Michael Deeley has been reading comics since he was 12 years old. His first book was an issue of Silver Surfer by Jim Starlin, leading him to see all comics as ideological conflicts with big-ass fight scenes. At the very least, he expects a comic to be entertaining in some fashion, which is why he thinks Secret Wars II is better than Dark Knight Strikes Back. He has never work in the comics field, but he does have a belligerent attitude and a lot of free time.
During his brief intervals in the real world, Michael looks for a paying job that should, (theoretically) lead to a better life involving more comics, privacy, and women.
He currently lives between Pittsburgh, PA, and the Pittsburgh International Airport, in a suburb so new, it only has one McDonalds.
Although the origin of the Flaming Carrot was never revealed, it was suspected he used to be a wealthy industrialist who, on a bet, read 5,000 comic books in one sitting. This destroyed his mind and drove him to become the blue-collar, nonsensical, flaming vegetable- headed hero. So instead of a quote about gluttony or full runs, just think of something funny from a Flaming Carrot comic. In fact, let’s think of his crossover with ‘Cerebus’ in the ‘Church and State’ storyline.
Heh-heh. That was a good one.
During the week of Thanksgiving, I stuffed my head as full as my gut. I didn’t just read comic books; I read full runs of comic books. That’s entire series, epic stories, or every issue from a creator’s run.
What was I thinking?!
I seriously underestimated how many books I could read. I honestly thought I would read all 36 issues of Dennis O’Neil’s ‘The Question’, an Essential Marvel or two, and wrap it up with my complete ‘Starman’ collection. Instead, I read the three volume ‘Daredevil Visionaries: Frank Miller’, Osamu Tezuka’s ‘Adolf’, the short-lived ‘Chase’, and almost 3 ‘Starman’ TPBs. This was in addition to my weekly crop of new books.
Still, I learned a few things. I learned that I can’t sit still and read comic books for more than 45 minutes at a time. I’ve learned to see an artist’s talent grow and develop over the course of a series. A series needs time to define and shape itself. But most importantly, Adolf Hitler was fucking nuts! I know that’s not news, but if half the stuff Tezuka wrote about him is true, I can’t imagine how ANYBODY could’ve followed this guy!
But let me start at my beginning. Frank Miller became a star through his work on ‘Daredevil’ at the turn of the 1980s. His initial run, ‘Daredevil’ #158-#191, (not counting a fill-in by Steve Ditko), turned an often ignored second-string character into a fan favorite. Miller’s stories resembled classic detective noir fiction that typical superhero comics. He drew inspiration from a variety of sources, including detective fiction and Will Eisner’s ‘Spirit’. He also created one of the most compelling and sexy female characters in comics: Elektra. Miller’s artistic and sales success on ‘Daredevil’ led to his work for DC comics, where he reinvented Batman as a very dark knight. Today, many artists and writers cite Miller as an influence on their work. He’s inspired others to write and/or draw stories that dealt with darker, more violent themes.
Of course, you can’t tell any of this from reading his first ‘Daredevil’ issues. Miller was originally just the penciller, working from scripts by Roger McKenzie. When he came on board, ‘Daredevil’ was just another superhero adventure comic, no different from most other Marvel books. By issue #162, however, Miller was co-plotting and writing full scripts, often with inker Klaus Janson. Issues #162-#182 represent the best of Miller’s work on the title, in my opinion. I call these issues “The Elektra Saga”, as they begin with Elektra returning into Daredevil’s life, and end with her death. In between, we see how an idealistic girl became a hard, bitter woman, why Wilson Fisk is the feared Kingpin of crime, and what makes Daredevil a hero unlike any other. These stories are filled with a passion and intensity not often seen in comics today and even rarer when they were first published.
Reading these stories for what must be the third time, I began to notice the little things. The subtle, complex use of light and shadow to evoke menace; the little bits of humor here and there that lighten an otherwise depressing story; the way Elektra’s eyes go soft at the mention of Matt Murdock’s name, then suddenly hard as all the memories come back. Elektra, in fact, is the star of much of the story. Too often, writers use her as just another “bad girl” character, someone who looks hot while killing guys with long knives. When Miller created her, she was a woman in pain. She withdrew from the world that had taken away her father. She became an assassin, a killer, to attack that world. But inside was the soft, gentle girl who still loves a blind lawyer. That conflict, that tragedy, is the core of Elektra’s character. All else stems from that.
It’s hard not to fall in love with her.
From one tough gal to the next: ‘Chase’ was written by D. Curtis Johnson, and drawn by J. H. Williams III and Mick Gray. The series featured Cameron Chase, a private detective hired by the D.E.O., the DC universe’s newest government agency dedicated to monitoring and controlling superhumans. Chase’s father was a costumed crimefighter, but she never knew it until she saw him killed by a supervillain. Since then, she’s nursed a grudge against any hero who has a secret identity. Chase doesn’t want anybody else hurt like she was. Ironically, Chase has a superpower herself: the ability to scramble or negate anyone else’s natural superpower. Chase keeps this a secret and may not fully acknowledge this ability.
Great concept, right? A government agency trying to learn the secrets of the DCU’s greatest heroes. It’s later revealed they’re working on ways to kill them, “just in case”. A lead character who’s tough, self-confident, and not afraid to stand up to the guys in masks. (Hell, she’s not afraid of Batman! How ballsy is that?) An entire series based on the idea of treating the world’s greatest superheroes with fear and suspicion, starring someone who doesn’t automatically worship them. It’s like the opposite of ‘Marvels’. And for all you 80s fans, Mr. Bones, the man with the cyanide touch and invisible skin, is revealed to be the director of the D.E.O. A former member of Infinity, Inc. How did this reformed villain get into such a position of power? Does he still have contacts within the superhero community? And does he use them for valuable information? Plus, you have the moody, detailed art of William & Gray, the duo who would receive multiple Eisner award nominations for their work on Alan Moore’s ‘Promethea’.
It ran for 10 issues, plus Chase’s first appearance in ‘Batman’ #550. It began and ended almost completely in 1998.
Why? I’m still trying to figure that out. Why? DC cancelled a lot of books in the late 90s that had ardent fans and good reviews, like ‘Major Bummer’ and ‘Young Heroes in Love’. These were different series, with off-beat stories that tweaked around typical comic book stories. Why cancel them before they reached their 25th issues, or even their 12th? Perhaps publishers are not as patient as readers. As a business, DC needed to see a return on their investment. On the other hand, it takes time for a comic book to gain an audience. 10 months is not enough time.
So we’re left wondering what might have been. Johnson & Co. were planting the seeds for a larger story, one that would have revealed the true purpose behind the D.E.O. Were they really trying to find ways to kill superheroes? Train superhumans of their own? Perhaps trying to find the means to give powers to everybody? We may never know.
‘Chase’ is luckier than most comics, in that the characters continued to appear in other books. Chase and the D.E.O. exposed most of the Martian Manhunters identities early in his monthly series. Chase and Bones have also appeared in ‘JSA’. Some of the Secret Files & Origins specials feature a Cameron Chase story written by Johnson. The best include ‘Batgirl SF&O’ #1, ‘Joker, the Last Laugh’ #1, and ‘Green Arrow’ #1. Some of these stories mention a search for a mole within the D.E.O., someone who’s been leaking information. But with such infrequent appearances, it seems this story won’t be resolved either.
Pity.
Osamu Tezuka is called the God of Manga. He’s credited with helping to transform manga into a medium with literary merit and public respect. Surprisingly, I never heard of him. Not even when I read random manga books for a previous columns. So, yes, I really am that clueless. But all that’s changed, because I’ve read ‘Adolf’, considered to be one of Tezuka’s best works, if not his greatest.
The 5-volume ‘Adolf’ tells the stories of two Japanese boys, both born of German immigrants. Adolf Kammil is the son of a German Jewish baker who’s settled in Kobe, Japan. Adolf Kaufmann is the wealthy son of a Japanese woman and a high-ranking German diplomat. Although friends as boys, they are torn apart by events stemming from WWII. Also involved is Tohei Koge, a sports writer whose brother is murdered by SS agents. The lives of these three people, and many others, will be changed forever by documents proving Adolf Hitler’s Jewish ancestry!
This is one of the greatest comic books I’ve ever read! It’s absolutely wonderful! Tezuka has earned the title “God of Comics”! This richly told story spans 50 years, touches on dozens of lives, and seamlessly weaves them together with historical events. Tezuka’s art appears simple and humorous, but it’s a deception. The apparently simple and obvious nature of the art lures the reader into the story. Once there, he is confronted with brutal violence, heart-breaking romance, tear-jerking tragedy, and soaring triumph. The art is simple, but also direct. You feel everything as intensely, as acutely, as if it was happening to you!
‘Adolf’ has a very simple message: People are people. Life is life. Throughout the story, we see how the imagined differences of race and culture, as well as the imposed differences of nationality create violence. Tezuka is critical of any patriotism or ideology that places one people above another. When a young Jewish girl dreams of Jews founding their own nation, of going to Jewish schools and Jewish history, she makes the same mistake as her Nazi oppressors: The belief that separating oneself from others can strengthen you; that people have an ethnic purity that must be preserved. Few characters in the story can make such a claim. The Jewish girl herself has German and Asian ancestry. Adolf Kaufmann commits terrible crimes to prove he is a true German.
The story is not limited to WWII. The lives of our two Adolfs and Koge continue into the 1970s and 80s. Haunted by guilt, Kaufmann wanders the world eventually joining Palestinians in their continuing war against Israelis. He finds himself facing Kamil, who leads a squad of Israeli terrorists. Ultimately, we see that revenge is not justice. Violence begets violence. Anger denies one peace in life. The story begins and ends with Koge visiting a grave. Out of all the characters, he has lived the longest. Although his life has been marred by tragedy, he never let himself be consumed by anger. He remained hopeful and forgiving, and therefore happy.
A simple lesson, but we often forget.
Finally, I started reading my ‘Starman’ TPBs. I didn’t get much father that issue #24 in Vol. 3. I have, however, written a complete summary of the series that was posted on this site in 2002. You can check them out here:
I will say now that ‘Starman’ is one of the best superhero comics ever written. However, it took it a while to find its unique niche. James Robinson wrote many characters with the same “voice” in those early issues, but they soon developed their unique styles. Had ‘Starman’ been cancelled early, it would not have become the great comic it is today.
Just a little reminder to all you publishers who expect instant returns on your investments. Remember, you’re selling stories. And stories need time to be told, some more than others.
Patience.
And now for this week’s reviews:
Uncanny X-Men #433 -
Wow. When Chuck Austen misses, he misses wide! OK, where to start? Well Lorna Dane is still a bitch to Annie, even though she’s confronted the source of her anger and madness. And here I thought some telepathic shock therapy would cure her. But maybe I shouldn’t have expected a quick fix to a character’s emotional problems. That kind of easy answer only happens in comic books. Up in Canada, Juggernaut slugs it out with Alpha Flight. Sammy keeps saying how Juggy’s not going to hurt him. You can hear the telegraph. Sammy’s mom is crushed by debris.
Meanwhile, having visited Plots B and C, we go back to Plot A. Havok, Carter, Jubilee, and Paige are imprisoned by Azazel’s demons. Iceman’s head is still alive, but can’t draw enough moisture from the air to reform his body. Havok gets pissed off when he learns Iceman blames him for “stealing away” Lorna and Annie and decides to, um, piss him a new body. Yeah, Havok’s gonna pee on iceman’s head so Iceman can grow a new body. Now, I’m not a biologist, but I’m certain the human bladder can’t hold enough water with mass equal to a human body. I know, being a comic book, they bend the rules of science. So if Iceman grows a whole body, or even a little, midget-sized body, I’ll let it slide. But this plot point got me thinking, “If Havok’s pee isn’t enough, are Jubilee and Paige going to pitch in?”
I never want to think about that. That’s just too pornographic for me.
Anyway, Azazel tells his story about being cast out of Earth to this pocket dimension by angelic mutants. So whenever he can, he knocks up women to give birth to teleporters to help him escape. Um, question? If Azazel can’t get out on his own, how’d he meet Mystique umpteen-years ago? Oh, also the Bible is a misinterpretation of an ancient mutant society where the “angels” “cast out” the “devils”. So, to review, the Bible is a lie, the Catholic Church is infiltrated by anti-mutant fanatics, and, (according to ‘Eternal’), Adam and Eve were an alien and his sex toy. Wow. Maybe Austen is anti-religious.
Finally, I’m sick of Philip Tan using the same facial expression for shock/surprise/horror. I’m finding the “Philip Tan Face Fall” to be as lazy and repetitive an art trick as Rob Liefeld’s Tightrope Walk, or Matt Smith’s Woman’s Butt Shot. Variety Phil, variety.
Having panned the book, there are a few redeeming qualities. Tan’s art is overall very pleasing. I like the tiny, meticulous details. Avalon’s colors are top-rate. And there are a few good lines here and there. There’s a passing reference to Austen’s recent ‘Exiles’ story featuring these X-Men. And Azazel comes across as a villain who’s just too smart for all this. The way he repeats Nightcrawler’s realization that he is “a mutant from biblical times” seems sarcastic. Azazel just has this bored yet bemused attitude towards everyone. “Look, I’ve got plans, you’re in my way, now help me or die. No? Fine. Die. I’ll try again another decade.” I like that in a villain.
But, Chuck, man, get back on the ball. I know Claremont’s taking over next year. That doesn’t mean you can slack off. Have the dignity and professionalism to go out on a strong story. And good luck with ‘Exiles’, ‘Avengers’, and ‘Action Comics’. I’ll be checking them out.
Wildcats -
Grifter’s mind is now in Ladytron’s body. Agent Wax continues to use his hypnosis to impersonate his boss. Having created the perfect car, Spartan eyes the internet. C.C. Redonzzo’s son keeps trying to escape. The Coda send The Grand Sarin to kill Zealot. And the President and his cabinet try to figure out the motivations behind Spartan’s actions.
One complaint: Can we PLEASE have a consistent cover design and/or logo? I keep missing this thing on the stands!
Solus #8 -
Final issue. Solus takes away Mystic’s sigil. With her recovered memories, we see what happened to the transcended Atlantians, the origins of all sigils, and the motivation behind the Negation’s war with our universe. It wasn’t as amazing or revealing as I thought it would be. And you’ve got to read it twice to figure it all out.
JLA/Avengers #3 -
What do you do when two universes have come to an end? Make two new ones. Then remake them. Over and over and over. . . Superman and Captain America are the only people aware of how wrong these multiple timelines really are, (cool as they may be). The rest of the Avengers and JLA learn the truth too, and vow to stop Krona from destroying both of their worlds.
I’d hate to be the guy who creates the on-line reference guide to this story. The front cover alone blows my mind. They’ve got everybody! Even the Great Lakes Avengers and Marc Anteaus, that guy from ‘JLA: Superpower’.
New X-Men #149 -
Are all agreed that I don’t like this book as much as other people, but can still acknowledge its fine style? OK? Good.
Oh, in case you care, Cyclops and Phantom X (I’m not using the stupid spelling), have assembled the remaining students to fight Magneto, who’s growing increasingly unstable. “Xorn” seems to be talking to him. And the Phoenix is on her way.
And for the record: ’Adolf’ books 2-5; ‘Daredevil’ #158-161, #163-191, from ‘Daredevil Visionaries: Frank Miller’ Vol. 1-3; a back-up story from ‘Sigil’ Vol. 4 TPB; ‘Batman’ #550; ‘Chase’ #1-9, and #1,000,000; “Santa Clause Wanted: Dead or Alive”, a Batman story reprinted in ‘The Complete Frank Miller Batman’ from Longmeadow Press; ‘Starman: Sins of the Father’, ‘Starman: Night and Day’, and ‘Starman’ #17 and #19-24 from ‘Starman: A Wicked Inclination’.
Whoof. I’m full. Next week, I’m going to the other extreme and reading one comic book. Not just one, mind you, but the same comic everyday for a week. Let’s see how long until I get sick of it.
