matte coated stock. This is my favorite of all of the paper stocks, as it feels high end yet looks like a comic book.

Binding: Perfect bound.

Cardstock cover notes: Laminated cardstock cover.

Review- MARVEL MASTERWORKS: THE X-MEN VOL. 6

2019-04-08T20:48:00.002-04:00

MARVEL MASTERWORKS: THE X-MEN VOL. 6 (Marvel, First Printing, 2014; Softcover)

Collects The X-Men # 54-66 (cover dates March, 1969- March, 1970)

Writers: Roy Thomas, Arnold Drake (#54), Linda Fite (#57), and Denny O'Neil (#65)

Artists: Neal Adams, Don Heck, Werner Roth, and Sal Buscema with Inking by Tom Palmer, Vince Colletta, and Sam Grainger

How many times can one person buy the same material? Let us count the ways. My first exposure was the X-Men Visionaries: Neal Adams trade paperback. While the stories blew my mind, the unfaithful coloring made me ill. I dumped it to buy the first upgrade, which was...

Marvel Masterworks: The X-Men Vol. 6, a nice book marred by wretched glued mousetrap binding. The awful tight binding made the next dip more palatable.

The X-Men Omnibus Vol. 2 not only boasted sewn binding, but was remastered again, even over the Masterworks! Wow, where do I sign, or so I thought at the time.

I then bought this book, which boasted the state of the art restoration, albeit it in softcover. I've also dipped again with the second X-Men Epic, although that was to get the remaining issues I lost when I dumped the second Omnibus. Clear as mud?

In any case, this is top shelf stuff and is eclipsed only by the Claremont and Byrne run. I am done with all of these endless dips for this material. This version is nice enough. At least Marvel cares enough about their material to revisit it every time superior source material appears. DC does restoration once and leaves it, which is unfortunate since they never try to fix subpar restoration.

I loved the softcover Masterworks line, as the books are wider than a standard trade paperback. Marvel since went the Epic route, but I would have been happy buying softcover Masterworks.

Linework and Color restoration: This is the same upgraded linework and color restoration found in the second Omnibus.

Paper stock: Matte coated stock. This is my favorite of all of the paper stocks, as it feels high end yet looks like a comic book.

Binding: Perfect bound.

Cardstock cover notes: Laminated cardstock cover.

Review- The Owl #1 and 2

2019-04-03T07:10:00.002-04:00

The Owl #1 and 2 (Gold Key, cover dates April, 1967- April, 1968)

Writer: Jerry Siegel

Artist: Tom Gill

This was a campy retread of the 1940s Dell series designed to ride the wave of campy Golden Age nostalgia in the wake of the 1966 Batman TV series. I enjoyed the heck out of the complete lack of self awareness combined with absurd, unnecessarily elaborate exploits. Gold Key Comics were always decidedly old fashioned and out of step yet charming, and these are no different. If you were a kid jingling some coins in your hand at the newsstand then this would have been buried by anything Marvel or DC were doing at the time. I guess that it never stood a chance, which is too bad since these were fun reads with solid artwork.

Apparently the character was revived as part of Dynamite's Project Superpowers universe a few years ago. That universe is comprised of public domain Golden Age superheroes who are retooled. There is also a more recent relaunch in inDELLible Comics' All New Popular Comics, another public domain riff.

The OCD zone- This is the part where I go into tactile sensations and materials used in physical media. Those with heart conditions, high blood pressure, or women who are pregnant should exit my blog at their earliest convenience, as their safety cannot be guaranteed beyond this point.

Old comic books smell great. They should make a candle that smells like rotting pulp paper.

Review- LEONARD STARR'S MARY PERKINS ON STAGE VOL. 9

2019-04-01T14:16:00.000-04:00

LEONARD STARR'S MARY PERKINS ON STAGE VOL. 9 (Classic Comics Press, First Printing, 2012; Softcover)

Collects Mary Perkins On Stage newspaper strips originally published from November 20, 1967- May 10, 1969

Writer and Artist: Leonard Starr

Everyone, this is what you should be reading. This series has some of the best writing in the history of the medium. Leonard Starr is no slouch in the artwork department, either. Top shelf stuff that belongs in everyone's library. There are only 15 volumes to buy. Child's play!

Linework restoration: I do not have source material to compare, but I do know that Charles Pelto spends a ton of time making these books look terrific. The only drawback to this book is that the Sundays are in black and white rather than full color as they were originally published.

Paper stock: Uncoated matte stock, great for late night reading by incandescent light.

Binding: Perfect bound.

Cardstock cover notes: Cover has a matte finish to it which feels a little “frosty”. I am not sure how to describe it but it feels dry, like frosted glass bottles.

Review- FANTASTIC FOUR BY JOHN BYRNE OMNIBUS VOL. 1

2019-03-29T18:56:00.001-04:00

FANTASTIC FOUR BY JOHN BYRNE OMNIBUS VOL. 1 (Marvel, First Printing, 2011; Hardcover)

Collects Avengers #233, Fantastic Four #209-218, 220, 221, 232-260, Fantastic Four Annual #17, Marvel Team-Up #61, 62, Marvel Two-In-One #50, and Thing #2 (cover dates August, 1979- November, 1983)

Writers: John Byrne with Roger Stern (Avengers #233), Marv Wolfman (#209-217) (Bill Mantlo (#217, 218), Stan Lee (back-up story #236), and Chris Claremont (Marvel Team-Up #61, 62)

Artists: John Byrne with additional Inking by Joe Sinnott, Bjorn Heyn, Dave Hunt (Marvel Team-Up #61, 62) and pencils by Ron Wilson ( Thing #2) along with the Jack Kirby (back-up story #236)

This double and sometimes triple* dip weighs in at seven pounds. I bought all of these issues in the Fantastic Four Visionaries: John Byrne trades in the previous decade. This is top shelf material and I am currently buying it in “high def” Marvel Masterworks format.

*My mom bought me #210 and 214 at Farmer Jack when they came out. I still have that original copy of #210 from when I was a little kid.

Bad light glare in the basement due to the LED bulbs. I read by incandescent light bulbs in my bedroom.

Note that this review is for the first printing with the Direct Market variant dustjacket. The current 2018 printing uses thinner paper and cheaper casewrap on the boards and weighs less as well as having a different dustjacket.

Linework and Color restoration: The overall restoration is a bit...rustic by modern standards. Some of it has since been remastered in high-def in Marvel Masterworks (#209-218) and that will resume with this fall's release of Vol. 21. I am looking forward to upgrading this material, as Byrne's run is the second golden age of the title. This book is like early DVD restoration in a 4k world.

Paper stock: Thick coated stock with a slight sheen.

Binding: Sewn binding. The book block has a slight sag to it after a few years, a common ailment for these Omnibus books. Some folks wouldn't notice it, but I do and so would you since you are reading this.

Reading the book resulted in these ugly creases on the spine.

Dustjacket and Hardback cover notes: Laminated dustjacket. The casewrap has the faux leather grain and foil stamping which you will not find on the 2018 edition.

Review- ROY THOMAS PRESENTS: THE HEAP VOL. 2

2019-03-26T20:40:00.000-04:00

ROY THOMAS PRESENTS: THE HEAP VOL. 2 (PS Artbooks, First Printing, 2013; Hardcover)

Collects The Heap stories from Airboy Comics Vol. 5 #5-12, Vol. 6 #1, 12, Vol. 7 #1-8, 10, 11 a/k/a #52-60, 65-79, 81, 82 (cover dates June, 1948- December, 1950)

Writers: Carmine Infantino, Ernest Schroeder, and other unidentified writers

Artists: Carmine Infantino, Leonard Starr, Mike Roy, John Belfi, Clement Weisbacker, Bob Butts, Dan Zolnerowich, Frank Bolle, Paul Reinman, and Ernest Schroeder

This batch of stories with the original comic book swamp monster aren't as enjoyable as the earlier ones found in Volume 1. The artwork remains good throughout, and the writing has honest to gosh continuity, an uncommon occurrence for the era. This was a fun read in smaller doses.

I enjoy huffing these Chinese made books. PS Artbooks smell the best. Whenever I crack one open I sit there and snort it...Oh yeah, that's the stuff.

This book has the ever delectable sweet, sweet toxic Chinese printing press smell, likely the result of paper sourced from virgin Amazon rainforests and ink which is a concoction of lead paint chips, broken and pulped asbestos tiles, mercury from recalled thermometers, and the final magical ingredient: the blood, sweat, and tears of the children working the sweatshop printing presses. If loving these books is wrong then I don't want to be right!

The sweet smell seems to go away from these books after a few years, so huff them early and often.

Linework and Color restoration: Like any PS Artbook, the quality varies issue by issue. This looks decent for a scan and print collection.

The raw scan presentation has the benefit of the feeling of reading the original comic book. The drawback, which is a huge one subjectively speaking, is that all of the shortcomings of the primitive four color printings presses are apparent. Line bleed, off register printing, and other anomalies are all present. It's a warts and all approach. Your mileage may vary and it all boils down to your preference.

Paper stock: Bright white matte stock.

Binding: Sewn binding.

Hardback cover notes: Matte casewrap with spot varnish. No dustjacket. Images printed directly onto the casewrap.

Review- BATMAN: THE BRAVE AND THE BOLD- THE BRONZE AGE OMNIBUS VOL. 1

2019-03-21T17:51:00.001-04:00

BATMAN: THE BRAVE AND THE BOLD- THE BRONZE AGE OMNIBUS VOL. 1 (DC, First Printing, 2017; Hardcover)

Collects The Brave and the Bold #74-109 (core stories only; none of the back-up stories are included) (cover dates November, 1967- November, 1973)

Writers: Bob Haney, Mike Sekowsky, and Denny O'Neil

Artists: Pencilers- Ross Andru, Neal Adams, Mike Sekowsky, Bob Brown, Irv Novick, Nick Cardy, Carmine Infantio, and Jim Aparo; Inkers- Mike Esposito, Jack Abel, Neal Adams, Dick Giordano, Vince Colletta, Irv Novick, Joe Kubert, Nick Cardy, Murphy Anderson, Jim Aparo, and Frank McLaughlin

DC has really closed the quality gap when compared to Marvel's Omnibus editions. I prefer the paper stock that DC has been using over the decontented stock Marvel has been using in theirs for the past few years. The binding, while stiffer, feels sturdier than Marvel Omniboo. We'll see if it develops Omnibus sag like the older Marvel ones do. Both companies have cheapened the hardback boards and casewrap.

Awful gradient shading.

Issue 84 had a two page spread which was broken up on pages 265 and 266. While it is a subtle spread Bruce Wayne's head does continue across both pages in the original issue. This effect is ruined in this book.

Linework and Color restoration: Hit and miss when it comes to the coloring. Some of the restoration work has been repurposed from the Legends Of The Dark Knight: Jim Aparo hardcover and the Diana Prince, Wonder Woman trades. Those issues have awful, lazy gradient shade blends. While subtle to normal humans, they stab into my eyes like hot needles.

The issues which were freshly recolored for this book (INCLUDING the Neal Adams ones!!!) look terrific. Those of us who suffered through Adams' George Lucas Special Edition bastardization of these issues in those Batman By Neal Adams line can rejoice in the fact that history has been corrected.

Scan of the original comic.

Restoration found in this book.

The linework is very good throughout, although I did not go page by page and panel by panel. I might have missed something, but the handful of spot checks that I did looked good.

Paper stock: I love the matte coated stock DC uses in their Omniboo. Top shelf stuff.

Binding: While the sewn binding is stiffer than Marvel's, the book as a whole feels sturdier.

Dustjacket and Hardback cover notes: The dustjacket has glossy lamination. The casewrap of the hardback is the sole drawback here, as it feels cheap.

Review- JOHN CARPENTER TALES OF SCIENCE FICTION: VAULT

2019-03-17T08:47:00.003-04:00

JOHN CARPENTER TALES OF SCIENCE FICTION: VAULT (Storm King Comics, First Printing, 2018; Softcover)

Collects John Carpenter's Tales Of Science Fiction: Vault #1-3 (cover dates July- September, 2017)

Writers: James Ninness

Artists: Andres Esparza

Colorists: Sergio Martinez

This was a double dip from the single issues. I buy everything that Storm King does and then buy the trade. No, I am not sure why I do that either. Someday science will come up with a name for my affliction.

Paper stock: Super thick, super glossy stock.

Binding: Perfect bound.

Cardstock cover notes: Matte finish with foil embossed accents. Very classy for a trade paperback.

Review- WOLVERINE: OLD MAN LOGAN VOL. 8- TO KILL FOR

2019-02-28T18:54:00.000-05:00

WOLVERINE: OLD MAN LOGAN VOL. 8- TO KILL FOR (Marvel, First Printing, 2018; Softcover)

Collects Old Man Logan #36-40 (cover dates May- July, 2018)

Writers: Ed Brisson

Artists: Dalibor Talajic and Ibraim Roberson (#39, 40)

Colorists: Carlos Lopez

My quick take: Some folks enjoyed Lemire's heady run more than Brisson's grounded mainstream superhero take. I dug the heck out of seeing Old Man Logan taking on Bullseye, so for my money all is still well with this title...even though it has since been cancelled.

Paper stock: Thin coated stock with a slight sheen.

Binding: Perfect bound trade paperback. This book is so thin that it almost feels like a giant periodical.

Cardstock cover notes: Laminated cardstock cover.

Review- BATMAN/ FLASH: THE BUTTON- THE DELUXE EDITION

2019-02-22T11:45:00.003-05:00

My son asked me if I would read this before reading Doomsday Clock. He assigned it to me as weekend homework reading before his next visit. His mother bought him this book, so full disclaimer: I didn't pay to read this book. My son is 12 and I won't let him read Watchmen, which I suppose makes it a sort of forbidden fruit for the lad. Alas, I am not sure how much enjoyment he will derive from this or Doomsday Clock without understanding the reference points of Watchmen. I explained things to him as best as I can without revealing certain, age-inappropriate things about the series.

BATMAN/ FLASH: THE BUTTON- THE DELUXE EDITION (DC, First Printing, 2017; Hardcover)

Collects Batman #21, 22, and Flash #21, 22 (cover dates June-July, 2017)

Writers: Tom Cook and Joshua Williamson

Artists: Jason Fabook and Howard Porter

Colorists: Brad Anderson and Hi-Fi

Wow, talk about your assumed knowledge, self-referencing works. This is the prequel to the main event which spun out of DC Rebirth #1, that 80 page comic that was a reset of a reset of reset, or something like that. This story is a fun, action packed read, but falls flat on its face overall because the writers assume that everyone has a working knowledge of Watchmen and the DC Universe. While the majority of readers do, someone like my son who has a budding interest in comics simply didn't understand a lot of this. Reading the book with his confusion in mind and looking at it through his eyes made me look for clues to explain the story to a “civilian”. The pickings were slim.

S P O I L E R S abound- you have been warned. So Doctor Manhattan is likely the “god” that is somehow pulling the strings and has left The Comedian's button in the DC Universe? To what end? Alan Moore would be rolling in his grave if he were dead. If DC is trying to blur the lines of all ret-cons and reboots into one cohesive universe, using Reverse Flash (Thawne) seems even more confusing. Maybe this is my Marvel thinking, but wouldn't every single attempt at altering Flash's history by going back in time change nothing and only create alternate timelines?

While I am not a DC expert, I have a mild working knowledge of their continuity. Even so, I found some of these reference points to be confusing. I know that this is all make believe, but all of this ret-conning and rebooting has made a mess of things.

Like I said above, as fun a read with nice artwork that it is, it's a thin story. The prequel is little more than a stunt, which I suppose is appropriate since this Doomsday Clock event is one of the biggest stunts since The New 52.

Junk Food For Thought rating: 3.5 out of 5.

Paper stock: Super thick coated stock with a medium sheen.

Binding: Sewn binding. Go DC!

Dustjacket and Hardback cover notes: This particular printing has a lenticular dustjacket. I can't recall of another collected edition with this feature. Very cool. The single issues boasted this feature, so this was a nice nod to that. The hardback has a glossy laminated casewrap.

Review- PLANET OF THE APES: URSUS

2019-02-15T18:14:00.000-05:00

PLANET OF THE APES: URSUS (Boom, First Printing, 2018; Softcover)

Collects Planet of the Apes: Ursus #1-6 (cover dates January- June, 2018)

Writer: David F. Walker

Artists: Chris Mooneyham (#1-3) and Lalit Kumar Sharma (#4-6)

Colorist: Jason Wordie

General Ursus is featured prominently in the original Planet Of The Apes movie as well as the sequel, Beneath The Planet Of The Apes. Identified by his bulbous helmet, he is the leader of the gorilla army and always at odds with the orangutans. This is his story, with the events of the first two films as seen through his lens. The all too familiar proceedings wind up being little more than a backdrop to his motivations as a character.

The biggest problem with the story of General Ursus is the same problem you have when you go into the backstory of any iconic character. Be it Michael Myers, Freddie Kreuger, etc, once you have to fill in some blanks you ultimately have to somehow humanize them in order to make them relatable to the reader. This robs the villain of his or her ability to scare the reader (or viewer). Ursus is the gorilla who famously said “The only good human...is a dead human!” and “The only thing that counts in the end is power! Naked, merciless force!” Do those sound like the words of a gorilla who misses his late wife? This borders on being fan fiction, catering to folks so bored with repeated viewings and readings that we have to insert filler into a character to amuse themselves.

I have loved every single Apes series by BOOM that I have read until now. While I've avoided the crossovers (I have no desire to POTA commingle with, say, Star Trek, Tarzan, etc) the rest have been winners. While this wasn't a bad read it fell below the high benchmark which BOOM has set with these comics over the past eight years. The artwork in this series is the weakest in the line yet. Consider this to be a hiccup in an otherwise successful line of comics.

Junk Food For Thought rating: 3 out of 5.

Paper stock: Glossy coated stock.

Binding: Sewn binding glued into a cardstock cover.

Cardstock cover notes: Matte coating resistant to scuffing.

Review- TWO-FISTED TALES ANNUAL VOL. 1

2019-02-08T17:56:00.002-05:00

TWO-FISTED TALES ANNUAL VOL. 1 (Gemstone,1994; Squarebound periodical)

Collects Two-Fisted Tales #18-22 (cover dates November/December, 1950- July/August, 1951)

Writers: Harvey Kurtzman, Al Feldstein, Wally Wood, and Johnny Craig

Artists: Harvey Kurtzman, Al Feldstein, Wally Wood, Johnny Craig, John Severin, Will Elder, Jack Davis, and Alex Toth

These red-blooded, he-man stories take place during different eras. You get pirates, Roman Empire, WWI stories and more, although most of the stories center around modern warfare. This was a most timely series, as we entered the Korean War only a few months before the first issue was released.

Take a glance at the credits above...it's a veritable who's who of Golden Age legends under one roof. I enjoyed every story in this book but my favorite was #22's Chicken! We have all encountered bullies in our lives, from school, work, etc., and every single one of them is a true coward at heart. It's amazing how the cues of abuse from bullies gets passed on like a baton. It was nice to see a bully get theirs at the end in this story.

Like all EC Comics, the writing and artwork are top notch. I read EC's at my leisure, content in the knowledge that whenever I crack one open I know that I'm getting into the good stuff.

Junk Food For Thought rating: 4 out of 5.

Linework and Color restoration: Bill Gaines kept meticulous copies of the original artwork. The color palette is faithful to the original comic books, unlike the EC Archives line.

Paper stock: Standard mando paper of the day. While it is a quarter century old it has surprisingly maintained the off white creamy color. The blacks look weak, the result of the early water-based inks used in the flexograph printing process of the day. My other gripe is that the paper is tissue paper thin. Those accustomed to high end collected editions would be aghast at this authentic comic book paper.

Binding: Perfect bound.

Cover notes: This is not a trade paperback in the traditional sense of the word, since the first few EC Annuals used a super thick glossy comic cover as opposed to the cardstock that would be used for the majority of the line.