Metatronic Chapter 6: Blackwelder Solutions

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CHAPTER SIX

BLACKWELDER SOLUTIONS

From the outside, Blackwelder Solutions looked absolutely ordinary. It was housed in a low, nondescript building that squatted on the outskirts of Austin, Texas. In fact, as Barron stepped out of the taxi, he almost got back inside, thinking that he must be in the wrong place. The building was not only small, but the exterior was coppery mirrored glass from floor to ceiling, all the way around.

Isobel Crisostomo had said Barron would need to be “read on” in order to be briefed on the job he was being offered, which indicated the place was involved in some kind of intelligence-related activity. No such place would have glass walls all the way around; anyone with any resources at all could listen in on conversations inside by using a laser to read the vibrations of the glass.

But three things stopped Barron from leaving again. First, the small granite sign beside the sidewalk on the artificially-green lawn confirmed that he was, indeed, at the place specified on Isobel’s business card. Second, although the building’s acreage seemed wide open, there was subtle security in place. There had been a guard station limiting access to the campus, and Barron could see sensors placed along the chain-link fence that delineated the perimeter. They were camouflaged so as to be practically invisible from outside the fence and scarcely easier to spot from his vantage. And third, simple math. The parking area he could see was fairly small, but even it seemed too much for such a small building. And that didn’t count the entrance he could see to underground parking levels. This place had way too much parking space for the occupancy of the small building he could see before him.

He dismissed the cab and entered the building. He stood in a small lobby, enjoying the cool, dry air after the heat outside. There were a couple of chairs and a security desk of brushed stainless steel. It was all very generic and harmless at first glance.

But the details presented a different story. The supports for the entrance door were too thick, probably concealing a metal detector, maybe more. To either side, he could see a narrow corridor between the glass outer wall and a featureless inner wall of cinderblock. Office noises played quietly through speakers in the ceiling. A steel security door blocked access behind the guard. Variations in the ceiling tiles meant what, drop-down panels with some kind of active defense system?

“Mister Barron?” asked the security guard. When Barron nodded, the guard continued, “Ms. Crisostomo is on her way out to meet you.”

Barron signed the visitor’s log, but didn’t bother to sit. Moments later, the steel door opened with a loud click and Isobel emerged. She walked up and shook his hand firmly, business-like, so different from the seductress he’d met in the bar or the woman of mystery he’d spoken with in the diner.

“Glad you could make it,” she said as she turned and indicated for him to follow her through the door. “How was your flight?”

“Crowded, with bad food,” Barron said as they entered a small office suite inside. The furniture was all business bland: black painted metal, blond wood, and Ultrasuede that smelled of chemical sealants. “The usual.”

“You don’t like flying?”

“Love flying,” Barron said. “Hate airlines.”

She smiled and led him into a small conference room. “Michael Barron, this is Lionel Van Treece.”

“Glad you could make it,” said the thin man sitting at the head of the conference table, though his face didn’t match the sentiment. Van Treece was in his 60’s at least, with blue eyes and a thick head of white hair. There was nothing happy about the man, though a scar at the corner of his mouth turned it up into the semblance of a sardonic smile. He didn’t stand, but offered his hand to shake Barron saw in the way the man turned his whole torso, in the way his arm failed to extend fully and in the old scar tissue peeking out from under his cuff that this was a man who had been through the wringer at some time in his life. Some men ended up paying more dues than others, and Van Treece looked to have paid more than almost anyone.

“Sit,” Van Treece said after they’d shaken hands. “Chris tells me you’d make a good addition to our team.”

“I’m not convinced she’s right,” Barron said.

“Then why are you here?” Van Treece asked.

“Something like—what do doctors call it–informed consent,” Barron said. “Don’t agree to something unless you understand it. I don’t like turning down something until I know for sure what it is.”

Van Treece leaned back and looked even less pleased than before. “That’s strike one.”

Barron looked to Isobel and back to Van Treece. “You’re looking for someone who will buy into this sight unseen?”

Van Treece leaned forward again. “No. I just don’t like—what do people call it, Chris—bullshit. Don’t play dumb by pretending not to remember what something’s called, just so you can talk down to me without it seeming offensive. Clear?”

“Clear.”

“You served with Derrick Robinson in the Army.”

Not a question. “Yes, I did.”

“Went with him to Bulwark after you got out.”

“Yes.”

“Good man. We need more like him,” Van Treece said. “Why’d you quit?”

Images flashed through Barron’s mind: fire, explosions, scaled metal wings beating against the sky. Karen’s face, Karen’s blood. A voice speaking impossibilities in his head. They didn’t last long. Barron had long practice at turning his mind away from things he didn’t want to remember. “Zero Day,” Barron said simply. “My wife died. My boss died. I fell apart.”

Van Treece’s face underwent a slight shift. Everyone understood Zero Day, that day when everyone awoke as if from a dream to find the world blown to pieces and still burning, with no memory of how things had gotten that way, except for a vague memory of six names to whom the world owed thanks. It was the universal bond, that moment that everyone had shared, and for which no one had a story. No one except Barron.

Van Treece nodded. “I understand. But why haven’t you ever come back?”

“I realized after that I had come out of that day with nothing except a daughter who was almost a total stranger,” Barron said. “That was the price I paid for my career, and I paid it willingly. I thought I was doing good for the world. But after that day, I couldn’t for the life of me figure out what had been bought with the price I paid. Seemed pointless to go back until I figured that one out.”

“And you still haven’t.”

Barron shook his head.

Van Treece stared at Barron for a few moments, then pushed back from the table and stood up stiffly. “Come meet the team,” he said.

Barron looked from Isobel to Van Treece. “Is the interview over? I still don’t know what the job is.”

“Strike two,” Van Treece said as he headed for the door. “Stop telling me things I already know.”

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Super Movie Monday – The Iron Giant, Part 1

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This is the second run I’ve taken at this film, mainly because my DVD doesn’t play nicely with the drives in my computer. But having made some hardware and software upgrades recently, I was finally able to eke out some decent screencaps. So let’s go.

Warner Brothers’ The Iron Giant was the 1999 feature directing debut of Brad Bird, who later directed The Incredibles. Based loosely on the 1968 Ted Hughes novel The Iron Man (itself previously adapted into a concept album/rock opera by Pete Townshend), The Iron Giant starts out during a storm at sea in 1957 when a man aboard a fishing boat sees a meteor and then encounters something incredible rising out of the sea.

IronGiantArrival

If this seems familiar, it’s because it’s basically the same opening as the original Godzilla from 1954, which tells us a few things about the film that will follow: it will concern Cold War paranoia and nuclear terror, it will feature a giant monster, and it will be chock-full of pop culture references to keep fans like myself happy.

Next, we are introduced to Hogarth Hughes (his surname’s a tribute to the original novel’s author), a young boy living in Rockwell, Maine. He lives with his widowed mother, who works as a waitress, so Hogarth not only has no male father figure in his life, but he has lots of unsupervised time to get into trouble, such as adopting a pet squirrel. He brings the squirrel into the diner where his mother works, which is where he meets beatnik artist Dean McCoppin.

IronGiantHogarth

Hilarity ensues. Later that night, Hogarth is watching a scary late-night movie featuring alien brains with tentacles (the voice acting is hilariously bad to evoke a 50’s B movie, but seriously, I’d like to see the whole thing–those brains are bad-ass) when he loses reception. And it’s no wonder why; something has not only eaten the TV aerial, but also half of their tractor before crashing into the woods. Hogarth grabs his flashlight and a BB gun and goes off into the woods to find the mysterious metal eater and runs into a giant metal man attacking a power plant, which turns out badly for him.

IronGiantElectrified

Hogarth shuts off the power, blacking out the entire town, then flees the monster. His mother dismisses his story as nonsense. One person who doesn’t dismiss the idea as nonsense is government agent Kent Mansley, who comes to Rockwell to investigate. He doesn’t get a glimpse of the monster, but finds plenty of evidence of its existence, including his own car.

IronGiantKentMansley

Mansley also finds a half-eaten BB gun with the words “Hog Hug” written on what’s left of the stock.

Meanwhile, Hogarth heads back out into the woods with a camera, determined to get a picture of the monster. However, when he encounters the giant again, he realizes the robot is not a monster, but instead more like a curious child. There’s a neat moment when they first meet in which the giant imitates Hogarth’s body language in an instinctive attempt to communicate.

IronGiantFriends

Hogarth and the giant become tentative friends, but as the giant is following Hogarth home, he ends up getting hit by a train, which bashes him into pieces. Luckily, he has a special beacon that emerges from his head and summons his missing pieces back to him.

IronGiantDisassembled

Hogarth takes the giant back home with him (most of him, anyway) and hides him in the barn. Meanwhile, back at the wreck, Mansley interviews two old-timer engineers from the train, who tell him about the giant. The voices and likenesses of the engineers are provided by Frank Thomas and Ollie Johnston, two of Disney’s “Nine Old Men,” the core group of animators on the classic Disney animated features. The pair (authors of the beautiful Disney reference work The Illusion of Life: Disney Animation) also get a brief cameo near the end of Bird’s The Incredibles, when they praise Mr. Incredible and company for doin’ it “old school.”

IronGiantFrankThomas

Mansley stops in at the Hogarth household to use the phone and ends up staying for dinner, just as Hogarth is trying to hide the giant’s severed hand, which is causing mischief in the house like a naughty puppy (it even wags its severed wrist like a tail).

IronGiantHandDoggie

Mansley figures out that the “Hog Hug” from the BB gun is actually Hogarth, but doesn’t manage to get his eyes on the giant. Still, Hogarth realizes that the heat is on, so after a night spent reading comics with the giant (including the real-life Action Comics #188, featuring Superman, also owned by Warner’s), he sneaks the now-fully-reassembled giant away from the farm and tries to figure out a place to keep him, finally settling on the junkyard. It not only secluded, but also full of the metal the giant eats to keep himself going.

And of course, the junkyard just happens to be owned by beatnik Dean McCoppin, who we first met in the diner way back in the beginning. About time he showed up again.

IronGiantMeetingDean

Let’s hope he’s not a disabled veteran with a skeleton full of metal, otherwise he won’t survive into Part 2 of our recap, next week.

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Out of the Vault: A Distant Soil

DistantSoil1CoverI talk a lot about the explosion of innovation in the comics of the mid-1980’s, because it’s worth talking about. But it’s also worth remembering that the explosion couldn’t have happened if there hadn’t been pioneers preparing the way. For instance, the explosion of self-published and small press black-and-white comics that started with Teenage Mutant Ninja Turtles would not have been possible if it hadn’t been for the success of Dave Sim’s Cerebus the Aardvark and Elfquest by Wendy and Richard Pini, two self-published titles that on the one hand proved there was a market for innovative sophisticated material outside of the clutches of the big two while also proving that black-and-white didn’t have to mean vulgar or pornographic.

Both launched in the 70’s and had large fan followings by the early 80’s. But where Sim’s stated goal was to run for at least 300 consecutive issues on Cerebus, Elfquest‘s storyline was scheduled to wrap up after 20 issues, which would leave the Pinis with a publishing company, but nothing to publish. So they began signing deals to publish works by other creators, like Phil Foglio’s adaptation of Robert Asprin’s MythAdventures. But their first new project was a science-fictional adventure that previewed in Elfquest #16, titled A Distant Soil.

It looked like a perfect match on paper. Elfquest had been developed by young artist Wendy Pini as a labor of love for years, and after several disappointing attempts to sell it to the big publishers (and one poor quality issue published by a small press), she and husband Richard decided to publish it themselves, with Wendy doing the art and plotting and Richard doing the scripting and editing. And here was young Colleen Doran, a talented young artist who had also been developing her world and characters for years; with her providing the art and plot, and Richard once again doing the scripting and editing, how could this new story fail to achieve the same magic that Elfquest had?

A Distant Soil centered on Liana and Jason Scott, teen siblings who escaped together from a top-secret institute where their superhuman powers were the subject of study, only to find themselves separated when they are hunted by aliens as well. Jason is kidnapped by the aliens while Liana escapes and falls in with a group of protectors: alien rebels Rieken and D’Mer, human cop Detective Minetti, and teen gang member Brent Donewicz. The art by Doran was beautiful, and since it was being reproduced from the pencils rather than inked, it had a completely unique look that set it apart from every other comic on the market.

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However, there were problems from the start. Pini’s script was extremely wordy, and included some odd choices of emphasis, especially in windy narrative digressions like “Although the Declaration of Independence was signed on July 4th, 1776, the newly born United States was not truly free until over five years later, when Cornwallis’s army was defeated at the Battle of Yorktown. Two centuries later, a decidedly different threat to liberty hangs like a miniature moon in geosynchronous orbit, directly above that old battleground.” And the first issue, instead of setting narrative hooks for later action, instead consists almost entirely of the group sitting around Minetti’s apartment while Rieken tells them backstory.

Meanwhile, Doran’s art had its own problems. The very highly rendered artwork, while often lovely, also often looked stiff, especially in action sequences. And the series encountered an early controversy when they received a letter of complaint that the men were all improbably gorgeous and effeminate. Fangirls immediately jumped to Doran’s defense, saying that not all men needed to be macho brutes. Why, just look at David Bowie.

However, it was a real weakness, in that all of the characters were similarly slender and had similar body language, even when that body language did not fit their characters. Look at tough-guy cop Minetti’s pose above, leaning straight forward from the waist with his butt thrust out and his hand on his hip, while beside him, male horn-dog gang leader Donewicz also has one hand on his hip while rubbing his shoulder with the other hand. He looks like he has a case of the vapors. Both men also have incredibly glossy hair.

Donewicz was also problematic, in that he looked like a dark-skinned Puerto Rican, but had a Polish name, which was hard to reconcile. It was later revealed that Donewicz was actually half-Japanese, with a white sailor for a father and a Japanese mother. Although this was a nicely realistic touch, the art didn’t complement the character, but made him grate on my nerves. Other characters that were revealed to be different from the way the art made them first appear were Rieken’s pre-teen female bodyguard D’Mer, who was actually an adult male of an alien species, and hulking alien brute Omios, who is revealed to be female. And then there were the Ovanan overlords, who are all uniformly tall and slender and androgynous, with long hair that reaches down to the floor. It’s often hard to tell them apart at a distance, and the names don’t help. There are, for instance, Seren and Sere, and Niniri and Ninivir, and Rieken and Rienrie… I can appreciate on an intellectual level the nods to diversity and the idea that first appearances can be wrong, but having to make that mental “oh, wait” adjustment for so many characters made it hard to get involved in the story.

And the characters began to appear in droves. Rieken goes recruiting for people to help him battle the Ovanan heirarchy, while in the alien ship Siovansin, Jason falls in with his own group of rebels. Many of the characters are barely introduced, and many other just appear, like this gang of rebels.

DistantSoilTheRebels

Every time you think they’re done introducing characters, they add to the group, often without even a pause for a name or description, just more bodies to clutter the scenes. And the characters were all over the place: a medical student, an alien shapeshifter, a human magician, a Russian dissident author, and Sir Galahad, crossed over from another dimension. And it was a shame, because it had all seemed so promising at the start.

After 5 issues in the Elfquest format (magazine size, with a thrice yearly publishing frequency), the book shifted to a standard comic book size. Doran took over the scripting, which meant an end to the weird narrative captions, and as her art matured, some of the male characters actually started to look male (Minetti and Galahad especially added some welcome upper body mass). The story, though, lurched forward too quickly, full of nearly anonymous interchangeable characters running back and forth.

Warp upped the frequency to quarterly by dropping the number of primary story pages and adding a back-up feature. And in issue 9, Doran shifted from the lush pencil rendering technique to more standard inks, while it was announced that the book would move to a bimonthly frequency. However, that was the last Warp issue.

And that’s where the story gets strange. Doran left Warp and started the story over, redrawing everything in pen and ink while altering the story. Donning Starblaze, the same company that published the color Elfquest collections, published a new first volume of A Distant Soil, after which they and Doran were sued by Warp for over $4 million (as described in an article in The Comics Journal #115, which I had to search the Fraziersbrain archives for days to find and read). The case was eventually settled, but as far as I can tell, the bad blood remains.

Doran later began to self-publish a new version of the story through her Aria Press imprint (which moved to Image Comics with issue #15), taking a more leisurely approach this time. For instance, the first meeting between Rieken and Soviet dissident Serezha Kirov takes two pages in the Warp version, but expands to six pages in the newer version. The expanded version let us get to know the characters better and explained many of the gaps in storytelling that had occurred in the first version. And there were several changes. Liana in the original was 15, and there was an odd romantic triangle developing between her and older gang leader Brent and much older cop Minetti whom she had a crush on. In the few newer issues I own, Liana looks more like 11-13 years old, and that romantic tension seems to be gone.

Meanwhile, Rieken’s androgynous and mostly silent gay bodyguard D’Mer becomes a major character in the new version, sharing (for instance) a multi-page scene with shapeshifter Bast in which they snipe at each other like a couple of reality-TV drama queens: the Real Housewives of Siovansin.

Just as a final point of comparison, here are two matching scenes, one from issue 9 of the Warp series, and one from issue 25 of the Image comics version.

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If you’re interested in seeing the story for yourself, Doran has much of it published online at her website, adistantsoil.com.

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Metatronic Chapter Five: Milk, Sugar, and Crime Scene Video

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CHAPTER FIVE

MILK, SUGAR, AND CRIME SCENE VIDEO

 

As traps went, this one wasn’t bad. At least it had coffee.

Barron sat in the booth in the diner and figured the angles. He had made at least four men watching the diner outside, two more inside. He hadn’t gone around back to check, but you had to figure at least two more back there and a sniper on overwatch. He hadn’t spotted one on a cursory glance and hadn’t wanted to look too obviously. It was hard to tell at a glance how good each man was, tactically, but whoever had placed them was good.

The day had started out so well. Granted, he was tired and a little hung over, but his mood was light and the pressure in his head—that particular formula that had pushed itself on him for almost three years now, demanding to be spoken, the one he had steadfastly refused to say—was nearly gone. It would come back, he knew, and drinking would not relieve the pressure for long. He knew from bitter experience that it was no long term solution.

Still, he had been reasonably satisfied for most of the morning, until his phone rang. “Barron,” he answered.

“Mike?” asked a female voice. “It’s Isobel.”

Barron was confused. Was this a wrong number? Although his name was Michael, no one called him “Mike.” He preferred it if they didn’t use his given name at all, but working in a civilian office, you had to get used to it. The woman’s name wasn’t ringing a bell, but the voice sounded familiar. “Excuse me?”

“Isobel Crisostomo? From last night?”

Barron managed not to groan out loud. Of course, he recognized the first name now. But how had she reached him here? He didn’t remember telling her where he worked, and he didn’t think he’d had that much to drink. And she hadn’t stirred when he got up early and crept out of the motel room. “Yes. Good morning,” he acknowledged. “What can I do for you?”

“Did you enjoy last night as much as I did?” the voice cooed.

“Yes?”

Silence on the line. Maybe she was waiting for him to respond in more detail, but he had work to do and didn’t want to let this drag out.

“Is that all you wanted?” he ventured into the silence.

“No,” Isobel’s voice said, speaking faster now, and with a more professional tone. “I thought you might come meet me for coffee.”

“I don’t think so, Ms. Crisostomo,” Barron said. “I don’t know how much you remember from last night, but I’m sure I told you that I was not looking for anything ongoing in a relationship. And I do have a lot of work to do today.”

“Oh, you were very clear,” Isobel’s voice said. “But this is just coffee. I mean, I know it’s not as exciting as stopping a bank robbery, but I thought you might spare a few minutes.”

Barron went cold. He hadn’t been sure whether or not he had let slip where he worked, but he was as sure as could be that he had not told her about the robbery. He hadn’t talked to anyone about it in the three weeks since it had happened. Not even Grace. “What are you talking about?”

She didn’t give any further answer. She only spoke the name of the diner before hanging up.

And now here he sat, waiting for the shoe to drop. He saw her emerge from the ladies room, and he was immediately sure it was her, even though he didn’t entirely recognize her. Her ash-blonde hair was pinned back instead of falling loosely to her shoulders, and she was dressed in business-like slacks rather than the party outfit he’d taken off of her in the motel room. The only incongruous thing about the outfit was the very large purse she carried; not very businesslike. He knew it was her because of the way she met his eyes and held them all the way to his booth, pausing only to ask the waitress for coffee on the way.”

“I’m glad you could make it,” she said. She plunked her heavy purse into the seat opposite him, then slid in after it.

“Well, after all the things you let me do to you last night, I figured the least I could do was buy you coffee,” Barron said. “But that stuff you were saying about a bank robbery?”

“Let’s not insult each other with a denial dance,” Isobel said. “We’re both too professional for that.”

“Okay,” Barron allowed. “So what is it you want from me?”

“To ask you a question,” Isobel said. “What exactly do you do, Mister Barron?”

“I work with data,” Barron said.

“That must be awfully dull,” Isobel said, as the waitress set a cup of coffee in front of her. She waved away the waitress’s inquiry about ordering food. As she added sugar to her coffee, she looked at Barron and said, “I mean, I’ve read your jacket. Security consultant, special forces operator, combat veteran…”

“That was a long time ago.”

“But stopping that bank robbery wasn’t,” she said. She added creamer and stirred.

“I’m still not sure…” Barron began.

“How we know about it?” Isobel finished. “Or are you wondering if there’s still a way you can deny it. Let me show you something.”

She fished a laptop computer out of her huge purse and flipped it open on the table. A few moments later, she turned it to face him. There was a video clip playing in a window on the screen, obviously a feed from the bank’s security cameras. Barron watched himself disarm the boy with the AK. He winced as he saw himself hit the boy in the throat. The kid had been so obviously unprepared for this job.

“I thought the police said the security videos had been hacked,” Barron said, not saying that he had erased them himself.

“We have a guy who works with us,” Isobel said. “He’s pretty good at this stuff.”

Barron didn’t answer. He hadn’t had time to be completely thorough, but the randomizing seed he’d hastily spoken over the disk drives should have made them unrecoverable. “Pretty good” was an understatement of Biblical proportions.

Isobel spun the laptop around and clicked through to another file. “This one’s my favorite,” she said as she turned the laptop again.

Barron watched as a section of vault wall unraveled and the grey-haired leader fell backwards into the hallway. He watched himself shoot the man in the face, turn and walk away as the wall remade itself.

“And you think this really happened?”

Isobel shut the laptop and smiled. “We both know there are people in the world who can do these kinds of things. Not many, at least not that we know of, but you can’t say that what you saw on the video is impossible.”

“Perhaps not,” Barron admitted. “But I don’t think you’re here to arrest me.”

“Of course not.”

“So what exactly do you want from me, Ms. Crisostomo?”

Isobel sipped at her coffee. “To offer you a job. I’m setting up a small elite task force. I obviously can’t tell you the details until you’re read on, but believe me when I say it’s an important job. We should wrap it up in a month, max.”

“Not interested,” Barron said. “Even if I could take a month off my current job without losing it, which I can’t, I don’t do that kind of thing anymore.”

“This is important, Barron,” Isobel said. “You would be stopping some bad guys and doing a good thing for the world.”

“The world?” Barron asked skeptically. “That seems a little ambitious for a small task force.”

Isobel shrugged and put her laptop back into her oversized shoulder bag. “Well, I’m not going to beg, and threatening you probably won’t do any good. But we both know that a man like you, with an ability like yours, is wasted in that office. So take some time to think about what you really want out of life.”

She climbed out of the booth and looked down at him. “Give me a call when you decide.”

“Shouldn’t you give me your number?” Barron asked.

“My card is in your wallet. I gave it to you the first time we had this conversation, ten minutes ago.” Isobel smiled. “You’re not the only one who‘s different, Mister Barron.”

Barron watched her turn and walk away, followed a moment later by the men she’d placed at the counter.

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Out of the Vault – Echo of Futurepast

EchoCover1Once again visiting the 1980’s, just because the decade was such an exciting time to be a comics reader (or arguably a comics creator). The big two comics companies had emerged from the chaos of the late 70’s with a stable of exciting new talents and a new emphasis on more mature storylines. Production standards had taken a huge leap in quality with the introduction of better paper and full-process color printing. And independent comics were enjoying a huge leap in sales, thanks to the rise of the direct market and the success of pioneers like Dave Sim’s Cerebus and Elfquest by Wendy and Richard Pini. Independent publishers like Pacific Comics and Eclipse Comics were allowing creators to keep the rights to their properties, which prompted the big two to offer enticements like bonuses and royalties and the return of artwork.

And right in the middle of this ferment, in 1984, comic book legend Neal Adams decided to launch his own comics company, Continuity Publishing, with the anthology title, Echo of Futurepast (you will see this title listed as “Echo of Future Past” some places, like on Adams’ own website, but the indicia listed “Futurepast” as one word).

Echo was an anthology title in the vein of Heavy Metal and Epic Illustrated, featuring lush fully-colored artwork and often incomprehensible stories. In fact, at least one of the features in the first issue had previously appeared in a slightly different form in Heavy Metal. At a $2.95 cover price, Echo of Futurepast was extraordinarily expensive, but it featured high-quality paper (the second issue is printed on the same kind of glossy paper you saw in high-end magazines) and full-process color. Unfortunately, the coloring itself was inconsistent. And if the book hadn’t featured reprinted material for around half its contents, it might have been even more expensive.

Leading off the first issue was “Bucky O’Hare,” a funny-animals-in-space feature written by Larry Hama (perhaps best known for his long run writing Marvel’s G.I. Joe) with art by fan favorite Michael Golden. You may notice some similarities between Bucky and Marvel’s Rocket Raccoon, who starred in a Marvel miniseries the next year and will be featured in Guardians of the Galaxy, one of the big-screen Marvel epics due out next year. However, Rocket Raccoon actually came out first, debuting in 1976.

Bucky O’Hare is the captain of the Righteous Indignation who along with his crew–Dead Eye Duck , Bruce the Betelgeusian Berserker Baboon, Blinky the robot, and Jenny the Witch Cat or something–come under attack from the evil toads. During the attack, engineer Bruce is vaporized while trying to repair the photon accelerator that is the ship’s only hope of survival.

EchoBucky

Luckily, on Earth, young Willy DuWitt activates a photon accelerator that he has built in his bedroom from household junk, which creates a hyperspace portal to the Righteous Indignation. So Willy decides to gives the crew a hand.

Bucky O’ Hare was the most successful of the Continuity-published properties, being reprinted a couple of times in graphic novel form and somehow spawning a short-lived animated series and toy line. However, the odd and all-too-brief storyline was not helped by the artwork. I love Golden’s work, but this is my least favorite of his projects by far, and not because it’s a funny animal story. Golden swamps every panel with extraneous detail that ends up getting lost under the muddy colors. It’s physically hard to read.

Another fan-favorite artist featured is Arthur Suydam. Suydam’s lush artwork, which combines many influences including Frank Frazetta and Arthur Rackham, graces “Mudwog” (listed in the contents as “Mudwogs,” although the artwork on the actual stories always uses the singular) and I use the term “graces” completely ironically, because there is nothing graceful about the story, some of which first appeared in Heavy Metal. The story is a combination of gutter humor and Warner Brothers-style slapstick, with utterly incomprehensible dialogue.

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Later issues feature such laff-riot material as a giant pissing on Lilliputians, a slapstick rape, and Mudwog diving into the giant’s penis to be attacked by a horde of carnivorous ambulatory sperm. You have to read closely to get some of the sight gags, however, because Suydam’s muted coloring, while gorgeous, often conceals details.

A third story featured a character called “Virus.” Featuring static photocopied artwork, the “story” features a series of encounters between innocent strangers and “the human infection called Virus.” Basically, he’s that dude you meet at parties sometimes, who every time you talk to him, you wish you hadn’t. I have no idea why Adams thought we would want to read stories about other people having to deal with that dude. Thoroughly unpleasant, without even the saving grace of decent art.

A fourth feature that appeared once in the first issue and then disappeared for several issues was “Tippie Toe Jones.” This was a really weird series that followed the curious 80’s custom of placing a cartoonish character (like Cerebus the Aardvark) in a realistic world alongside realistic people. The art was credited to Louis Mitchell, although it looks a lot like Neal Adams’s own work (Adams finally gets an inker credit by Tippie’s third appearance).

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The joke (I guess) was that although Jones looked like the real-world version of a drawing scrawled by a five-year-old, he was cynical and foul-mouthed. Unfortunately, there was no story substance at all. Some sample panels in the first issue illustrated Jones with a tin man and scarecrow in an obvious rip-off of The Wizard of Oz, but I don’t know if that storyline was ever published. I had given up on the title by then.

And then there was the centerpiece of the first five issues, Neal Adams’s epic “Frankenstein-Count Dracula-Werewolf.” This had originally been published as part of a comic-book-and-record set by Power Records, which had done a lot of audio versions of various superheroes during the 1970’s. The story, which was apparently also written by Adams, tells of young Vincent, nephew of the Baron Von Frankenstein, who is forced to flee angry villagers with his fiancee Ericka. They find shelter in the castle of Prince Vlad, who then holds Ericka hostage in order to force Vincent to create a new monster to serve the prince.

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And so the monster rampages, Ericka is turned into a werewolf, and Prince Vlad is revealed to be Dracula, who dies in a titanic struggle with the monster. The story is in one sense the best of the early issues, in that it is at least comprehensible, but it’s also the most conventional and pedestrian (and suffers from Adam’s idiosyncratic overuse of ellipses).

Later issues featured reprints of European stories unfamiliar to American audiences, like Carlos Gimenez’s “Hom” and “Torpedo 1936,” by Enrique Sanchez Abuli and Alex Toth. Echo of Futurepast expired after nine issues, after problems with inconsistent quality (this is not the first Continuity comic I’ve featured that printed pages out of order, for example), poor editing, and mediocre stories.

I remember being excited by the book when it first came out. I was a huge Adams fan, and loved the idea of an anthology featuring work that rose to his level. But after six issues, I wasn’t seeing it. Several of the features looked great, but the stories were just no fun to read. So I hung it up.

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Metatronic Chapter Four

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CHAPTER FOUR

IN THE CASCADE

The busiest part of the month is also the loneliest. Ironic, since work usually distracts him from his loneliness.

But on the week when they close the monthly book, Barron usually stays late to check his team’s numbers, correct their mistakes. The office is deserted, shut down to half-lighting, just him and rows and rows of silent cubicles. Silent, but not empty. They teem with stuff: doodads and souvenirs, stuffed animals and birthday cards, children’s drawings and dozens of dozens of family photographs. Proof of life.

Sometimes when he’s waiting for a report to finish compiling, he walks alone between the silent rows, looking at the frozen fragments of other people’s lives. Christmases, birthdays, vacations, baseball games. Parents hugging children, couples posing in their fanciest outfits over romantic dinners or draped drunkenly over each other at a bar. He can identify the emotions in the photos even if he can’t really remember how they feel anymore.

And every now and then, on a night like tonight, he feels that hole in himself more keenly than ever and tries once more to fill it.

There’s a hotel bar not far away, adjacent to an office park, full of secretaries and salesmen taking advantage of cheap booze after work. The air is thick with cigarette smoke. In any smaller amount, it would be an irritant, but at this concentration, in a place like this, with the liquor flowing and the music pounding, it’s like a chemical marker for sex.

Barron walks between the tables and booths, and even though the people here are real rather than photographs, he feels no more connection to them than to the photos in the cubicles. Strangers living lives he can’t comprehend. Usually when he does this, he ends up just sitting and watching them, like a TV show without a discernible plot, the dialogue drowned out by the soundtrack. He’s looking for something very specific, and he rarely finds it.

Tonight is different.

He has read dozens of books and articles on the psychology of attraction and pick-up methods, knows dozens of ways to manipulate a conversation to where he wants it to go, but there is one thing he cannot get around. The woman must find him attractive on some level before the conversation even begins. He has a multitude of ways of closing the deal, but he cannot manufacture something that isn’t there to start with.

He tries to make eye contact with each single woman as he walks along the bar. With most, the contact is fleeting, but one gives him a little smile that he returns. Mid- to late- 20’s, pretty, ash-blonde, slim. He finds an open spot at the bar where he can order a drink, looks back at the woman, and yes, she gives him a second look and another smile.

They exchange a few more looks as he waits for his beer, and it is as if she is demonstrating the classic signs of attraction in an instructional video. Holding momentary eye contact and looking away. Looking up at him from under her eyelashes. Toying with the rim of her glass. Turning her body slightly toward him in an open posture. She’s almost too perfect.

But he can’t approach right away. Even though he knows all the right things to say, it can be hard to get the words out because of the noise in his head. Ever since the day that changed everything, the day no one else remembers, his life has been a constant struggle to function past the noise of his expanded perceptions.

Because although common wisdom says that everything in the universe consists of just two things—matter and energy—the truth is that there is a third factor: information. A proton is a proton is a proton. The only real difference between gold and lead is the number of protons in the nucleus. You want the alchemical secret of turning lead to gold? Build a tiny vacuum cleaner that can suck three protons out of every lead nucleus.

There’s more, of course, much more. The entire universe is built on numbers: mass, velocity, wavelength, the speed of light, the gravitational constant. Barron perceives the numbers in everything; the universe sings to him, because music itself is a mathematical progression and Barron’s senses aren’t equal to the task of perceiving these things in their pure state. He hears constant atonal music, and every surface crawls. He sees something like static and something like symbols, but he has to concentrate to bring order out of the chaos, and he can’t do it for long. Sometimes the flow of information becomes so overwhelming, it’s like his mind is being sandblasted.

Alcohol helps, usually. Helps him relax and surrender to the flow, helps him pick the pieces he wants out of the information that bombards him. The scouring sandblast becomes a gentle shower, a comforting cascade.

He drinks half his beer and feels the bombardment retreat before making his approach. She smiles at him as he draws near, and it feels as if the battle is half-won, but he can’t relax. He knows dozens of conversational gambits from the pick-up artist books and knows hundreds of statistics about human behavior, but that math only ever works in the aggregate. If he could approach 250 women at once, he would be almost guaranteed to score one, but human attraction doesn’t work that way. One on one, he can play the odds, but there’s never a sure thing.

He doesn’t worry about an opening line, because he already has her attention. He just introduces himself and asks how she’s doing. Her name is Isobel, and anything else she tells him about herself is lost in the cascade. There’s a script that he has aggregated from a dozen pick-up books, structured like a flowchart or conversational tree from a video game. He can almost see the next lines dropping into place as she responds to his questions and comments, and meanwhile, he’s reading her data. The diameter of her pupils, the temperature of her skin, the rate of her pulse and respiration..

There’s arousal there, but something else holding it in check. Something she’s holding back, keeping secret. Husband or boyfriend, maybe, or maybe lying about her job. He doesn’t really care, because he’s not interested in becoming a part of her life, or in her becoming a part of his. He wants what she is increasingly signaling to him that she wants, and nothing more.

He goes in for the kiss, and when she draws back, her eyes narrow. “You know, there’s something about you I can’t quite put my finger on,” she says. “I can’t figure you out.”

“There’s nothing to figure out,” he says. “What you see is what you get.”

Which is quite possibly the biggest lie he has ever told in his life, but it’s not as if he can tell her the truth. All that ever did was lose him his daughter and his job, and it has never, ever, gotten him laid.

Of course, he could help things along. Because the language of God is more than just simple data. There are the formulae, not just the equations that govern physics and chemistry, but the deeper equations, numbers and symbols and concepts that cannot be expressed in any human language, that can regulate and govern anything and everything. Some might call it magic, but for Barron, there is no distinction between magic and science. There is only the hidden truth which only he knows, now that God is gone. He holds his tongue, though, because if she doesn’t choose to go with him freely, what’s the point?

And soon, she suggests they leave, and he suggests a motel, and it’s so easy, you’d think she were seducing him. Her body under the business casual dress is a surprise, firm and strong, more like a professional athlete than a secretary. He plays her like a theremin, almost able to see the numbers flickering across her skin as her nerves respond to his touch. He calibrates his touch to her responses and hears her skin sing with pleasure.

She lies back on the bed and her legs sigh open, and he can taste by her galvanic skin response when she’s faking an orgasm, and later, when she’s not.

And then he’s inside her, and the gentle shower of the cascade becomes a driving rain and then a wave breaking over him, the hum of the universe drowned out in the power chord of their shared pleasure.

And all too briefly, there is a moment of quiet.

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Super Movie Monday – Kick Ass, Part 2

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Sorry for the late update; I’ve been having a lot of trouble accessing the site to make updates. Also sorry about how by-the-numbers the first part of the recap was. I’ll try to make this week’s more interesting.

So the story so far: average high school kid Dave Lizewski, frustrated by rampant crime and apathy among the citizens of New York, decides to become a costumed superhero named Kick Ass. His first foray nearly kills him, but his second is recorded on a cell phone and goes viral on-line. Unfortunately, it draws the attention of both Big Daddy and Hit Girl–costumed adventurers pursuing a murderous vendetta on organized crime–and Frank D’Amico, the crime boss whose operations are being hit. D’Amico suspects Kick Ass of being the one targeting him, so he shoots Kick Ass in an alley.

Some thoughts about the movie so far: it’s obviously a comedy, but a very dark one (like the scene where Frank’s goons microwave a Russian drug dealer to get the truth about the guy targeting their operations). And it’s got a very tricky feel, because you want to like to main character. He sort of wants to do the right thing, but he’s in over his head, just like any of us would be. He’s really ineffectual and not too bright, and not only is he pretending to be a super-hero, he’s also got another secret identity as Gay Dave, who gets to hang out with hottie Katie Deauxma and secretly perv on her while pretending to be her buddy.

So it turns our that Frank D’Amico didn’t shoot Kick Ass; he shot a professional Kick Ass impersonator hired to work at a kid’s birthday party. Way to ruin a kid’s birthday, Frank. He’s so upset that he starts doing some coke right on his desk at home, which is when his son Chris comes in and says he can help his dad take down Kick Ass. He just needs a few things.

And of course, the ironic thing about this is that Dave has basically decided to retire. It’s not as if he ever actually did much in the first place. But next thing you know, there are news reports of a new hero named Red Mist (who is Chris is disguise) taking down a drug dealer named Tony Romita (in a shout-out to Kick Ass artist John Romita Jr.). Dave, Katie and friends watch the news report on the TV in the comic book store, and in a nice bit of subtlety, we see a blurry Chris in the background, clearly enjoying the news coverage. Katie thinks that Red Mist is even cuter than Kick Ass, stirring Dave’s jealousy.

So when Kick Ass gets a message to meet the new hero, he decides to show up and check out the competition.

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Although it’s tempting to dismiss the movie as a rather mindless parody, a closer look shows a lot of thought put into the details. I don’t know whether this originates from the comic or is new to the movie, but just for instance: of the five costumed heroes we see on-screen (including the idiot who kills himself in the opening scene), the two that actually show hair as part of their costumes use wigs to disguise the actual color and length. Big Daddy adds fake mustache bits to extend his facial hair into a different style. And everybody except Kick Ass makes some sort of attempt to disguise their speech (Hit Girl is more authoritative and foul-mouthed in costume than out of costume with Daddy, Big Daddy does a ridiculous Adam West impersonation, and native New Yorker Chris adopts a bad California surfer accent as Red Mist).

And there’s a lot of conflicting stuff going on with Red Mist. As a comic book fan, he thinks Kick Ass is awesome and clearly digs the opportunity to have his own chance to be a costumed do-gooder, especially when he can get his dad to agree to buy him a customized, tricked-out “Mist-mobile.” And as a lonely kid with no friends, he seems to enjoy the opportunity to ride around with Kick Ass head-bop to his stereo system. But as his father’s son, he also seems to have no problem leading Kick Ass into a trap by taking him to Frank’s Lumber with its man-sized microwave. Oh, which is on fire, by the way.

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Red Mist runs frantically into the building, and Kick Ass, shamed by the other hero’s bravery and selflessness (he thinks), runs in after him, only to discover that the place is full of dead goons. Red Mist grabs a scorched teddy bear off a shelf, then he and Kick Ass escape into the night.

Later, Chris confronts his father with the teddy bear, which turns out to be a nanny-cam Frank used to spy on Chris’s nanny years before (and in a nice little detail, the previous files in the bear’s memory are all of her in a towel, getting ready to shower). The nanny-cam footage shows Frank’s men getting systematically destroyed by a methodical Big Daddy. His attack is so efficient and by-the-numbers that it plays out more like watching someone play a video-game than an actual battle, with lots of computer-generated blood spatter.

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This is proof that Kick Ass is not responsible for killing Frank’s men, but Dave is not totally off the hook. Chris also mentions that Kick Ass knows other heroes in town, so maybe he can lead them to this mysterious avenger.

Meanwhile, Dave has decided to retire for good. Between his encounter with Hit Girl and the warehouse full of bodies, shit is entirely too real. But before he gives up the costume, he uses it to reveal his identity to Katie, and tell her he’s not gay. She’s upset at first, but moments later, they’re kissing as he slides into second base.

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And it turns out post-Kick Ass life is pretty good, as he and Katie screw like bunnies in an alley behind the comic book store. But then Dave, checking Kick Ass’s Myspace page, finds a lot of frantic messages from Red Mist, wanting to meet. So he decides to put the costume on one last time.

Red Mist tells him the gang that owned the lumber warehouse thinks the two of them did the job. They are targeted for death, but maybe that other hero Kick Ass mentioned once can get them out of it. So Kick Ass sends a coded message to Big Daddy (who has been preparing a final assault on D’Amico and has ordered an impressive secret weapon for the job) and is told to come to a safe house. When Kick Ass arrives with Red Mist in tow, Big Daddy is suspicious,  but lets them in. Which is when Red Mist pulls out a pistol and shoots Hit Girl with it.

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Treachery! Before either Kick Ass or Big Daddy can react, D’Amico’s goons burst in through the door and subdue them. Chris tries to tell the men that Kick Ass is cool and should be let go, but they don’t listen. Oh, and D’Amico’s personal bodyguard also decides to snag a bazooka from the wall.

Chris complains to Frank and is told that he has to make a public example out of somebody, and nobody knows who Big Daddy is. So Kick Ass must die; nothing personal. Frank’s men have set up a website that purports to have an urgent announcement from Kick Ass. Media speculation is that he will announce his retirement. But instead, we watch as D’Amico’s goons torture the two heroes and get ready to kill them.

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And then the shooting starts. Hit Girl has survived Red Mist’s murder attempt thanks to the bullet-proof vest we saw her testing earlier and makes short work of D’Amico’s goons.

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But they manage to set Big Daddy on fire first. There’s this weird bit where Big Daddy calls out tactical orders to Hit Girl in this strange high-pitched voice as he’s burning. Part of me wants to say that this is another thoughtful detail based on actual research (gunfire in a building causing temporary hearing loss, and high-pitched sounds being more penetrating, Big Daddy pitches his voice high to be understood), but without explanation, it just registers as another odd Nicolas Cage acting choice.

Kick Ass is saved, but Big Daddy succumbs to the fire. Dave tries to convince Hit Girl to give up the vendetta and go to the police for help, but she refuses and uses Dave debt to her for saving his life (twice) to get him to help assault D’Amico’s penthouse. Dave doesn’t really want to, until he finds the secret weapon (which is still secret).

And now we get to the big action climax, which is cool in a very choreographed way, but… The thing about this movie is, it’s about the fact that real people can’t be super-heroes. They’re slow, they’re vulnerable, they make bad choices. We’ve seen Kick Ass in action five times now, and the only thing he has really accomplished in all that time was save one guy from a group of thugs. Not only did that guy look like a scumbag himself, but the only reason Kick Ass won was because the bad guys decided to leave him alone when he proved too stupid to quit. Red Mist’s one accomplishment as a hero was to call in a tip to the police about one of his father’s lower level dealers. Big Daddy has actually seemed to know what he was doing, but as a former cop, he’s expected to be tough and trained. And even he died.

But then there’s Hit Girl, who is clearly a fantasy figure in this world of all-too-fallible people. She’s an 11-year-old girl who kills something like twenty guys onscreen, both with pistols and hand-to-hand, while remaining mostly unscathed herself. Dave needs this kind of magical figure on his side to survive the fight, but her superheroic nature kind of undercuts the rest of the movie to me. Luckily, Chloe Grace-Moretz’s performance is so riveting that it more than compensates.

Unfortunately, even Hit Girl can run out of ammo and be outflanked. Things are looking pretty bad for her when D’Amico’s bodyguard pulls out the bazooka he just took from their safehouse. But then comes Dave to the rescue, with Big Daddy’s secret weapon.

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Yes, a jetpack with Gatling guns; here at the end, even Dave gets to be comic-booky. Dave kills the last of the goons, then he and Hit Girl confront Frank and Chris. Hit Girl fights karate expert Frank while Dave and Chris fight clumsily with sticks and nunchuks in Frank’s dojo and knock each other out.  Hit Girl is unable to win this final boss fight, however, and is at Frank’s mercy, about to be shot in the head, when Dave appears with the bazooka.

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So that’s it for Frank. Chris comes to and runs into his father’s office just in time to see Dave and Hit Girl flying away together.

We get a standard sort of happy ending, with Dave and Hit Girl becoming friends, and Dave going back to his normal life with Katie. But Chris wants revenge, and has decided that it’s cooler to be a villain than a hero anyway.

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So get ready for the sequel coming out later this year.

Overall, I’m kind of torn on the film. There’s some smart writing here, and a lot of cool stuff subtly buried in the details. Director Matthew Vaughn brings lots of style to the production. I love some of the performances. But I have trouble sometimes with stories this dark and cynical. Ultimately, they leave a bad taste in my mouth that makes it hard for me to recommend them whole-heartedly.

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Out of the Vault – Marvel Team-Up #74

MarvelTeamUp74It may be a little difficult to believe now, when Marvel superheroes dominate the box-office and permeate popular culture, but there was a time in the 70’s when Marvel was desperately trying to build a wider awareness of its characters and mostly failing. These attempts took two main forms. Marvel signed a deal with Universal to put a slate of their characters on television with mixed results (Doctor Strange and Captain America had pilot films, but were never picked up for series runs, while The Amazing Spider-Man had a brief run and The Incredible Hulk ran for five seasons), while Marvel’s comics tried for relevancy by putting out stories based on popular entertainment acts of the day, like KISS and Alice Cooper. And in 1978, Marvel Comics teamed up Spider-Man with the cast of Saturday Night Live in Marvel Team-Up #74. Or as the full cover title proclaims, Marvel Team-Up featuring Spider-Man and the Not-Ready-For-Prime-Time-Players!

Written by Chris Claremont with art by Bob Hall and Marie Severin (who both inked and colored), the story is of course silly and lightweight. But it holds up better than I expected it to, with the Claremont script being surprisingly more readable than most of Claremont’s output in the 80’s, when the X-Men started turning into an industry-changing juggernaut (so to speak). The story opens with Peter Parker and Mary Jane Watson arriving late at NBC Studios to attend the live performance. The narration tells us they’ve been waiting a year for the tickets.

Meanwhile, inside, John Belushi has a problem: he has a ring stuck on his finger, for some reason. And in this way, we are introduced to the cast.

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The comic was published in 1978, so the SNL cast is the second cast (what many of us probably think of as the “original” cast), with Bill Murray replacing Chevy Chase and the two forgotten first season cast members gone. The caricatures have mixed success; Belushi is pretty well done, along with Gilda Radner’s Emily Litella character and Dan Aykroyd (not counting this panel, where he’s virtually unrecognizable). But new kid Bill Murray and Garrett Morris aren’t so lucky.

Another curious thing: Marie Severin’s inks are a little overfeathered and muddy, but in these two panels here, they really look a lot like her brother John Severin’s work. So much so that I wonder if he did an uncredited pitch-in to help with a deadline or something.

While Belushi and the cast are trying to deal with the ring dilemma, a mysterious figure meets with a group of thugs in a storage room. He wants the ring back and knows it was accidentally sent to a cast member of the show, although for some reason, he doesn’t know which cast member it is. He stresses the need for subtlety as he dons a suit of shiny silver armor, for he is the really effin’ subtle Silver Samurai (soon to come to the big screen in The Wolverine, starring Hugh Jackman)!

And now, it’s showtime! And of course, since this is a Marvel cross-over, the guest host for tonight’s show is Stan “The Man” Lee, with musical guest Rick Jones! Stan Lee begins a really unfunny monologue while Peter Parker’s spider-sense goes off. So he excuses himself from Mary Jane and finds a place to change to Spider-Man. Bill Murray spots the thugs and decides to find out what they’re up to, causing him to miss the Weekend Update segment, which he is supposed to anchor. It doesn’t matter, since the thugs end up cutting through the stage floor to kidnap Jane Curtin and Gilda Radner during the skit (and since I ragged on the monologue, I should mention that Claremont’s Emily Litella skit is pretty good, or as good as Emily Litella ever got as a character). Spider-Man rescues the performers and then rallies the cast members to fight back.

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So they dress Garrett Morris up as Thor and send him out to perform a really dangerous stunt with an electrified platform to take out most of the thugs, while Dan Aykroyd decides to use theatricality to throw the criminals off-balance. He dresses up in a 19th Century Russian officer’s uniform and dubs himself Mad Dog Mulcahy, the Crazed Killer Colonel of the Crimea, and then along with Laraine Newman, he assaults the control room where producer Lorne Michaels is being held hostage.

Meanwhile, on stage, the Silver Samurai confronts John Belushi, in costume as his samurai character.

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Interestingly enough, the Silver Samurai’s special energized sword, which can supposedly cut through anything, doesn’t immediately destroy Belushi’s prop sword, and so they have a running duel through the studio. Spider-Man arrives just in time to help Silver Samurai pop the ring off of Belushi’s finger. Turns out, the ring is a teleportation device, which the Samurai uses to make his escape, promising to return soon (which he did nine issues later).

And so the show is saved, and Peter makes it back to Mary Jane, and as far as I know, Stan Lee never did get to host the actual Saturday Night Live.

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Metatronic Chapter Three

CHAPTER THREE

GROUNDHOG DAY

 

Jake Morel couldn’t figure out precisely when it had all gone to shit. The shooting had only started a minute or two ago, but he had the sneaking suspicion it had really started when he allowed his son’s idiot friend along on the job. What the hell kind of a name was Stang, anyway?

But now if the asshole around the corner was to be believed, both Matt and Stang were dead, and Morel didn’t even have time to grieve his son because they were cornered in the vault and Lee was bleeding all over the money and the cops were surely on the way by now. They should have been done and gone already, but instead Morel was listening to this nutjob talk about being a superhero. With the power of math, yet. Jesus wept.

Soames stood on the other side of the doorway, rubbing at the sore spot on his chest where he’d taken a couple of rounds. Morel snapped his fingers to get his attention, then mimed the two of them going out simultaneously while Lee provided covering fire from behind the steel cart they’d turned on its side. Soames nodded and gripped his shotgun; Lee nodded as well, though he was looking decidedly pale. Morel held up five fingers and barked a harsh laugh. “What the hell kind of superpower is math?”

Morel tucked in his thumb to make four. He’d get the asshole talking and hit him while he was distracted. Three. Soames leaned forward, ready to go. T...

A shot rang out from the hallway, ricochets zinged off the wall, and Soames clapped a hand to his throat.

“Well, there’s geometry, for starters,” said the voice.

Soames coughed, and blood spurted from between his fingers. He wheezed and stumbled back against the wall. Lee looked panicked. Morel was mad. “What kind of asshole shoots a guy in the throat?”

“I was aiming for his head,” said the voice. “You try double-bouncing a head shot around a corner based on a shadow on the floor. Not as easy as it sounds. But if geometry’s too fancy for you, what about simple addition and subtraction? For instance, every bullet I add…”

Morel flinched as a flurry of shots clanged against the steel cart Lee huddled behind. The racket was incredible, though ultimately pointless. It would take armor-piercing rounds to get through metal that thick. Then just as suddenly, the shots stopped. Soames was still wheezing, though the sounds were getting weak.

“Subtracts from your defense,” the voice finished, followed by one more shot.

Lee grunted and pitched forward. Morel couldn’t believe his eyes. Something had apparently burst through the cart, the metal bent aside in little flaps like the petals of a tiny steel flower.

Lee sat back up, turned around and goggled at the hole in the cart. He tilted his head to look through the hole. “My God, Jake, he shot right through the…”

Another shot took part of Lee’s face off.

Morel suddenly found it hard to breathe. Light glinted off tiny striations in those metal petals where the bullet had burst through the cart. Whoever this guy was, he had shot through the cart by shooting it in exactly the same spot over and over. And then shot through the hole he’d made, like it was nothing! Who was this guy?

“Okay, you win!” Morel said, a little ashamed at the way his voice cracked. “You don’t have to show off any more. I give up.”

“I haven’t even started to show off yet,” the voice said, “and surrender is not an option.”

“But you said…”

“I lied,” the voice interrupted. “I have a daughter, works at this bank. She doesn’t like me much. Never calls me, can barely stand to be in the same room with me. Right before you came in, she told me she wishes she had someone else for a father. It hurts, to know your child hates you like that. But even then, nobody puts a gun to my little girl’s head and lives. You understand?”

Morel leaned forward. “Are you crazy? You can’t just…”

“I can do whatever I want,” the voice said. “Hey look! It’s Groundhog Day!”

Morel saw something move out of the corner of his eye. He had leaned forward far enough that the flourescents in the ceiling were casting his shadow onto the floor. He flinched back just as the shot sounded, zing-zing! and something tore into the wall mere inches from his face, flinging debris into his eye. He stumbled back into the corner, trying not to rub his eye too hard and scratch the cornea.

“Missed me, you son of a bitch!” Morel screamed. He cast frantic glances at Lee, at Soames, neither of whom were moving. He squatted down on his haunches, leaning back against the wall to avoid another lucky bounce shot. “You lose! Sooner or later the cops will come and take me into custody and you can’t do a damn thing about it. You can’t bounce me without a shadow, and if you try to come in here after me, I’ll kill you, I swear to God!”

“God is gone,” the voice said. “Banished. And I haven’t lost anything.”

“Well, you can’t kill me from out there!” Morel said, hating how desperate he sounded. “And you sure as hell can’t math your way in here!”

“I didn’t say my power was math,” the voice said. “I said, I speak the language of God, by which the universe was made, and by which it can be unmade. You want to see showing off?”

The voice stopped speaking and started muttering. Morel couldn’t make anything intelligible out of it over the ringing in his ears, although to be truthful, the few syllables he did hear clearly, he couldn’t understand. His mind seemed to slide right off them, like greased glass.

And then suddenly, there was no wall behind him. He pitched over backward, landed on his back in the hallway looking up at an expanding hole in the wall, as if the steel of the vault were simply unraveling. He looked up and saw a grim-faced man standing over him. Morel’s pistol was still in his hand, but everything was moving so slowly. Looking into the barrel of the grim-faced man’s pistol, Morel knew he wouldn’t get his own brought to bear in time. The world disappeared in the light of the big bang.

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Out of the Vault – Shade, the Changing Man (1990)

ShadeNewCover1jIn the late 1980’s and early 1990’s, DC tried to capitalize on the success of Alan Moore’s reinterpretation of Swamp Thing by bringing on other British writers and giving them other obscure cancelled characters to work their magic on, with varied degrees of success. Some of these were Animal Man and Kid Eternity (written by Grant Morrison), Black Orchid and Sandman (written by Neil Gaiman).

Andthen there was Shade, the Changing Man, written by Peter Milligan with art by Chris Bachalo and Mark Pennington.

The first issue of the new Shade makes it clear that this will be an entirely different book from the original Ditko version (discussed in last week’s Vault). Kathy George is a woman who is haunted by illusions, some of which look like Ditko characters from the original miniseries. We learn that, three years ago, Kathy took her boyfriend Roger down to Louisiana to meet her parents. Two problems with that plan: number one, her parents were freshly killed by a serial murderer named Troy Grenzer, who then got into a struggle with Roger. And number two, Roger was black and this was THE SOUTH, so when the cop arrived, he shot Roger instead of the real murderer. And so Kathy went crazy…

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Three years later, as Troy Grenzer is being executed, he levitates through the straps of the electric chair and vanishes, reappearing near Kathy. He tells her that he is not Grenzer, but someone named Shade. His body is trapped in the Area of Madness, so his mind has possessed the body of Grenzer. So Kathy drives him to Texas, where they hole up in a motel. Shade explains that he has the powers of the M-Vest (which stands for “Madness Vest”), and helps her find a catharsis and achieve closure by allowing her to finally kill an illusory Grenzer.

Meanwhile, there are disturbing things going on at a mental hospital.

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And if the opening about THE SOUTH wasn’t enough to clue you in,  by now you should realize that Milligan is not out to write a simply entertaining story. He’s going to educate America about the American Condition, which is, apparently, pretty bad, so bad that the American Dream has become the American Scream! Quick, call Letterman!

In issue two, we’re introduced to Duane Trilby, who is obsessed with the Kennedy Assassination. Shade and Kathy are drawn to Dealey Plaza in Dallas, where a giant head poses the Sphinx-like question, “Who killed JFK?” and devours those who get it wrong. And we see a brief demonstration of Shade’s illusion-body effect from the original Ditko series.

ShadeNewIllusion

So then, there’s a whole bunch of rigamarole with illusory Kennedys, people changing appearances, Duane hallucinating about his dead daughter telling him about the sacrifice of the God-King, which culminates in Duane conquering the Kennedy-Sphinx by answering the riddle thusly…

ShadeNewSphinx

Only it wasn’t Duane who answered the riddle, but Shade, who explains how he switched places with Duane in a breathless Speed Racer-style monologue that’s really hard to follow, but who cares, because the point is, America killed Kennedy, y’all. We’re all guilty.

Next thing you know, Shade is drawn back into the Area of Madness, and Kathy has to save him, which requires a retelling of his origin. And unlike Alan Moore’s Swamp Thing reinterpretation–which added a completely revolutionary subtext to the original origin without changing really any of the details–in Milligan’s telling, Shade was not a secret agent unfairly framed, but a sensitive, poetic young soul, not unlike Lord Byron, who was recruited for a secret project by a dastardly figure called Wizor (one of the illusory figures constantly appearing around Shade and the only character other than Shade to appear from the original book so far).

 

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And at this point, I was getting pretty tired of the whole thing. I wasn’t much interested in being preached to about America’s perceived sins by some Brit, I thought the book was confusing-bordering-on-boring, and I didn’t like the way the book tried to capitalize on Ditko’s original story while dismissing it in almost every detail. I wanted to read a book about a science-fictiony super-hero fighting science-fictiony villains, not a book about a sensitive young poet battling madness with the “smithy of his soul.” It amazes me to this day that the book lasted for 70 issues.

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