Out of the Vault – The Solution


Yeah, yeah, more Ultraverse. And I think this one might kill my enthusiasm for continuing the project for a while. The Solution by James Hudnall and the usual Ultraverse line-up of revolving artists was a book that just never seemed to settle into an identity of its own.

The Solution was the name of a group of super-powered troubleshooters. Lela Cho was Tech, who had a special implant in her brain allowing her to communicate with computers remotely. Troy Wilde was Dropkick, a super-skilled martial artist with special implants of his own allowing him enhanced strength, reflexes and vision, plus a special ki blast. Aera was Shadowmage, an alien witch. And Vurk was Onslaught, member of the alien Darkurian race,a savage shapechanger.

That should tell you the start of the problems  right there. The group seemed sort of thrown together without any kind of thematic unity. It was more like Hudnall had said, “Hey, cyberpunk’s cool. I’ll have a cyberpunk in there. And you know what else is cool? Kung fu. I’ll toss a martial artist in there. And hot elf babes casting bad-ass spells are cool, oh, and those shapechanging aliens who are virtually unkillable, like in Aliens or The Thing. Only elves are kind of ghey, so I’ll make her an alien, too. Awesome!”

And to add to the confusion, The Solution had the same continuity problems as other Ultraverse books, which is not to say that the continuity became contradictory, only that storylines often continued and/or concluded in other books. So, for instance, you could get a cliffhanger ending in one issue and come back next month in the middle of a completely different story (because it concluded in Hardcase, let’s say, and the next storyline continues from this month’s Solitaire), only to not see the conclusion of that story either, because it crossed over somewhere else.

In fact, I have this vague suspicion that the only reason I started reading it at all was because I was intrigued by the villain Rex Mundi, and it seemed in Breakthru, the first big Ultraverse company-wide crossover event, that The Solution were the arch-enemies of Mundi (I may have thought this because the nukes that were popping up in titles like Prime and Solitaire had been stolen by a group working for Mundi in The Solution #1). And so it seemed in the first couple of issues.

But Mundi dropped out of The Solution fairly quickly, and instead, the group battled various random menaces while concentrating long-term on the Dragon Fang, a triad that had stolen the company Lela Cho inherited from her father. But they and their kung fu enforcers were pretty lame, like the loser Dropkick beats up in a nicely-drawn fight by Daerick Robinson in issue #1.

So it was kind of disappointing that the big final confrontation of the series was against these same losers who were dispensed with pretty easily in the first issue, and even more disappointing after the next-to-last story arc, which featured The Solution fighting for their lives against rival armies and incredibly powerful alien sorcerers on Vurk’s homeworld.

And frankly, that story arc hadn’t been very good, either, just larger in scope. It was kind of empty and silly and served mainly so Hudnall could get off on one of the lamest Mary Sues I’ve ever seen. Like Steve Englehart’s Cosmic Madonna, Harmonica was one of those characters that the writer insisted on bringing back over and over out of some weird affection that didn’t necessarily translate to the audience (at least, not this audience).

Weirdest of all is that I stuck with this book for almost every issue, buying every one except the first and the last. So I have no idea how the story resolves, other than I figure The Solution won and Lela got her company back.

“But Fraze,” you say, “you’ve posted your scan of issue #1 right up top there. How can you say you don’t have it?”

I didn’t say I don’t own it, I said I didn’t buy it. In fact, I enjoyed the Ultraverse so much that when they had a contest to create a new character, I decided to enter with an idea of my own, a variation on DC’s Creeper that you may see in a Digger short story at some point this year (or maybe hear, hmmm?). I won an honorable mention, for which the prize was the above limited edition foil-embossed-cover issue of The Solution #1.

So there.

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Just a quick note

I got in too much of a hurry to post Chapter 23 last night after getting back from an event and didn’t proofread it after. There’s a lot of formatting and massaging that needs to be done when porting it over from the program I write it in, and I’m afraid it was a bit of a mess. It’s fixed now, though the chapter’s not as strong as I’d like it to be. It was a hard one to write and will probably be revised between now and the full release. I’m sorry, and I’ll try not to publish something quite that bad again.

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The False Princess

Went to the launch party tonight for my friend Eilis O’Neal’s The False Princess. It’s her first novel, so it’s a special occasion. I haven’t read the book yet, but the excerpt I heard her read tonight was intriguing, something like The Prince and the Pauper with magic. Not only is she one of the nicest people I know, but she’s also a really good writer, so if you like YA fantasy, check it out.

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Super Movie Monday – Superman III, Part 2


Driving through right to the end in revisiting Superman III. We ended last week with Gus hacking into a weather satellite and observed that the film, while certainly not perfect so far, didn’t seem nearly as awful as the reputation it has gotten since.

And that’s because it’s right about here that the delicate balance between action and comedy, so hard to get right, tips over in the altogether wrong direction. Continue reading

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Out of the Vault – Solitaire


Having so much fun going through old Ultraverse titles that I’m going to keep pushing the streak. I first heard of Gerard Jones, co-writer of Prime and writer of this week’s title, when he was doing a series of very funny short stories titled “My Pal Superman” for one of the comics fan magazines (some of those stories are now posted on the web, but under the title, “My Pal Splendid Man,” with all DC characters changed to generic lookalikes). He had also written a small-press title in the 80’s that I quite liked, titled The Trouble With Girls.

So it was strange to me that his work on Ultraverse had so little humor in it. Prime had a few laughs, but also a ton of melodrama. And this other comic he wrote, Solitaire, was downright dark.

Solitaire was a sort of cross between The Shadow and Shang Chi, Master of Kung Fu, with a little Wolverine thrown in. Nicholas Lone, the son of uber-gangster Anton Lone, has pledged to destroy his father’s criminal empire. To that end, he has assembled a network of spies and agents to serve as his eyes and ears on the mean streets of L.A. He battles gangsters and cultists and nuclear weapons dealers, all in a quest to bring down his father. Oh, and he’s got one more thing working in his favor…

His father has injected him with nanomachines which give him the ability to heal almost any wound. Handy.

I liked Solitaire quite a bit. I thought the costume was striking (not loving the mismatched gloves and boots, but I like that weird collar frill he’s got going on, and the color scheme), I liked the art, and I liked the dark tone. And of all the crazy gimmicks Ultraverse pulled to drive up sales, I thought Solitaire had one of the coolest.

There were two separate gimmicks with issue one, although we wouldn’t know about the second one for several months. The first was the playing card at left which shipped with the first issue (yes, if you bought multiple issues, you could conceivably get all four suits of aces–at least, that’s what it says in the issue–I never bought a second copy to find out).

The second was the really cool one, though. The covers of the first five issues featured Solitaire in various action poses, really unrelated to the storyline in the issue, except that he fought in every one. But as the series built up to the climax of its first arc in issue six, the covers took on new meaning.

This was the gimmick. As issue five ends, Solitaire is on a rooftop about to assault his father’s stronghold. The cover of the first issue becomes the next frame of the storyline, as Solitaire begins his attack. You read the covers of the first six issues in sequence, and the first panel of page one of issue six is the panel immediately following the cover of issue six. It was really cool.

The art by Jeff Johnson and Barbara Kaalberg was good, too. Johnson’s work was solid, with good storytelling, good flow from panel to panel, and more than a nod to Kevin Maguire.

I also liked the way Johnson drew Solitaire’s mask as clinging to his face, giving Solitaire a range of expression most masked heroes didn’t have, plus a completely unique look.

The computer coloring in this book was more subtle than that done in Hardcase and Firearm, which really pushed the boundaries. I liked that, too. I never felt that the art was being overwhelmed by the color.

Solitaire ended after 12 issues with the defeat of Anton Lone, and that both surprised and pleased me. Instead of the usual method of stretching out the ongoing conflict thanks to insane coincidences and improbable decisions and events, the storyline drove forward issue by issue and then ended. Solitaire as a character was promised to go on, but other than a one-shot flipbook appearance, I never saw him again. According to Wikipedia, he did play a small part in the Marvel iteration of the Ultraverse, but I was well out of it by then.

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Super Movie Monday – Superman III, Part 1


There will only be two parts to this one, not because there’s not a lot to say, but because I just don’t feel it’s worth stretching out for three weeks. So the two halves may end up being quite long. Just saying.

The Salkinds knew by the time Superman II was released that they would be making a third installment. In fact, on the web, you can find copies of an outline/treatment Ilya Salkind wrote for a possible Superman III (dated almost three months before Superman II was released). Continue reading

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Out of the Vault – Prime, Part 2


After last week’s post, I went through and read the entire Prime series (through number 26, the last Malibu issue and the last issue I have). And I remembered the things that the Ultraverse didn’t do so well.

The first set of Prime adventures revolved around Kevin Green discovering how to control his powers and being hunted down by Dr. Gross, the scientist who “invented” him. Once Prime got away from Dr. Gross, he was recruited by the government to look into a situation on the moon, which led to Break-Thru, Ultraverse’s first company-wide crossover event (yes, they had one in their very first year).

When Kevin returned, he ended up running afoul of the government dudes who’d sent him on the mission and was abducted and held prisoner, leading to a crossover with Firearm, with the cover pictured above. This was not the only crossover in the book; there had been a few before that, including one with Mantra immediately after the return from the moon that was actually resolved in her book, meaning the cliffhanger from issue #8 was completely resolved by the time issue #9 started.

Which was one of the more annoying things about the Ultraverse in general. When I mentioned last week that they had several characters who appeared to be analogues of DC and Marvel characters, that wasn’t a complaint, or a suggestion that their books felt stale or imitative. The superhero universes of DC and Marvel had by then grown into what felt sort of like an ecology, with several specific niches that were filled by particular types of characters. Ultraverse did the same thing, and I’m trying to do a sort of variant with Hero Go Home and the other Digger stories.

But Ultraverse also copied the big two in their marketing strategies, which would normally be a good idea. In the mid-90’s, though, those marketing strategies ultimately led to an implosion of the industry, and Prime is a good example. I don’t know if they did the variant cover gimmick on Prime, but he had issues which were flipbooks, he had crossover events, and he had random guest stars from other books wandering in and out.

Back to Firearm. The Firearm crossover had such an effect on young Kevin that Prime’s appearance actually changed. Since Prime was a protoplasmic body that was basically built from Kevin’s imagination, suddenly Prime was now a rockin’ bad boy in leather and chains, with a facial scar that imitated Firearm’s.

The storyline changed, too. Prime became a rebellious teenager, trying to prove to everyone that he was his own man, getting angrier and angrier every time something he did turned sour, and that was pretty much everything.  He was a really big brat with five o’ clock shadow.

This part of the storyline was a necessary part of Kevin’s growth as a character, I guess, but it got old really fast. Looking back, it only lasted about six months, but it felt a lot longer. Mainly because every issue consisted of a lot of this:

This was also the period where they started up the revolving guest artists, which didn’t make the book any more appealing. Plus, members of the cast became almost unrecognizable month-to-month. Prime, not so much, because he was already a caricature, so as long as you kept the main features–the ridiculous musculature, the costume, the hair and beard and scar–it was easy to recognize him.

But young Kelly, for instance, Kevin’s crush, had been drawn in a consistent manner by Norm Breyfogle. She had long straight hair and a young, innocent look. Some artists did a pretty good job with her, but others had a bit more trouble. For instance, in issue 16, Joel Thomas and Jason Martin give Kelly this swooping hairdo and sometimes make her look like an elf…

While in issue #20, Greg Luzniak and Dennis Jensen made Kevin’s mom a tight miniskirt-wearing ultraMILF and turned Kelly into a half-dressed sexpot.

That issue also saw an assassin do a drive-by on Prime with an arrow, which he doesn’t notice at first (because Kevin’s real head is in Prime’s chest)…

Which was yet another example of the way the storytelling became more and more fragmented as they kept trying to tie books into each other. In this case, Rafferty, a character from Firearm, appeared on page 22 without explanation or introduction, shot an exploding arrow through Prime’s head while flying by in a gondola of some sort maybe (?), and was never heard from again. It led to an interesting series of events after, but it came from out of nowhere.

Which is why I think I had no patience with the Marvel transition. It was hard enough keeping track of the Ultraverse when it was only their own books they were interacting with. I could only imagine the truly epic clusterfuck awaiting when they tried to integrate these characters with the vastly larger Marvel universe, with all its contorted continuity. So I ditched Ultraverse and Prime and so missed out on this.

I do not regret that decision one bit.

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Super Movie Extra – Final Thoughts on Superman and the Sequel

It’s so hard to sort out my feelings about these two movies. Because on the one hand, looked at critically, they really don’t work. The plots are all askew and inconsistent, the tone is wildly uneven, some of the dialogue is really clunky, the effects vary from really good to awful, and there are some howlingly bad science blunders (and yes, I realize it’s a comic book movie, but even then, talking on the moon is a step too far).

In addition, the generational saga plot put forth by Puzo is virtually abandoned in the second film, and Reeve and Kidder have very little romantic chemistry in the sequel. Pretty bad when the movie revolves around their romance.

This happens on big movies, when the scripts are written by one person, then rewritten by someone else, then re-rewritten by someone else, then thrown out entirely on set because the director or one of the actors has a different idea. Sometimes it works, like when Indiana Jones shoots the giant sword-wielding dude, but more often it just creates a mushy mess.

So yes, I was a little disappointed when I first watched Superman the movie, and also when I first watched Superman II. But being a genre fan is all about disappointment. It’s very rare that you’re not disappointed. I think part of what blew me away about Star Wars was that my expectations weren’t that high, and somehow the movie didn’t disappoint me. The sequels did (yes, even Empire), but that’s a totally different story.

But I came to love Superman the movie, and watching it today, even with all its many (many) flaws, I still love it. Christopher Reeve turns in an amazing performance, and the plot works on a truly super scale. This was especially true in the 70’s, when the best other comic book adaptations could do was those cheap Universal TV adaptations of Marvel heroes like Spider-Man and The Incredible Hulk.

But it still holds up today as a pretty spectacular movie that pits Superman against worthy odds. Dual nuclear threats is nothing to sneeze at, and the finale where he saves the state of California is an action tour-de-force. And I love the mythic sweep of the Smallville scenes when he’s a teenager; that section of the movie is really touching and the photography is gorgeous.

And even though I don’t like slapstick Lex Luthor, I think Gene Hackman gives a really good performance in the role. Whether he’s criticizing Otis’s cat-like reflexes or waving goodbye to California, he does the material about as well as it can be done. I like a lot of the other performances as well. Jackie Cooper, Glenn Ford, Phyllis Thaxter, Ned Beatty, Valerie Perrine, Terence Stamp, Sarah Douglas: they all turn in good jobs with the material they were given.

Superman II I like less with every viewing. It obviously wasn’t an easy movie to make, with half of it being filmed simultaneously with the first film, and the rest having to be somehow matched to the existing footage a couple of years later. But the writing gets really lazy in the second one, and there are too many holes in the plot, the biggest one being “How the hell does Superman get his powers back?”

And of course, the answer is, “The audience doesn’t really care how he gets his powers back as long as he gets them back, because they paid five bucks to see Superman, not Christopher Reeve playing a normal guy.” And that sort of assumption runs all through both films, but especially the second one.

Characters like Perry White and Jimmy Olsen are there because the audience expects them to be there, but they aren’t given much to do. And the writers often fall back on the crutch of using the characters’ relationships in other media to paper over holes in the plot: Superman treating Jimmy Olsen like a pal in California, even though the two have never met before (and Jimmy has only shared one or two scenes with Clark), Superman falling for Lois because the plot requires him to, Lois hating Lex Luthor.

But in the end, no matter how disappointed I am in them, I’m glad they were made. If they hadn’t been made, and more importantly, been profitable at the box office, we wouldn’t have had the flood of super-movies we have now. Would Warners have taken a chance on a big-budget Batman movie in the late 80’s without Superman to prove the market? Would we have gotten big-budget treatments of Spider-man, the Hulk, Iron Man and even Daredevil without Superman pioneering the way? Probably not.

Then again, without Superman and Superman II, we wouldn’t have had Superman III and Superman IV: The Quest for Peace inflicted on us, so…

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Super Movie Monday – Superman II, Part 3


Cruising to the climax of Superman II, starring Christopher Reeve, Gene Hackman and Terence Stamp.

So when we last left Clark, he had lost his powers and been called out on TV by General Zod like Stone Cold Steve Austin calling out the Undertaker (and before any wrestling fans decide to correct my obviously deficient knowledge of the Stone Cold/Undertaker relationship, keep in mind that A: it’s a joke, and 2: I haven’t paid real attention to wrestling since the days of Mr. Wrestling 2 and Skandar Akbar the Oil Rich Arab, so I really don’t care). Continue reading

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Out of the Vault – Prime


As mentioned in last week’s Vault, in 1993, Malibu Comics started an ambitious project: a new line of comics featuring a new universe of interrelated characters. Other companies were also doing the same thing at around the same time, like the Milestone Comics Dakotaverse and Dark Horse Comics’s Comics Greatest World.

One thing that Ultraverse did to help itself succeed (I don’t know how purposeful it was, but it seems so) was to create characters that were analogues of successful characters from the Big Two. They had their Batman (Night Man), they had their X-Men (Freex), they had their Dr. Strange (Mantra), they had their Dracula (Rune), they had their Iron Man (Prototype).

And for their Superman, they had Prime.

Although Captain Marvel might be a better analogue. I’ll get to that in a bit.

Prime started out with an incredibly huge, overmuscled dude in a costume screaming at a high school gym coach, accusing him of molesting the girls. Prime puts the coach in the hospital, and not long after, some mysterious agency interviews the coach about his experiences, trying to track Prime down. We also hear how he took down a crack house before flying to Somalia to fight some warlord’s thugs who were blocking an aid shipment.

We learn several things about Prime from these stories. He’s rash, he’s overconfident, he likes talking about himself in catchphrases, he’s incredibly strong but can’t control his strength.

Oh yeah, and when he’s wounded, he bleeds goo.

Just as he’s in the middle of destroying a tank in Somalia, his entire body starts to melt.  He takes off for the U.S. again, and it’s a good thing he’s fast, because he manages to reach his home town just as  he’s losing both his physical integrity and his strength. He crashes through the window of a skyscraper into a deserted office as his melting body becomes translucent and this happens.

Turns out Prime is actually 13-year-old Kevin Green, a high-school student who was conceived with the help of “fertility treatments” which were actually part of a military experimental program. And Kevin has just discovered that he can form a protoplasmic shell with incredible abilities. Like Billy Batson, who turns into Captain Marvel with the magic word “Shazam!” Kevin goes from teen to apparent grown-up in seconds.

So in issue two, he does what any high-school boy would do with such power. He uses it to impress girls. In this case, his high-school crush Kelly.

Unfortunately, their romantic interlude comes to a crashing halt with the attack, and later, Kelly decides she’s a little creeped out by this superhero in his twenties being all over a 13-year-old girl, especially right after being molested by the gym teacher. By that time, though, Prime’s got other problems.

As written by Gerard Jones and Len Strazewski, Prime was a fun combination of super-adventure and awkward high-school discomfort. Both the writing and Norm Breyfogle’s art had to walk a fine line between comedy, action and horror (or perhaps disgust, since gross-out bodily functions play a big role). Breyfogle’s art was perfectly suited to a book like Prime, since it could shift from dramatic to kinetic to cartoony from panel to panel.

And the production values were gorgeous. Every page featured full bleed color with interconnected, overlapping panels. You’ll notice in scans the relative lack of white gutters between panels. Every page was like that, utilizing the entire page for storytelling.

Prime was my favorite of the Ultraverse books. Kevin went through growing pains, disillusionment, and a series of discoveries that his powers were more than just super-strength. Breyfogle left after issue 12, and the series began to feature rotating artists of varying quality, but I still generally enjoyed it.

The series ended after 26 issues with the Marvel buy-out. Marvel cancelled the entire line, then rebooted a few books, Prime among them. But I was in a very anti-Marvel period at the time, and was in no mood to deal with the promised Prime/Spider-man crossover promised on “Black September.” So I never picked up any of the Marvel Primes.

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