#IReadsYou Review: ELVIRA Meets Vincent Price #2

ELVIRA MEETS VINCENT PRICE #2
DYNAMITE ENTERTAINMENT

STORY: David Avallone
ART: Juan Samu
COLORS: Walter Pereya
LETTERS: Taylor Esposito with Elizabeth Sharland
EDITOR: Joseph Rybandt
COVER: Dave Acosta
VARIANT COVER ARTISTS: Dave Acosta; Juan Samu; Anthony Marques and J. Bone
32pp, Color, $3.99 U.S. (September 2021)

Rated Teen+

Chapter Two: “Ankhs for the Mammaries”

In 1981, actress and model Cassandra Peterson created the “horror hostess character,” known as “Elvira.”  Elvira gradually grew in popularity and eventually became a brand name.  As Elvira, Peterson endorsed many products and became a pitch-woman, appearing in numerous television commercials throughout the 1980s.

Elvira also appeared in comic books, beginning in 1986 with the short-lived series from DC Comics, Elvira's House of Mystery, which ran for eleven issues and one special issue (1987).  Eclipse Comics and Claypool Comics began the long-running Elvira: Mistress of the Dark from 1993 to 2007.  In 2018, Elvira returned to comic books via Dynamite Entertainment in the four-issue comic book miniseries, Elvira Mistress of the Dark, that actually ran for 12 issues.

Vincent Price (1911–1993) was an American actor and a legendary movie star.  Price was and still is best known for his performances in horror films, although his career spanned other genres.  Price appeared in more than 100 films, but he also performed on television, the stage, and on radio.  Thus, he has two stars on the “Hollywood Walk of Fame,” one for motion pictures and one for television.

Elvira and Vincent Price team up for the first time in the comic book miniseries, Elvira Meets Vincent Price.  The series is written by David Avallone; drawn by Juan Samu; colored by Walter Pereyra; and lettered by Taylor Esposito with Elizabeth Sharland.  The series finds Elvira and Price searching for a long-lost cult movie in order to save the world from the wrath of an awakened Egyptian god.

As Elvira Meets Vincent Price #2 opens, Vincent uses his ghostly wiles to save Elvira from a violent servant of Amun-Ra.  That's right.  That is just a taste of the Armageddon to come if Elvira and Vincent don't find the only surviving copy of the lost cult film, “Rise of the Ram.”  Price starred in the doomed, never-seen film, and now, it is time to start finding the rest of his collaborators on the film, who may know something about the whereabouts of Rise of the Ram.

So our heroic duo flies to England to find Richard “Rick” Rogue, the director of “Rise of the Ram,” and his wife, Claudia Antonelli, the Italian starlet who was Vincent's costar in the film.  But Rick and Claudia have their own problems, and Elvira is about to be the unwilling solution.

THE LOWDOWN:  I have been a fan of writer David Avallone's Elvira comic books for a few years now.  Elvira Meets Vincent Price reminds me, if I need a reminder (which I don't), why I love these comic books so much.

After a cool first issue, Avallone delivers a script for the second issue that is so witty and sparkling that I wish I had a 100 pages more of it.  It's like “Scooby-Doo, Where Are You!” blended with the team of Bob Hope and Paulette Goddard in The Ghost Breakers (1940).

Talented Spanish artist, Juan Samu, who has drawn Marvel Action Black Panther and Transformers comics for IDW Publishing, creates storytelling that practically bleeds charm and coolness.  Samu may be creating the first graphical presentation of supernatural comedy and screwball antics every presented in comic book form.

Walter Pereya's colors capture the sparkle and ghostly chemistry in Avallone's script, while the lettering by Taylor Esposito and Elizabeth Sharland conveys the breezy pace of the story.  I'm having a blast reading Elvira Meets Vincent Price.  It is almost too good to be true how well this crossover works.  And yes, I already want a sequel.

I READS YOU RECOMMENDS:  Fans of Elvira and of Vincent Price and of David Avallone's Elvira comic books will want to read Elvira Meets Vincent Price.

A

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: INCREDIBLES 2: Crisis in Mid-Life and Other Stories #1

INCREDIBLES 2: CRISIS IN MID-LIFE! & OTHER STORIES No. 1 (OF 3)
DARK HORSE COMICS/Disney Comics – @DarkHorseComics

[This review was originally posted on Patreon.]

SCRIPT: Christos Gage; Landry Q. Walker
LAYOUT: Emilio Urbano
PENCILS: Gurihiru; J. Bone; Andrea Greppi
INKS: Gurihiru; J. Bone; Roberta Zanotta
COLORS: Gurihiru; Dan Jackson; Angela Capolupo
LETTERS: Richard Starkings & Comicraft's Jimmy Betancourt; Chris Dickey
EDITOR: Freddye Miller
COVER: Gurihiru
VARIANT COVER: J. Bone with Dan Jackson
28pp, Color, $3.99 U.S. (July 2018)

Disney/Pixar's The Incredibles is a 2004 computer-animated film written and directed by Brad Bird.  The Oscar-winning film focuses on the Parr Family, a family blessed with super-powers, as they unite to face a vengeful foe.  This year saw the release of the long-awaited sequel film, Incredibles 2, also written and directed by Brad Bird.

The nominal head of the family is husband and father, Bob Parr, a.k.a. "Mr. Incredible," whose powers include “mega-strength and invulnerability.”  Wife and mother, Helen, a.k.a. “Elastigirl,” has the power to bend, stretch and twist into any form.  Eldest child and only daughter, Violet, has the power to become invisible and to create force fields.  Son and middle child, Dashiell, a.k.a. “Dash,” has the power of super-speed.  Baby and eventually toddler son, Jack-Jack Parr, is a polymorph and has an array of powers, some of which have not yet been revealed.

The Parrs are the superhero team, The Incredibles, with the parents portrayed as being middle-aged and having been superheroes since they were at least in their twenties.  Lucius Best, a.k.a. “Frozone,” is Bob's best friend and a superhero with the power to freeze water and ambient moisture in the air into various shapes and forms – from a small ball of ice to huge sheets of ice.

Dark Horse Comics published a four-issue comic book adaptation of the first film as The Incredibles (2004).  In 2009, BOOM! Studios published a four-issue miniseries, The Incredibles: Family Matters #0-3.  BOOM decided to make The Incredibles an ongoing series that began with the issue #4, and the series continued into 2010 before ending with issue #15.

The Incredibles return to comic books this year (2018) via Dark Horse Comics with the new three-issue miniseries, Incredibles 2: Crisis in Mid-Life! & Other Stories.  [This is not a comic book adaptation of the film, Incredibles 2.]   The main story, “Crisis in Mid-Life!” is written by Christos Gage; drawn and colored by Gurihiru; and lettered by Jimmy Betancourt.

Incredibles 2: Crisis in Mid-Life! & Other Stories #1 opens with Mr. Incredible receiving an honor he once did as a much younger superhero.  This time the ceremony ends with decidedly different results.  So now, it is time for a midlife crisis, but Bob Parr takes it in stride and initiates a plan to pass his super-heroing knowledge and skills onto the next generations – his kids Violet and Dash!

Also, Bob's silly bedtime story (with some fibbing) for Jack-Jack turns into the beginning of a true story for Violet and Dash in “Bedtime Story.”  “In a Relaxing Day at the Park,” Jack-Jack comes to the rescue of a fellow toddler who is in distress, while Papa Parr gets some rest.

The respective creative teams on the three stories in Incredibles 2: Crisis in Mid-Life! & Other Stories #1 do such good jobs that I hope publishing Incredibles comic books will be a long-term project for Dark Horse Comics.  Christos Cage captures the spirit of the Incredibles films and the personalities of the characters in his two stories (“Crisis in Mid-Life!” and “Bedtime Story”).  Landry Q. Walker reproduces the magic that is Jack-Jack in the vignette “A Relaxing Day at the Park.”

The artists and colorists each present their own unique take on the visual and graphical elements of the Incredibles, but stay true to the look of the films.  Letterers Jimmy Betancourt and Chris Dickey deliver fonts that recall the lettering in classic 1960s Marvel Comics titles.

I have been careful in this review to be vague about many details of the stories contained in the first issue, but trust me, dear readers, Incredibles 2: Crisis in Mid-Life! & Other Stories #1 is true Incredibles.  Hopefully, this comic book will become the standard of what it means to be a true Incredibles comic book.

9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: ELVIRA Mistress of the Dark #1

ELVIRA MISTRESS OF THE DARK No. 1
DYNAMITE ENTERTAINMENT – @dynamitecomics

[This review was originally posted on Patreon.]

STORY: David Avallone
ART: Dave Acosta
COLORS: Andrew Covalt
LETTERS: Taylor Esposito
EDITOR: Kevin Ketner
COVER: Joseph Michael Linsner
VARIANT COVER ARTISTS: J. Bone; Kyle Strahm with Greg Smallwood; Craig Cermak with Brittany Pezzillo; Robert Hack with Francesco Francavilla; Craig Cermak; Joseph Michael Linsner; Kyle Strahm
32pp, Color, $3.99 U.S. (July 2018)

Rated Teen+

Elvira: Timescream – Chapter One: “Frankenstein is the Name of the Doctor”

“Horror hosts” present low-budget, low-grade, and cult films to television and radio audiences, with an emphasis on horror, science fiction, and/or B-movies.  Some horror hosts adopt an alternate identity, creating a character they play, such as when actress, Maila Nurmi, became the horror host character, “Vampira” in 1954 for KABC-TV in Los Angeles, California.

In 1981, actress and model Cassandra Peterson created the hostess character, “Elvira.”  Elvira gradually grew in popularity and eventually became a brand name.  As Elvira, Peterson endorsed many products and became a pitch-woman, appearing in numerous television commercials throughout the 1980s.

Elvira also appeared in comic books, beginning in 1986 with the short-lived series from DC Comics, Elvira's House of Mystery, which ran for eleven issues and one special issue (1987).  In 1993, Eclipse Comics and Claypool Comics began the long-running Elvira: Mistress of the Dark.  Eventually, Claypool would be sole publisher, and Elvira, Mistress of the Dark ran for 166 issues until 2007.

Elvira returns to comic books in Dynamite Entertainment's new four-issue, comic book miniseries, also entitled Elvira Mistress of the Dark.  It is written by David Avallone; drawn by Dave Acosta; colored by Andrew Covalt; and lettered by Taylor Esposito.

Elvira Mistress of the Dark #1 (“Frankenstein is the Name of the Doctor”) find Elvira on the set of her latest B-movie.  During a break in filming, she returns to her trailer to find a coffin in the middle of the floor, but it isn't just any old coffin.  It emits a time vortex, and Elvira soon finds herself pushed in and tumbling through time.  First stop, the summer of 1816 and a certain villa near Lake Geneva.

Writer David Avallone and artist Dave Acosta are the creative team behind Dynamite Entertainment's most excellent crossover comic book, the four-issue miniseries, Twilight Zone: The Shadow (2017).  A moody, stylish, atmospheric piece, the narrative focused on reckoning for The Shadow.

Avallone and Acosta deliver something quite different with Elvira Mistress of the Dark.  Avallone's story is campy, kind of like a rollicking romp of a horror movie that plays loose with the history of horror fiction.  Acosta's illustrations recall classic Warren Publications horror comics with humor that is bright-eyed and bushy-tailed, and the storytelling is perfect for the mood.

Andrew Covalt's coloring of Acosta's  illustrations is visually and graphically striking.  It is a deft mixture of sparkling color effects and and something like the colorful and sometimes garish cinematography of Hammer Film Productions (the legendary British film studio that produced numerous horror films).  As usual, Taylor Esposito's lettering is solid and perfectly captures this first chapter's mood and also Elvira's snark, sarcasm, and wit.  Esposito even delivers comedy gold on the characters' screeching and yelling.  “Edgar Allan Freaking Poe!, indeed.

Elvira Mistress of the Dark is blessedly cursed with an excellent creative team.  I can't wait for the second issue.  Maybe, these guys could produce a readable Harley Quinn comic book.

9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Dynamite Entertainment from Diamond Distributors for June 5, 2019

DYNAMITE

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APR191098    SIX MILLION DOLLAR MAN #4 CVR A WALSH    $3.99
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FEB191027    XENA WARRIOR PRINCESS #1 ATLAS SGN ED    $49.99

Review: THE SHADOW/BATMAN #1

THE SHADOW/BATMAN, VOL. 1, No. 1
DYNAMITE ENTERTAINMENT/DC Comics – @dynamitecomics @DCComics

[This review was originally posted on Patreon.]

STORY: Steve Orlando
ART: Giovanni Timpano
COLORS: Flavio Dispenza
LETTERS: Taylor Esposito
COVER: David Finch with June Chung
VARIANT COVER ARTISTS: Ethan Van Sciver with Jason Wright (B); Alex Ross (C); Dustin Nguyen (D); Brandon Peterson (E); Bill Sienkiewicz (F); Howard Porter with Hi-Fi (G); Giovanni Timpano with Flavio Dispenza; Howard Porter; Ethan Van Sciver; David Finch with June Chung; Alex Ross; David Finch; Giovanni Timpano; Robert Hack; Anthony Marques and J. Bone with Chris O'Halloran; Cory Smith with Tim Shinn; Cory Smith; Tyler Kirkham with Arif Prianto; Tyler Kirkham
32pp, Color, $3.99 U.S.

Rated “Teen+”

The Shadow created by Walter Gibson; Batman created by Bob Kane with Bill Finger

Shadow/Batman: Part One

The Shadow is a fictional character that began life as a mysterious radio narrator, debuting on July 31, 1930 as the host of the radio program, “Detective Story Hour.”  Street and Smith Publications, publishers of Detective Story Magazine, hired writer Walter B. Gibson to create a character concept that fit The Shadow's name and voice and to also write a story featuring him.  The first issue of The Shadow Magazine went on sale on April 1, 1931.

DC Comics superhero Batman is a worldwide icon.  He first appeared in Detective Comics #27 (cover dated: May 1939).  Batman and his civilian identity, Bruce Wayne, are among the first characters to be inspired by The Shadow and his civilian guise, Lamont Cranston.  The Shadow and Batman would meet for the first time in Batman #273 (cover dated: November 1973).  This year, DC Comics and Dynamite Entertainment, the current publisher with the license to produce comics based on The Shadow, brought the two characters together, first in the six-issue crossover comic book miniseries, Batman The Shadow, from DC Comics.

Now, it is Dynamite's turn and it is offering a second six-issue miniseries, The Shadow/Batman.  It is written by Steve Orlando; drawn by Giovanni Timpano; colored by Flavio Dispenz; and lettered by Taylor Esposito.

The Shadow/Batman: Volume 1 #1 opens with Professor Pyg in New York City causing chaos.  Batman has followed him to NYC to shut him down, but that upsets The Shadow, who believes that Batman should remain in Gotham City and leave the Big Apple to him.

However, these two dark avengers are about to discover that they are facing the “World's Greatest Evil,” and they may be no match for it.  Can the “World's Greatest Mystery” and the “World's Greatest Detective” (and the “world's most independent sidekick”) must put aside their differences and unravel the centuries' old conspiracy of the “Silent Seven.”

I did not read DC Comics' Batman The Shadow, so I wanted to make sure that I did not miss The Shadow/Batman.  I really like how writer Steve Orlando emphasizes dark moods, atmospheres, feelings, and emotions.  There is a deep sense of foreboding, and Orlando makes a convincing case that both The Shadow and Batman are not only vulnerable, but are also in danger of being destroyed.

Artist Giovanni Timpano's moody compositions and colorist Flavio Dispenz's gloomy colors recall the classic shadowy cool and noir sensibilities of The Shadow in his radio glory days.  The Shadow and Batman are in good artistic hands.

8.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: Batman/Teenage Mutant Ninja Turtles Adventures #1

BATMAN/TEENAGE MUTANT NINJA TURTLES ADVENTURES No. 1
IDW PUBLISHING/DC Comics – @DCComics @IDWPublishing

[This review was originally posted on Patreon.]

STORY: Matthew K. Manning
PENCILS: Jon Sommariva
INKS: Sean Parsons
COLORS: Leonardo Ito
LETTERS: Shawn Lee
COVER: Jon Sommariva
VARIANT COVER ARTISTS: Kevin Eastman with Tomi Varga; Ciro Nielli; Hilary Barta with Jason Millet; Ty Templeton; Ben Bishop; Alex Kotkin; Ken Haeser; Steve Lavigne and Peter Laird with Ben Bishop; Tony Fleecs; J. Bone; Ian Nichols; Dario Brizuela; Eddie Nunez; Derek Fridolfs with Heather Breckel
32pp, Color, $3.99 U.S. (November 2016)

“The Face of Two Worlds”

Batman created by Bob Kane with Bill Finger; Teenage Mutant Ninja Turtles by Kevin Eastman and Peter Laird

The Teenage Mutant Ninja Turtles (also known as TMNT and Ninja Turtles) are a media empire that began with four fictional characters created by Kevin Eastman and Peter Laird.  The comic book, Teenage Mutant Ninja Turtles #1 (cover dated: May 1984), introduced four teenage anthropomorphic turtles (meaning they walk and talk like humans).

Donatello, Leonardo, Michelangelo, and Raphael were adopted by an anthropomorphic rat, Master Splinter, who was their sensei and who trained them in the art of ninjutsu.  The Turtles live in the sewers of New York City and battle every bad guy from petty criminals and overlord-mastermind types to alien invaders and mutated creatures.

DC Comics and IDW Publishing united last year to publish the crossover comic book, Batman/Teenage Mutant Ninja Turtles.  Now, IDW Publishing has just released the second such crossover, Batman/Teenage Mutant Ninja Turtles Adventures.  It is written by Matthew K. Manning; drawn by Jon Sommariva (pencils) and Sean Parsons (inks); colored by Leonardo Ito; and lettered by Shawn Lee.

Batman/Teenage Mutant Ninja Turtles Adventures #1 (“The Face of Two Worlds”) opens in the Turtles' New York City, where we find them fighting crime in their own unique way.  Meanwhile, in Gotham City, Batman is trying to find out why select denizens of the infamous prison, Arkham Asylum, are disappearing and sometimes returning... and telling strange tales.

When I first heard about the first Batman/Teenage Mutant Ninja Turtles crossover comic book (published by DC Comics), I wanted to read it, of course.  However, I was and still am cynical about crossover comic books, so I did not expect much from Batman/Teenage Mutant Ninja Turtles.  I was more than pleasantly surprised.  It is one of the best inter-comic book company crossover comic books that I have ever read.

Batman/Teenage Mutant Ninja Turtles Adventures #1 takes its leads from those “Adventures” comic books.  Back in 1992, a syndicated animated television series named “Batman” debuted.  Commonly known as “Batman: The Animated Series,” it featured Batman in a visually striking manner that recalled the art and design of the 20th century's early decades and also the early years of Batman comic books.  DC Comics published a comic book based on “Batman: The Animated Series,” entitled “Batman Adventures,” which was also friendlier and more open to younger readers than regular Batman titles.  Since then, other comic books based on animated TV series have followed the lead of Batman Adventures, including IDW's (which has the license to publish TMNT comic books) Teenage Mutant Ninja Turtles Adventures.

Batman/Teenage Mutant Ninja Turtles Adventures is certainly an “Adventures” comic book.  Honestly, I have mixed feelings about such comic books, so I am not as excited about this new comic book miniseries as I was about Batman/Teenage Mutant Ninja Turtles, which was darker in tone and more like Eastman and Laird's early TMNT comic books, with their raw, edgy, DIY aesthetic.  However, I want to give Batman/Teenage Mutant Ninja Turtles Adventures a chance.  I want to see where this is going.  Truthfully, I would like to see Batman and the Ninja Turtles crossovers past this new series

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: THE SPIRIT #1

THE SPIRIT #1 (2007)
DC COMICS – @DCComics

WRITER/PENCILS: Darwyn Cooke
INKS: J. Bone
COLORS: Dave Stewart
LETTERS: Jared Fletcher
EDITOR: Scott Dunbier
32pp, Color, $2.99 U.S., $4.00 CAN (February 2007)

The Spirit created by Will Eisner

“Ice Ginger Coffee”

Beginning in 2007, DC Comics brought Will Eisner’s classic comics character, The Spirit, back with a new monthly comic book series, the first of two DC published over a five-year period.  The first 12 issues of the first series were written and drawn by acclaimed cartoonist and writer/artist, Darwyn Cooke.  I reviewed the first issue for the 105th edition of my old “Mr. Charlie” column for the ComicBookBin.

Here’s is that review:

In 1997-98, the now-defunct Kitchen Sink Press published eight issues of The Spirit: New Adventures.  It was an anthology title wherein a number of writers, artists, and cartoonists chronicled new, post-Eisner Spirit tales.  Over the course of those eight issues, Alan Moore wrote two stories:  an issue-length tale drawn by Dave Gibbons and a short story drawn by Daniel Torres.  Neil Gaiman teamed with Eddie Campbell.  Paul Chadwick and Paul Pope were two of the many artists who drew stories for the new series.  Perhaps, it was The Spirit: New Adventures that opened my mind to the idea of new Spirit tales from modern comic book creators.  I was saddened when Kitchen Sink Press troubles meant the cancellation of this series, and if I remember correctly, at least a nine issues was published.

Now, it’s DC Comics' turn to launch a new Spirit comic book.  When I learned that Darwyn Cooke would write and draw The Spirit in a new ongoing series, I instantly knew that I was likely going to like this book, and after reading the first issue, I look forward to #2, #3, #4…

I think I like this because so far it seems as if Cooke doesn't plan on making major changes to Will Eisner's famous costumed hero.  Even in this first issue, Cooke eschews "making the character his own," by transforming The Spirit into something else.  He's modernized the setting, the sets, and backdrops, but the characters are basically the same.  The plots are similar in style, but Cooke takes more pages to do what Eisner did in fewer pages (and need I say better).

The sole major change Cooke makes is to Eisner's lovable Sambo, Ebony White, The Spirit's "colored" sidekick for much of the 1940's.  The character, a thick-lipped, black kid who spoke the way many White people still think African-Americans speak (broken, minstrel English), remains hugely controversial.  Eisner apologists and/or racists defend Ebony's characterization as being acceptable at the time Eisner and others wrote Spirit stories (well, at least it was acceptable to White folks).  Now, Ebony is a sassy, young Negroid who spouts the kind of witty banter that might make him safe for The Disney Channel.  He's urban and hip-hop-ish, but not so dangerous that he couldn't date Raven of the Disney’s Channels’ “That’s So Raven.”

This first issue story, entitled "Ice Ginger Coffee" finds The Spirit racing to rescue a cable news network anchor.  Ginger Coffee (a light-skinned African-American type who blends Halle Berry and Gabrielle Union) has just been promoted to anchor of National News Network.  Her big expose to celebrate her rise is an interview of a mystery guest with insider information on the criminal organization of Amos Weinstock, aka "The Pill."  The Pill, whose obese body is covered in pustules that secrete flesh-dissolving fluids, has Ginger kidnapped.  It's The Spirit to the rescue, but Ginger, ever determined to break news, has found a way to give her audience an insider's view of her precarious situation, much to The Spirit's chagrin.  She may cost her and The Spirit their lives.

Cooke's art (inked by J. Bone) is a close relative of the style Eisner and his studio used on The Spirit back in the 1940's.  Dave Stewart's coloring is good, but comes across as a candy-coated version of Batman's dreary world.  The Spirit's world is vibrant and four-colored, and I'm hoping to see more of that in future issues.  In the meantime, I'm a satisfied fanboy and I'm curious about the future of this new series. [END]

So that’s what I had to say about The Spirit #1.  You can see the original version of this review at this link: http://www.comicbookbin.com/thespirit200701.html

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Review: BATMAN/SPIRIT #1

BATMAN/THE SPIRIT #1
DC COMICS – @DCComics

SCRIPT: Jeph Loeb
PENCILS: Darwyn Cooke
INKS: J. Bone
COLORS: Dave Stewart
LETTERS: Comicraft
48pp, Color, $4.99 U.S., $6.75 CAN (January 2007)

The Batman created by Bob Kane and Bill Finger

The Spirit created by Will Eisner

“Crime Convention”

Batman/The Spirit was a one-shot, stand-alone comic book starring Batman and Will Eisner’s classic comic book character, The Spirit.  The comic book was released in late 2006, but has a 2007 cover date.  This crossover comic book is a collaboration between award-winning and celebrated creators, Jeph Loeb and Darwyn Cooke.  I reviewed it early 2007 as the 104th edition of my old “Mr. Charlie” column at the Comic Book Bin.

Here, is the classic review:

Sometime in the last few years or so, DC Comics obtained the rights to publish new comic books featuring Will Eisner's famous costumed hero, The Spirit.  As a prelude to the new series, DC presents Batman/The Spirit #1 with a script by Jeph Loeb and pencils by Darwyn Cooke (who will write and pencil the new Spirit title).  Entitled "Crime Convention," it tells of the first meeting of Batman (Bruce Wayne) and The Spirit (Denny Colt), which apparently happened several years in the past.  Robin is only 13 in the story.

The denizens of Batman's Gotham City and The Spirit's Central City come together in Hawaii for The Policeman's Benevolent Association's Annual Law Enforcement Convention.  Commissioners Gordon of Gotham City and Dolan of Central City are eager to take this working vacation.  What they don't know is that the convention is the epicenter of a diabolical plot with The Spirit's mysterious nemesis, The Octopus, as the mastermind.

Aiding him are such Spirit villains as P'Gell (who has seduced Commissioner Gordon), Carrion, The Vulture (and his pet vulture, Julia), among others.  From The Batman's rogue's gallery, many bad guys join the plot including The Joker and Harley Quinn, Catwoman, The Penguin, and Poison Ivy (who gains control of Commissioner Dolan through her poisonous kisses).  Gordon's daughter, Barbara (who apparently hasn't become Batgirl at this point), and Dolan's daughter, Ellen, also make small appearances.

Batman (and Robin) and The Spirit join forces in Hawaii to discover the details of plot and foil it, but first Batman and The Spirit have a small tussle.  It's after their first misunderstanding they find that with so many of their adversaries in town, they might have their hands full, so joining forces is the way to go.

Batman/The Spirit is like a love letter to both the creators and fans of these two venerable characters and their supporting casts and places.  Jeph Loeb's story is light, breezy, and moves fast - being more like Will Eisner's comix than what Bob Kane and Bill Finger did in their Batman comic books.  It should be no surprise that Loeb, who brought together the most prominent Bat-characters in the 12-part serial, Batman: Hush, does much the same thing in Batman/The Spirit, although in a lighter… spirit.  Still, the story is a bit dark.  There are murders committed in the background of this tale, and readers may interpret the scene in one panel to mean that Commissioner Gordon had sex with P'Gell, the long-time Spirit villainess.

The real treat here is Darwyn Cooke's art (with inks by J. Bone).  One of those artists with a "cartoony" style, Cooke worked on the popular "Batman: The Animated Series" television series.  Cooke draws a great looking Batman.  His art has a tone and style that captures the fun, B-movie, sci-fi spirit of DC Comics from the 1950's and 1960's.  Cooke displayed that so well in DC: The New Frontier, and his comic art for Batman/The Spirit looks like an untold tale set in the era of The New Frontier.  Cooke brings his own style to the table, though he references Eisner and also some of the Batman comic book artists who worked from the 1930's to the 60's without mimicking them.  You could say that he captures the spirit of those artists and those times.

I'd love to see Batman team up with The Spirit again, but only face one villain each from their respective rogue's gallery.  There are many other writers besides Loeb who could write this possible sequel, but if Cooke isn't available to draw it, hopefully DC will realize that the shortlist of artists who could do this project justice is indeed very short. [ENDS]

----------------

So that’s what I had to say about this comic book 7(!) years ago.  You can find the original version of this review at the following link: http://www.comicbookbin.com/batmanandthespirit2006.html

Reviewed by Leroy Douresseaux


The text is copyright © 2015 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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I Reads You Review: THE ROCKETEER/THE SPIRIT: Pulp Friction #4

THE ROCKETEER/THE SPIRIT: PULP FRICTION #4
IDW PUBLISHING with DC Entertainment – @IDWPublishing and @DCComics

WRITER:  Mark Waid
ART: J Bone
COLORS: Rom Fajardo
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVER: J Bone
SUBSCRIPTION VARIANT COVER: Chris Samnee with Jordie Bellaire
28pp, Color, $3.99 U.S. (December 2013)

Two classic characters unite in the four-issue comic book miniseries, The Rocketeer/The Spirit: Pulp Friction.  The Rocketeer is a modern-day comic book character whose adventures are set in the era known as the “Golden Age” of comics.  The Spirit is a comic book character that actually appeared in that Golden Age.

Published by IDW Publishing (in association with DC Comics), The Rocketeer/The Spirit: Pulp Friction is written by Mark Waid and drawn by Paul Smith (#1), Loston Wallace (#2), and J Bone (#3 and #4).  Pulp Friction unites the two heroes, as they try to solve a peculiar murder case.

First appearing in the 1980s, The Rocketeer was created by artist and illustrator, Dave Stevens (who died in March of 2008).  Stunt pilot Cliff Secord discovers a mysterious jet pack, which he straps to his back.  Adding a helmet, Secord becomes “The Rocketeer,” and begins a series of adventures set mainly in and around Los Angeles and beginning in the year 1938.

The Spirit was created by legendary cartoonist Will Eisner (who died in January 2005) and first appeared on June 2, 1940 in a 16-page, Sunday newspaper supplement (or insert) called “the Spirit section.”  Once known as Detective Denny Colt (believed by some to be dead), The Spirit is a masked vigilante who fights crime in Central City.

After the corpse of Alderman Tommy Cunningham, a Central City politician, is found in Los Angeles, The Spirit travels to LA. to investigate, as it is physically impossible for Cunningham to have been in the city when he was.  Meanwhile, longtime Spirit nemesis, The Octopus, joins Hollywood “producer,” Benedict Trask, in a plot to use the new medium of television to launch a worldwide criminal enterprise

The Rocketeer/The Spirit: Pulp Friction #4 opens in Central City.  The Spirit finds himself imperiled by Cliff’s girlfriend and actress, Betty, who is under the thrall of the Octopus.  Trask, feeling assured of victory, prepares to “fire a bullet that will draw blood from the world.”  The Rocketeer and The Spirit have been at odds of late.  Can they come together in time to save the world?  They can with the help of a very special leader.

The Rocketeer/The Spirit: Pulp Friction #4 is the best issue of what has been an entertaining series and a welcomed union of two special comic book characters.  Comic books like Pulp Friction remind me of the fun I had reading comic books as a child, flipping pages as fast as I could read them.  Sometimes, I had to go back and reread a comic (several times) because my rapid reading was causing me to miss things.

In this final issue, writer Mark Waid brings everything together:  all the themes, conflicts, personality clashes, and subplots.  Waid cleverly constructs a scene that explains why The Spirit and The Rocketeer might clash that makes perfect sense in the context of the story that Waid is telling.  Also, the surprise way in which he turns a famous historical figure into a kind of action hero makes me glad that I read this series.  And there are many reasons to read this comic book.

Although he did not draw the opening chapters, J Bone made Pulp Friction his own.  His art has an old-timey quality that captures the… ahem… spirit of Will Eisner’s art in terms of mood, graphic design, and pacing, which is appropriate here.  The Central City side of this story arc should resemble classic Eisner, as the L.A. side of the story recalls classic Dave Stevens Rocketeer.  When it comes to comic books, this is the good stuff.

Once again:  more Mark Waid Rocketeer, please, Mr. Dunbier.

A+

Reviewed by Leroy Douresseaux


The text is copyright © 2014 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

I Reads You Review: THE ROCKETEER/THE SPIRIT: Pulp Friction #3

THE ROCKETEER/THE SPIRIT: PULP FRICTION #3
IDW PUBLISHING with DC Entertainment – @IDWPublishing and @DCComics

WRITER:  Mark Waid
ART: J Bone
COLORS: Rom Fajardo
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVER: J Bone
SUBSCRIPTION VARIANT COVER: Chris Samnee with Jordie Bellaire
28pp, Color, $3.99 U.S. (November 2013)

First appearing in the 1980s, comic book character, The Rocketeer, was created by artist and illustrator, Dave Stevens (who died in March of 2008).  Stunt pilot Cliff Secord discovers a mysterious jet pack, which he straps to his back.  Adding a helmet, Secord becomes “The Rocketeer,” and begins a series of adventures set mainly in Los Angeles and beginning in the year 1938.

Golden Age comic book character, The Spirit, was created by legendary cartoonist Will Eisner (who died in January 2005).  The Spirit first appeared on June 2, 1940 in what readers called “The Spirit Section.”  This was a 16-page, Sunday newspaper supplement or insert that was carried in various newspapers from the 1940s and to the early 1950s.  Once known as Detective Denny Colt (believed by some to be dead), The Spirit is a masked vigilante who fights crime in Central City.

The Rocketeer/The Spirit: Pulp Friction is a comic book series that brings these characters together.  Published by IDW Publishing (in association with DC Comics), the series is written by Mark Waid and drawn by various artists.  Pulp Friction unites the two heroes, as they try to solve a peculiar murder case.

The corpse of Alderman Tommy Cunningham, Central City politician, is found in Los Angeles, although it is physically impossible for him to be in L.A.  Meanwhile, longtime Spirit nemesis, The Octopus, has joined Hollywood “producer,” Benedict Trask, in a plot to use the new medium of television to launch a worldwide criminal enterprise

As The Rocketeer/The Spirit: Pulp Friction #3 opens, The Rocketeer visits The Spirit’s home/base of operations at Wildwood Cemetery.  Meanwhile, Cliff’s girlfriend and actress, Betty, is also in Central City for meeting with Trask, who puts her up in a posh hotel.  Betty is about to discover, however, that Trask wants to make her a star in the new medium of television, but not in the way she expects.

At this point in my review cycle of The Rocketeer/The Spirit: Pulp Friction, I have run out of things to say about Mark Waid writing The Rocketeer.  That is especially when I consider how much I liked his earlier effort, The Rocketeer: Cargo of Doom.  Simply put, he’s good with the character.  [Dear Mr. Dunbier, More Mark Waid Rocketeer, please.]

J Bone, who seems to emanate from the Bruce Timm-Dawyn Cooke school of cartooning, makes a welcomed return to The Rocketeer.  As talented as J Bone is, neither his style nor his draftsmanship, approaches that of the late Dave Stevens or the late Will Eisner.  Yet, there are moments in this wonderful comic book in which Bone captures the spirit of both artists’ work on their signature characters.  From the Rocketeer’s mad chase through the canyons of Central City to Betty’s femme fatale, behind-the-curtain dance, Bone captures the graphical essence of what made Eisner and Stevens’ comics exceptional, iconoclastic works of the medium.

Tune in tomorrow… next issue

A

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

I Reads You Review: THE ROCKETEER/THE SPIRIT: Pulp Friction #2

THE ROCKETEER/THE SPIRIT: PULP FRICTION #2
IDW PUBLISHING with DC Entertainment – @IDWPublishing and @DCComics

WRITER:  Mark Waid
PENCILS: Loston Wallace
INKS: Bob Wiacek
COLORS: Hi Fi Designs
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVER: Paul Smith with Jordie Bellaire
SUBSCRIPTION VARIANT COVER: Darwyn Cooke and J. Bone
28pp, Color, $3.99 U.S. (August 2013)

Artist and illustrator, Dave Stevens (who died in March of 2008), created the comic book character, The Rocketeer.  Cliff Secord is a stunt pilot who discovers a mysterious jet pack.  Donning the jet pack and a helmet, Secord becomes “The Rocketeer,” and begins a series of adventures set mainly in Los Angeles, beginning in the year 1938.

Legendary cartoonist Will Eisner (who died in January of 2005) created The Spirit, a comic book character that first appeared on June 2, 1940 in what readers called “The Spirit Section.”  This was a 16-page, Sunday newspaper supplement or insert that was carried in various newspapers from the 1940s and to the early 1950s.  Once known as Detective Denny Colt (believed by some to be dead), The Spirit is a masked vigilante who fights crime in Central City.

IDW Publishing (in association with DC Comics) brings the two characters together in a new comic book miniseries entitled, The Rocketeer/The Spirit: Pulp Friction.  The series is written by Mark Waid and drawn by various artists.  Pulp Friction unites the two characters, as they try to solve a murder case.  The corpse of Alderman Tommy Cunningham, Central City politician, is found in Los Angeles, which is impossible, because he should not be in L.A.

The Rocketeer/The Spirit: Pulp Friction #2 opens with the Central City contingent:  The Spirit, Commissioner Dolan, and Ellen (the Commissioner’s daughter), at odds with our L.A.-based friends: The Rocketeer, actress Betty (Cliff Secord’s lady), and airplane mechanic Peevy (Cliff’s friend and partner).  The girls are using their feminine wiles to both agitate and excite.

Meanwhile, The Spirit’s mysterious nemesis, the Octopus, plots with Benedict Trask, who seems to be trying to become the first of what we now call a media mogul.  Their plotting involves a surprise attack on our heroes.

Having Mark Waid write the first ever team up of The Rocketeer and The Spirit, as is the idea of uniting them in the first place, is a no-brainer.  Waid is good with Golden Age characters, of which both these classic comics characters are.  Here, Waid’s comics script is a nice brew of fisticuffs, high-flying derring-do, and pulp crime fiction with an occasional bit of innuendo.  Is that a rabbit in your pocket, Mr. Second?...

I thought Paul Smith was going to be the series artist, but that seems not to be the case, as this second issue and the third are drawn by different artists.  Loston Wallace, who provides the pencil art (which Bob Wiacek inks), is good enough.  His style is acceptable for this kind of story, and his storytelling is good.  The most important thing is that he does not make the transition from Paul Smith a disaster.

I’m ready for the next issue of The Rocketeer/The Spirit: Pulp Friction.  Tune in tomorrow.

A-

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

THE ROCKETEER/THE SPIRIT: Pulp Friction #1

THE ROCKETEER/THE SPIRIT: PULP FRICTION #1
IDW PUBLISHING with DC Entertainment – @IDWPublishing and @DCComics

WRITER:  Mark Waid
ARTIST: Paul Smith
COLORS: Jordie Bellaire
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVER: Paul Smith with Jordie Bellaire
SUBSCRIPTION VARIANT COVER: Darwyn Cooke and J Bone
CONVENTION EXCLUSIVE COVER: Darwyn Cooke
28pp, Color, $3.99 U.S. (July 2013)

The Rocketeer is a comic book character created by artist and illustrator, Dave Stevens (who died in March of 2008).  Cliff Secord is a stunt pilot who discovers a mysterious jet pack.  Donning the jet pack and a helmet, Secord becomes “The Rocketeer,” and begins a series of adventures set mainly in Los Angeles and beginning in the year 1938.

The Spirit is a comic book character created by cartoonist Will Eisner (who died in January 2005).  The Spirit first appeared on June 2, 1940 in what readers called “The Spirit Section,” a 16-page, Sunday newspaper supplement or insert that was carried in various newspapers from the 1940s and into the early 1950s.  Once known as Detective Denny Colt (believed by some to be dead), The Spirit is a masked vigilante who fights crime in Central City.

Now, the two characters come together in a new comic book miniseries entitled, The Rocketeer/The Spirit: Pulp Friction.  Written by Mark Waid and drawn by Paul Smith, Pulp Friction unites the two characters to solve the murder of a Central City politician whose corpse is found in Los Angeles.

The Rocketeer/The Spirit: Pulp Friction #1 opens in Central City in February 1941.  It is cold and snowy outside, but inside City Hall, it is quite heated.  The story moves to the following morning, three thousand miles west.  Betty, Cliff Secord’s lady, is doing a modeling shoot on a beach when she makes a grisly discovery.

When they learn that a denizen of Central City has been found dead L.A., The Spirit, Commissioner Dolan, and Ellen (the Commissioner’s daughter) head to Cali.  And The Rocketeer is ready to greet them.

Uniting The Rocketeer and The Spirit seems like such a no-brainer that I’m surprised that it’s just happening now.  The Spirit is a character from the “Golden Age” of American comic books, and The Rocketeer, who first appeared in the 1980s, harkens back to the “Golden Age” of both comic books and Hollywood.

The creative team of writer Mark Waid and artist Paul Smith is an excellent choice to chronicle the team-up of two beloved “old-timey” characters.  When Waid is at his best, his comic books are pure fun, and as a fan of and expert on Golden Age comic books, Waid can write stories that capture the spirit of the 1930s and 40s, but tell them in a modern idiom.  Best known in the 1980s for his elegant and animation-influenced drawing style, Paul Smith engaged comic book readers with his storytelling that hit on all points:  character, plot, and setting.  That serves him well in this series, which will mix adventure and action with mystery and suspense.  I must note, however, that Smith’s work in Pulp Friction is closer to Dave Stevens’ in nature than to Will Eisner’s – not that there’s anything wrong with that.

The Rocketeer/The Spirit: Pulp Friction looks to be one of the good things we will get this year.  It’s that wild ride comic book fans want.

A-

Reviewed by Leroy Douresseaux

The text is copyright © 2013 Leroy Douresseaux. All Rights Reserved. Contact this site for syndication rights and fees.

I Reads You Review: THE ROCKETEER: Hollywood Horror #4

THE ROCKETEER: HOLLYWOOD HORROR #4
IDW PUBLISHING – @IDWPublishing

WRITER: Roger Langridge
ARTIST: J Bone
COLORS: Jordie Bellaire
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVERS: Walter Simonson with Jordie Bellaire – regular cover; Walter Simonson – Cover RI; and James White – Strange Adventures Retailer Exclusive Cover
32pp, Color, $3.99 U.S. (May 2013)

The Rocketeer created by Dave Stevens

The Rocketeer vs. Hollywood Horror, Chapter 4 “A Night at the Altar”

I’m only a little more than a week late, but I did it. I finally got around to reading the fourth and final issue of the latest Rocketeer comic book miniseries, The Rocketeer: Hollywood Horror. This four-issue miniseries is written by cartoonist Roger Langridge and drawn by artist J Bone.

Created by the late artist and illustrator, Dave Stevens, The Rocketeer is stunt pilot, Cliff Secord. Secord finds a mysterious rocket backpack or jet-pack (the Cirrus X-3) that allows him to fly. Donning the jet-pack and a metal helmet, Secord becomes the adventurer and masked crime-fighter, The Rocketeer. His adventures begin in 1938 and continue into the 1940s (as of this writing), with most of his activities occurring in and around Los Angeles.

Hollywood Horror opens in the year 1939. Cliff’s girlfriend, Betty, is searching for her missing roommate, Dahlia Danvers, a newspaper reporter. Cliff is in trouble with the actual inventor of the jet-pack (Howard Hughes?), who has sent henchmen to retrieve it. Cliff’s friend, partner, and ace airplane mechanic, Peevy, learns that an old WWI acquaintance, scientist August “Augie” Lowcroft, is missing. Everything centers on impresario and mystic, Reverend Otto Rune and his Church of Cosmicism.

As The Rocketeer: Hollywood Horror #4 opens, Cliff as The Rocketeer arrives at the Octopus Club to rescue her from Otto Rune’s clutches. He finds Lowcroft and a monster right out of nightmares ready to stop him. And even if Cliff rescues Betty, can he repair their strained relationship? He gets by with a little help from his friends.

The fourth issue of Hollywood Horror is the best issue of the series. The previous series, The Rocketeer: Cargo of Doom, was like a big-budget B-movie with its sci-fi and monster (in this case, dinosaurs) elements; it was also dark in tone. Hollywood Horror is lighter in tone, talky, and resembles a screwball comedy, with the sci-fi elements being negligible, even the monster. In fact, this series is more about Hollywood than horror, with it cameos by and allusions to Hollywood legends of bygone eras.

The final issue is fun and fast-paced. The resolutions and romantic make-ups, reunions, and reconciliations give The Rocketeer: Hollywood Horror #4 a “Hollywood ending.” Can we imagine The Rocketeer giving us anything but a happy ending?

A

Reviewed by Leroy Douresseaux

I Reads You Review: THE ROCKETEER: Hollywood Horror #3

THE ROCKETEER: HOLLYWOOD HORROR #3
IDW PUBLISHING – @IDWPublishing

WRITER: Roger Langridge
ARTIST: J Bone
COLORS: Jordie Bellaire
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVERS: Walter Simonson with Jordie Bellaire – regular cover
Walter Simonson – Cover RI; and James White – Strange Adventures Retailer Exclusive Cover
32pp, Color, $3.99 U.S. (April 2013)

The Rocketeer created by Dave Stevens

The Rocketeer vs. Hollywood Horror, Chapter 3 “In the soup”

I finally got around to reading the third issue of the latest Rocketeer comic book miniseries, The Rocketeer: Hollywood Horror. This four-issue miniseries is written by cartoonist Roger Langridge and drawn by artist J Bone.

The Rocketeer is a fictional character created by the late artist and illustrator, Dave Stevens. The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious rocket (or jet) backpack that allows him to fly. Donning the backpack and a metal helmet, Secord becomes the adventurer and masked crime-fighter, The Rocketeer. His adventures begin in 1938 and continue into the 1940s (as of this writing). Most of his activities occur mainly in and around Los Angeles.

The Rocketeer: Hollywood Horror opens in the year 1939. Cliff’s girlfriend, Betty, is searching for her missing roommate, newspaper reporter, Dahlia Danvers. Cliff is in trouble with the actual inventor of The Rocketeer’s jet-pack, who has sent henchmen to retrieve it. Cliff’s friend, partner, and ace airplane mechanic, Peevy, learns that an old WWI acquaintance, scientist August “Augie” Lowcroft, is missing. Everything centers on impresario and mystic, Reverend Otto Rune and his Church of Cosmicism.

As The Rocketeer: Hollywood Horror #3 opens, Cliff is left without his jet-pack. Betty, who has infiltrated Rune’s organization, gets in deeper, with encouragement from a cagey husband and wife detective team. Peevy has a surprise for Cliff. Everything points to a big event at the Octopus Club, but first Cliff makes a stop at The Flying Swan, a bar where he meets the narrator.

The veiled references and cameo appearances by famous Hollywood types are what I like most about The Rocketeer: Hollywood Horror. Clark Gable, Carol Lombard, and Edgar Bergen and Charlie McCarthy are among the stars that appear this time. That the narrator of Hollywood Horror might be a fictional version of Grouch Marx makes this a special treat for me. The suggested guest appearances by Nick and Nora Charles and the hint of Doc Savage go a long way in selling this series’ late 1930s setting.

Hollywood Horror’s story and plot are good, but the allusions and cameos make them even better. Bring on the conclusion.

A-

Reviewed by Leroy Douresseaux

I Reads You Review: THE ROCKETEER: Hollywood Horror #2

THE ROCKETEER: HOLLYWOOD HORROR #2
IDW PUBLISHING – @IDWPublishing

WRITER: Roger Langridge
ARTIST: J Bone
COLORS: Jordie Bellaire
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVERS: Walter Simonson with Jordie Bellaire – regular cover
Walter Simonson – Cover RI; and James White – Strange Adventures Retailer Exclusive Cover
32pp, Color, $3.99 U.S. (March 2013)

The Rocketeer created by Dave Stevens

The Rocketeer vs. Hollywood Horror, Chapter 2 “These troubled times”

I finally got around to reading the second issue of the latest Rocketeer comic book miniseries, The Rocketeer: Hollywood Horror. This four-issue miniseries is written by cartoonist Roger Langridge and drawn by artist J Bone.

Of course, some of you know that The Rocketeer is a character created by the late artist and illustrator, Dave Stevens. The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious rocket backpack (or jet-pack) that allows him to fly. Donning the jet-pack and a metal helmet, Secord becomes the adventurer and masked crime-fighter, The Rocketeer. His adventures begin in 1938 and continue into the 1940s (as of this writing). Most of his activities occur mainly in and around Los Angeles.

The Rocketeer: Hollywood Horror opens in the year 1939. Cliff and his girlfriend, Betty, are having their usual squabbles, but that is all about to be put on hold. Betty’s roommate, newspaper reporter, Dahlia Danvers, has gotten herself into some trouble and disappears. Cliff’s trouble is that the actual inventor of The Rocketeer’s jet-pack has sent two henchmen to retrieve it.

Meanwhile, Cliff’s friend, partner, and ace airplane mechanic, Peevy, learns that an old WWI acquaintance, scientist August “Augie” Lowcroft, is missing. Then, there is impresario/mystic, Reverend Otto Rune, and a couple of detectives or a detective couple or a couple who are detectives.

The Rocketeer: Hollywood Horror #2 opens with a return, and with Cliff looking for a place to sleep for the night. The henchmen demanding the jet-pack confront Peevy. Cliff decides to focus on Otto Rune, with whom Betty is about to make a connection. Meanwhile, Rune and his Church of Cosmicism prepare for a big gathering.

After reading the previous Rocketeer miniseries, the most excellent The Rocketeer: Cargo of Doom, I had high expectations for the next miniseries – perhaps, too high. Hollywood Horror #1 received a mixed reaction from me.

Hollywood Horror #2 changed my opinion. Now, I can’t wait for the third issue (which will already be in comic book shops by the time I post this review). I love the vibe writer Roger Langridge has created for Hollywood Horror. It is a comedy and mystery mixed with the visual elements and sensibilities of 1930s and 40s era Hollywood B-movies and sci-fi movie serials.

Artist J. Bone’s quirky art captures what Langridge is doing and even does him one better. Somewhere between the cartoony graphics and the semi-deformed (like manga’s super-deformed) art, Bone is trying to invent a visual aesthetic for what might be the comic book version of the screwball comedy.

I also enjoy the cultural and pop culture allusions and references that appear in Hollywood Horror. The henchmen after the jet-pack might be working for Doc Savage, although I always thought that Howard Hughes was supposed to be the jet-pack’s inventor. Of course, the detectives are stand-ins for Nick and Nora Charles of Dashiell Hammett’s novel, The Thin Man, and the film series adapted from it. I’m sure Otto Rune is based on some (in)famous, Depression-ear occultist.

Sorry about before, Cliff – I’m in again.

A-

Reviewed by Leroy Douresseaux

I Reads You Review: THE ROCKETEER: Hollywood Horror #1

THE ROCKETEER: HOLLYWOOD HORROR #1
IDW PUBLISHING – @IDWPublishing

WRITER: Roger Langridge
ARTIST: J Bone
COLORS: Jordie Bellaire
LETTERS: Tom B. Long
EDITOR: Scott Dunbier
COVER: Walter Simonson with Jordie Bellaire – regular cover
ALTERNATE COVERS: Walter Simonson – Cover RI; Roger Langridge and J Bone with Jordie Bellaire – subscription cover; Roger Langridge and J Bone – Comics Pro Retailer Exclusive Cover; and James White – Strange Adventures Retailer Exclusive Cover
32pp, Color, $3.99 U.S.

The Rocketeer created by Dave Stevens

The Rocketeer vs. Hollywood Horror, Part 1

The latest Rocketeer comic book is The Rocketeer: Hollywood Horror. The four-issue miniseries is written by cartoonist Roger Langridge and drawn by artist J Bone.

Created by the late artist and illustrator, Dave Stevens, The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious rocket backpack that allows him to fly. Donning the backpack and a metal helmet, Secord becomes the adventurer and masked crime-fighter, The Rocketeer. His adventures begin in 1938 and continue into the 1940s (for the time being). Most of his activities occur mainly in and around Los Angeles.

The Rocketeer: Hollywood Horror #1 opens in the year 1939 with the usual; Cliff is late for a date with his girlfriend, Betty Page (if “Page” is still her last name). Soon, Betty will need Cliff as the Rocketeer. Her roommate, newspaper reporter, Dahlia Danvers, has gotten herself into something deep, and this deep means trouble.

Everyone seems to be talking about a missing scientist, Augie Lowcroft. Cliff’s friend and partner, Peevy, an ace airplane mechanic, just so happens to be acquainted Lowcroft. Also crawling around this case is Reverend Otto Rune, some kind of impresario/mystic, and a mysterious couple with a penchant for detecting.

Coming on the heels of the most excellent The Rocketeer: Cargo of Doom, The Rocketeer: Hollywood Horror is a change-of-pace for the franchise. Whereas Cargo of Doom was like an old Hollywood movie serial from the 1930s and 1940s, Hollywood Horror is a snappy comic adventure. Part screwball comedy and a whole lot of tongue-in-cheek, this looks like it will offer some B-movie, science fiction, monster fun.

Honestly, I don’t love The Rocketeer: Hollywood Horror the way I did Cargo of Doom. In this first issue, J Bone’s art seems like a near-cubist take on Bruce Timm’s graphic style. I usually like Bone’s work, but this is hit or miss for me. It took me until the end of Chapter One to buy into Roger Langridge’s jesting take on The Rocketeer. If this is the tone of the book, then, Walter Simonson isn’t the appropriate cover artist for Hollywood Horror.

This isn’t really The Rocketeer the way Dave Stevens did it, which other creators have tried to emulate. Hollywood Horror could turn out to be really good, though, so I’ll keep reading.

B

Reviewed by Leroy Douresseaux

I Reads You Review: ROCKETEER ADVENTURES VOL. 2 #4

ROCKETEER ADVENTURES VOL. 2 #4
IDW PUBLISHING

WRITERS: Louise Simonson, David Mandel, John Byrne
ARTISTS: Walter Simonson, J Bone, John Byrne
INKS: Bob Wiacek, J Bone, John Byrne
COLORS: Jordie Bellaire, J Bone
LETTERS: John Workman, Shawn Lee, Neil Uyetake
PIN-UP: J.K. Snyder, III
EDITOR: Scott Dunbier
COVERS: Darwyn Cooke (A, RI), Dave Stevens (B)
28pp, Color, $3.50 U.S.

Here, we are – the final issue of Rocketeer Adventures Vol. 2.

The Rocketeer is a comic book character created by the late artist and illustrator, Dave Stevens. The Rocketeer is Cliff Secord, a stunt pilot who discovers a mysterious jet pack that allows him to fly. Secord dons a funky helmet, straps on the jet pack, and becomes The Rocketeer, beginning his adventures in 1938, in and around Los Angeles.

The Rocketeer returned to comic books in 2011 in Rocketeer Adventures. Edited by Scott Dunbier and published by IDW Publishing, this four-issue, anthology comic book was a tribute to Stevens and featured Rocketeer short stories (about 8 pages in length) from some of the premiere creators in American comic books. The tributes continue in Rocketeer Adventures Vol. 2.

Rocketeer Adventures Vol. 2 #4 opens with “War Hero,” written by Louise Simonson and penciled by her husband, Walter Simonson. The story finds Cliff Secord fuming about being declared unfit for combat in World War II. Now, he is reduced to playing The Rocketeer in war bond drive theatre, but when the Nazi’s show up, Secord gets his chance to show that he is fit for combat.

In “Cliff Secord, Warlord of Blargon,” written by David Mandel and drawn by J Bone, The Rocketeer travels to another planet and completely misunderstands the rules and regulations. “Fair Game,” written and drawn by John Byrne, takes The Rocketeer to the 1939 World’s Fair (The 1939-40 New York World’s Fair, a favorite setting of Byrne’s). Cliff Secord is unhappy with his traveling accommodations, while his girl, Betty, is on the trail of a possible conspiracy. With royalty visiting the expo, the game’s afoot.

Although I’ve had my reservations about Rocketeer Adventures in its entirety, I am a bit sad about the end of Vol. 2. Some of the entries in these two miniseries have not been special or even amounted to much as stories, but they were fitting tributes to Dave Stevens. If there is ever a short list for most beautiful artwork ever produced for American comics, Stevens’ art has to be on that list or that list won’t be worth shit.

This fourth issue of Rocketeer Adventures Vol. 2 features contributions from two comic book legends, John Byrne and Walter Simonson. The Rocketeer first appeared in early 1982 (at least by the cover date) when Byrne was hitting his stride as a writer/artist, especially on Marvel Comics’ Fantastic Four. Simonson would shortly shake the industry with his revamp of Marvel’s The Mighty Thor. David Mandel and J Bone’s contribution here, (“Cliff Secord, Warlord of Blargon”) is cute, but the attractions here are Byrne and Simonson.

“War Hero” offers more than just seeing Simonson art. The story is written by Louise Simonson, once a prolific comic book scribe, and letterer is produced by John Workman, whose collaborations with Walter make great comics. Simonson, with inker Bob Wiacek, also create some spectacular pages of aerial action.

Byrne’s “Fair Game” is spry and fun, and looks like some kind of adventure, espionage, newspaper movie from the 1940s. The fifth page offers some excellent panel design, and Byrne packs more action in pages 6 and 7 than most comic book creators can get in six or seven pages. It’s also nice that Byrne still uses thought balloons, which have largely become passé, most likely because Alan Moore did not use them in Watchmen. And, of course, you know that all comic books must follow the holy writ that is Watchmen.

If editor Scott Dunbier can recruit more veteran creators who worked and thrived in the 1970s and 80s, then, I hope we have more Rocketeer Adventures.

A-

Reviewed by Leroy Douresseaux