Month: July 2021

Categories
Comic Books & Graphic Novels DC Comics

POWER GIRL # 15 (2010 DC Comics)

Written by Judd Winick

Art by Sami Basri; John J. Hill; & Sunny Gho

Cover Art by Sami Basri

SUMMARY:

Entitled “Bomb Squad, Part Two,” DC Comics released this issue for October 2010.  The first page relays the childhood backstory of arms trafficker Randall Mikavic before he becomes the gigantic CRASH (resembling a Chemo-sized Parasite,  with a similar origin to Metallo).  Only Power Girl stands in the gigantic drone’s way from demolishing New York City.  Recruiting her Starrware Industries employee (and elite ex-hacker) Nicholas Cho, Power Girl needs his illicit access of classified military data to find CRASH’s weak spots, assuming this living weapon has any.  Two plot twists await Power Girl, as outlasting CRASH in hours of combat won’t be enough.   

REVIEW:

Meant for teens and up, Judd Winick’s storytelling this time offers sufficient entertainment, but it’s hardly remarkable.  Case in point: CRASH is a blah composite of far more intriguing threats regularly harassing Superman.  This whole issue is Power Girl’s ongoing battle vs. CRASH, with a sub-plot built for her reluctant aide, Nicholas Cho.  Though Power Girl fans will likely be satisfied by Winick’s script, Karen Starr’s less-than-compelling persona as Supergirl’s late-twenties Earth-Two counterpart doesn’t deliver much for casual readers. 

Still, the art squad’s visuals are excellent.  For that element alone, Power Girl # 15 is probably a keeper.   

ADDITIONAL CONTENT:

In a “DC Nation” column, Senior Story Editor Ian Sattler hypes Fan Expo Canada  

BRIAN’S ODD MOON RATING:                              6 Stars

Categories
Comic Books & Graphic Novels DC Comics

TEEN TITANS # 31 (2006 DC Comics)

Written by Geoff Johns

Art by Tony S. Daniel; Todd Nauck; Mario Alquiza; Richard Bonk; Tanya Horie; Richard Horie; & Comicraft

Cover Art by Tony S. Daniel & Mario Alquiza

SUMMARY:

Entitled “Lost and Found: Part 2 of 2” DC Comics released this Infinite Crisis precursor for 2006.  The Teen Titans (Raven; Beast Boy; Bart Allen’s Kid Flash; Cassie Sandsmark’s Wonder Girl; & Mia Dearden’s Speedy) are attacked by the new Brother Blood’s (Sebastian Blood) legion of zombie Titans.  His hell-raising horde includes Tula (the original Aquagirl), Kole, Phantasm, and the original Hawk & Dove, along with an army of demonic flying demons.  Also present is Blood’s vampiric mother, Omen. 

In desperation, Raven & Beast Boy seek help at the mystical Crossroads between life and death where a captive Kid Eternity awaits them.  From another dimension, Superboy-Prime resentfully spies upon Conner Kent/Superboy’s life in Smallville, as he deems it time for a decisive showdown.

Interspersed throughout the story, in an alternate reality, the downtrodden Zoo Crew tries to provoke Captain Carrot back into action to solve a murder-mystery.  It’s revealed that multiple Zoo Crew members are now dead.  

Note: In the Page 2-3 double-page spread, the background includes a comic book store with a sale on Captain Carrot back issues – apparently, it’s meant as an in-joke.

REVIEW:

Most notably, the art squad’s visuals are outstanding in their Titans segments, including the cover image.  Predating DC’s Blackest Night by several years, these zombie Titans are an intriguing threat vs. Wonder Girl’s understaffed squad.  In that sense, DC reflects its Crisis on Infinite Earths-era continuity well by featuring three Titans killed off in that epic series, as well as a few other Titans that long-time readers will likely recognize. 

With Tim Drake’s absence (and only a cameo by  Superboy), franchise players Beast Boy & Raven’s chemistry carries much of the load this time.  This creative choice mostly satisfies, in terms of Geoff Johns’ storytelling.  Updating Kid Eternity, for instance, is a neat idea, let alone bringing back this obscure character back from oblivion.  

A weak counter-balance is Johns’ sequel to Captain Carrot’s comedy adventures; what exactly he meant to accomplish is debatable.  Resembling a bleak cross-blend parody of Identity Crisis and Watchmen, there’s nothing amusing about this dark reboot.  Corrupting a lighthearted, mid-80’s DC kiddie franchise for kicks isn’t the mark of creative genius; it merely foretells DC’s efforts years later ‘adapting’ classic Hanna-Barbera characters for adult consumption.  Ultimately, sleazing down The Zoo Crew and calling it adult humor is a recipe for creative disappointment, not to mention an awkward reading experience.    

Johns’ primary storyline, especially with its high-caliber art, is a keeper. His grim re-imagining of Captain Carrot and friends, however, is best left to collect dust.

ADDITIONAL CONTENT:

In the full-page “DC in Demand” column, their so-called ‘mole’ includes thumbnail covers for Justice # 3; Adventures of Superman # 647; and Teen Titans # 32.    

BRIAN’S ODD MOON RATING:                   6½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics

WEB OF SPIDER-MAN ANNUAL # 10 (1994 MARVEL Comics)

Written by (See Below)

Art by (See Below)

Cover Art by Alex Saviuk

SUMMARY:

Released in 1994 by Marvel Comics, this 64-page annual consists of a lead Spider-Man story, along with three back-up tales of varying lengths – one of which is a prelude to Black Cat’s first mini-series.

Spider-Man: Shriek, Rattle, & Roll (32 pages).  Writers: Terry Kavanagh & Mike Lackey, with Art by: Jerry Bingham, Tom Palmer, Steve Dutro, & Freddy Mendez.  Continuing out of Spider-Man Unlimited # 1, this ‘Maximum Carnage’ sequel depicts Spider-Man uneasily observing Shriek’s transfer into the revamped Ravenscroft Institute.  While Warrant and his boss, Reynard, scheme to take advantage, Shriek and four fellow super-powered inmates initiate a desperate jailbreak.  All that stands now between them and freedom is Spidey and security director John Jameson.  Also making appearances are two other Ravenscroft staff members: psychiatrist Dr. Ashley Kafka and counselor Edward Wheelan (formerly Vermin).  Shriek’s next appearance is announced for Amazing Spider-Man # 390.

Warrant: Daze and Confusion (6 pages).  Writers: Terry Kavanagh & Joey Cavalieri, with Art by: Alex Saviuk, Don Hudson, Sergio Cariello; & Joe Andreani.  Warrant goes gunning for action, as the hypnotist, Daze, tries coercing a mesmerized Senator Gaines into committing a supposed suicide from his high-rise office.             

Black Cat: Tabula Rasa (9 pages).  Writer: Mike Lackey, with Art by: Sergio Cariello, Keith Williams, & Bob Sharen.  Setting up Black Cat’s four-issue Chimera Lost mini-series, the elderly Black Fox dares casing Felicia Hardy’s apartment to reclaim a stolen necklace.  Suffice to say, an infuriated Black Cat isn’t to be trifled with. 

Prowler: The Power of Resistance (8 pages).  Writer: Joey Cavalieri, with Art by: Vince Giarrano, Steve Dutro, & Bob Sharen.  Probing a series of truck hijackings, the Prowler confronts the vicious street gang, ‘The Broken Skulls.’ Among them is an unexpectedly familiar face.  Worse yet, a new high-tech foe emerges: the Resistor.

REVIEW:

In a business-as-usual way, the whole package is solidly written for pre-teens-and-up.  Still, the visuals are the top asset, as the different artistic styles are all well-illustrated.  Of the four tales, Black Cat’s caper and the Spidey vs. Shriek showdown are the most welcome reads.  Further, “Tabula Rasa” sports this annual’s best visuals presenting Felicia Hardy as the Marvel Universe’s answer to Catwoman.  Shriek makes an intriguing Spider-foe, even if spearheading a 5-1 handicap against Spider-Man is still too easy for him to overcome.  As a fresh Marvel nemesis scoring plenty of ‘screen time,’ Shriek, at least, lives up to her potential. 

As for the other two stories, they are decent perusals.  Between them, Prowler’s adventure prevails, as far as superior graphics go.  For Spider-fans, Web of Spider-Man Annual # 10 delivers the necessary goods, in terms of a traditional comics annual.  Even Annual # 10 isn’t  a must-have, it’s worthy of any comics collection. 

ADDITIONAL CONTENT:

In full-page format are seven high pin-ups: Spider-Man (artists: Vince Giarrano & Paul Becton); Black Cat (artist: Steve Geiger); Prowler (artists: Bill Reinhold & Linda Lessmann); Cardiac (artists: Mark Tenney, Keith Williams, & Paul Becton); Nightwatch (artists: Tenney, Williams, & Becton); Solo (artists: Tom Lyle, Sam DeLaRosa, & Paul Becton); & Puma (artists: Sam Buscema & Paul Becton).  The pin-ups are terrific, though Geiger’s Black Cat is easily the most stylish.  

BRIAN’S ODD MOON RATING:                      7 Stars

Categories
Books & Novels History & Biographies (Books) Movies & Television (Books) THREE STOOGES-Related

I STOOGED TO CONQUER: THE AUTOBIOGRAPHY OF THE LEADER OF THE THREE STOOGES

Written by Moe Howard

SUMMARY:

Moe Howard’s posthumous memoir was first published in 1977 by Citadel Press as “Moe Howard & the 3 Stooges.”  This updated 241-page edition was released by Chicago Review Press in 2013.  Besides the sly title change (to one Moe evidently preferred), this update swaps out and/or shrinks several photos from the first book.  As before, all photos are in black-and-white.  Also, Moe’s daughter, Joan Howard Maurer, provides a foreword, as she had helped complete the manuscript following his death in mid-1975.

Moe recounts his immigrant family’s humble life in turn-of-the-century Brooklyn, including anecdotes of his and older brother Shemp’s shared penchant for troublemaking.  In addition to revealing why he first got his trademark bowl cut, Moe discusses his stints as a child film actor and working professionally onstage in his teens. 

From starting in vaudeville with Shemp to working for childhood friend Ted Healy, Moe describes the Stooges’ evolution from Healy’s low-paid sidekicks to achieving their own stardom at Columbia Pictures for a quarter-century and beyond.  With gradual changes in the trio’s line-up (including why younger brother Jerome, aka ‘Curly,’ replaced Shemp and later vice-versa), Moe’s narrative continues through to early 1975, including his activities in retirement. 

REVIEW:

It’s an undemanding read for those who prefer a loose overview vs. detailed accounts.  Moe shares several terrific anecdotes, but there’s scant details re: his fellow Stooges outside of work. 

Other than briefly explaining why the trio twice broke up with Healy, Moe rarely dishes dirt, so to speak.  Presumably, this classy gesture is meant to guard his family and friends’ privacy, so other biographical sources are necessary for a fuller account of the Stooges’ show biz history – for instance, The Three Stooges Scrapbook (co-authored by Moe’s daughter) would be an ideal supplement.  Still, Moe’s humble memoir proves a fun and endearing experience for Stooge fans, preferably for ages 12+. 

Parental Notes: Young readers might need clarification of some vaudeville terminology – specifically, the difference between ‘whiteface’ and ‘blackface’ acts.  Also, the ‘n-word’ twice appears in an early 1930’s racist incident Moe describes.  Specifically, Moe is quoting a Jacksonville, FL theater manager, who angrily fires them for Moe’s friendly interaction with an African-American passerby.

ADDITIONAL FEATURES:

From the Stooges’ films, stage work, promos, and Moe’s home life, there’s innumerable photos. Joan Howard Maurer’s insightful and poignant foreword expresses more of her dad’s sentimentality than he himself was willing to admit.  She also acknowledges that a few details in the book’s original text are incorrect.  For instance, she specifies the year (1928, not 1925) and location re: when Ted Healy first recruited Larry Fine into the act at a Chicago nightclub. 

Like its previous version, the book includes an afterword acknowledging Moe’s passing before his memoir was completed.  There’s also a full Stooges filmography and an index.    

Note: Moe’s text claims that, he, too, was present when first meeting Larry, but other reliable sources (i.e. The Three Stooges Scrapbook) state that Shemp was there with Healy (without Moe).     

BRIAN’S ODD MOON RATING:                        7 Stars

Categories
Comic Books & Graphic Novels DC Comics

DOOM PATROL # 13 (2010 DC Comics)

Written by Keith Giffen

Art by Matthew Clark; Ron Randall; John Livesay; Pat Brosseau; & Guy Major

Cover Art by Matthew Clark & Guy Major

SUMMARY:

Entitled “I’m Still Rita,” DC Comics released this issue for October 2010.  At their Oolong Island base, Cliff Steele/Robotman & Larry Trainor/Negative Man are stunned by Rita Farr/Elasti-Woman’s ghastly secret re: her resurrection.  Hence, the revival of all four original Doom Patrol members comes full circle after the fateful explosion at Codsville, Maine years before.  Robotman confronts Nile “The Chief” Caulder for his role in Rita’s controversial rebirth.  Worse yet, Caulder coldly shrugs off the potential effects on Rita’s psyche, as she horrifically discovered the truth first before he intended to tell her.

Rita elaborates on her inhuman daily routine to her best friend, Karen “Bumblebee” Beecher.  Case in point: Rita explains why she keeps so many old close-up photos attached to her bedroom mirror.  Negative Man and Robotman reflect on Rita’s new existence, especially as they had envied her as being the closest to normal humanity in the trio’s early years.   Waiting for Steve “Mento” Dayton, at his home, Rita somberly remembers her origin as Elasti-Girl.  Personal demons come back to haunt them, as Rita furiously confronts her ex-husband for his years of psychic voyeurism that she is now finally aware of.

Parental Note: One panel implies a sunbathing Rita Farr as virtually nude.

REVIEW:

In spite of its grim sci-fi/horror aspects, writer Keith Giffen’s Doom Patrol scripting again proves impressive.  Conveying a sophisticated, Vertigo Comics-style ambiance, Doom Patrol # 13 best utilizes DC’s artificial shape-shifting concept that has been seen before (i.e. the 1990’s Matrix Supergirl). 

Caulder’s role, as the team’s remorseless Dr. Frankenstein, therefore, make perfect dramatic sense, as to why he contributed to and still exploits Robotman, Negative Man, and now Elasti-Woman’s inhumanity.  Further, the chemistry between the original Doom Patrol trio and their various shades of animosity towards Caulder is well-played.  Playing off implied incidents (retroactively set up by Giffen & Co.) from the Daytons’ failed marriage, a very personal confrontation igniting Rita’s wrath upon the ex-Mento adds even more depth to the team’s well-constructed storylines.      

Supporting Giffen are stellar visuals from the art squad (i.e. the enigmatic cover image).  While Doom Patrol # 13 isn’t kid-friendly,  it’s a high-caliber read for adult fans.

ADDITIONAL CONTENT:

For the “DC Nation” column, Senior Story Editor Ian Sattler teases some art samples from an not-yet-disclosed project.  

BRIAN’S ODD MOON RATING:                         8 Stars

Categories
Comic Books & Graphic Novels DC Comics

DOOM PATROL # 3 (2009 DC Comics)

Lead Feature Written by Keith Giffen. Lead Feature Art by Matthew Clark; John Livesay; Pat Brosseau; & Guy Major.

Back-Up Feature Produced by Keith Giffen; J.M. DeMatteis; Kevin Maguire; Guy Major; Nick J. Napolitano; & Sean Ryan.

Cover Art by Matthew Clark & Guy Major.

SUMMARY:

Entitled “Earth Science,” DC Comics released this issue for December 2009.  Dispatched to Germany, the original Doom Patrol (Rita Farr/Elasti-Woman, Cliff Steele/Robotman, & Larry Trainor/Negative Man) confronts a sentient black hole capable of channeling itself through humans, individually or in mass.  Yet, its expendable mortal pawns then incinerate once this black hole moves to another host body. 

With more than 125,000 civilian lives at stake in the city of Cottobus, Niles “The Chief” Caulder prods Steve Dayton to use his psychic Mento helmet to help thwart this menace.  At Caulder’s bidding, Dayton reluctantly takes over his ex-wife Rita’s mind (without consent) via remote from the team’s Oolong Island base.  

Note: A variant cover featuring The Metal Men by Matthew Clark, Kevin Maguire, and Guy Major was produced.

REVIEW:

Keith Giffen’s quirky storytelling is superb, but the bleak sci-fi/horror details don’t lend to a casually entertaining adventure.  Instead, this cerebral take on the Doom Patrol belongs to DC’s Vertigo Comics imprint, even if it isn’t billed as such.  Case in point: the creepy interaction between Caulder and a repentant Dayton alludes that the ex-Mento has secretly invaded his ex-wife’s mind innumerable times before.  It’s an intriguing plot point that Giffen effectively mines for later issues (i.e. Issue # 13), along with playing up Rita/Cliff/Larry’s comradery to its satisfying potential. 

Even better yet, the art squad’s visuals are superbly rendered, including the cover image.  While Doom Patrol # 3 isn’t meant for kids, it’s a mature exploration (without senseless profanity) of these underrated characters.

ADDITIONAL CONTENT:

The Metal Men’s ten-page back-up tale is entitled “I … Robot Hunter!”  Seeking to prove herself a good neighbor, Copper naively stumbles into a hostage situation next door perpetrated by an unhinged TV actor, with a vendetta against all robots.  Meanwhile, Dr. Magnus accompanies his other six Metal Men to the local DMV to obtain their driver’s licenses.  This sitcom is mildly amusing, but it doesn’t reach the LOL potential of its premise.  Suffice to say, the Metal Men’s well-crafted artwork surpasses the decent scripting.   

The last page is Dan DiDio’s “DC Nation” column.  With Weather Wizard’s ‘help,’ he teases a special event meant for the one-month break pausing the Blackest Night saga.

BRIAN’S ODD MOON RATING:                        8 Stars

Categories
Digital Songs & Albums Music & Radio Shows Rock & Symphonic/Metal

DARKNESS ON THE EDGE OF TOWN (by Bruce Springsteen)

SUMMARY:                                 RUNNING TIME: 43:00 Min.

Darkness on the Edge of Town is Bruce Springsteen’s fourth studio album released on June 2, 1978, by Columbia Records. This ten-track album was recorded from June 1, 1977, to March 15, 1978.

Track Number/Title:                              Run Time:

            SIDE A

  1. Badlands                                                      4:03
  2. Adam Raised a Cain                                     4:32
  3. Something in the Night                                  5:11
  4. Candy’s Room                                              2:51
  5. Racing in the Street                                       6:53                   

SIDE B

  • The Promised Land                                       4:33
  • Factory                                                         2:17
  • Streets of Fire                                                4:09
  • Prove It All Night                                         3:56
  • Darkness on the Edge of Town                     4:30

REVIEW:

Darkness on the Edge of Town embodies the idea of a dying American dream.  It’s very much a vinyl experience.  The first five tracks (call it ‘Side A’) correspond with Tracks # 6-10, as different sides of a common theme.  The album’s dark and gloomy tone is on full display, as Springsteen and The E Street Band clearly illustrate this message for their listeners.  The opening track, Badlands, shows a character who’s trying to survive within the working class. The struggle between following one’s dreams while having bills to pay makes Badlands routinely considered one of Springsteen’s best works.

The second track is even drearier depicting Springsteen’s relationship with his father. Adam Raised a Cain is average, but the guitar riff is one of the most distinctive in Springsteen’s arsenal.   Something in the Night shows a man reminiscing about his dreams. His dreams feel so far away, as if they are lost in the night.  It’s a sad song that proves underrated.

Candy’s Room is a short and sweet love song that breaks up the preceding tracks. It’s a great tune, but it belongs on Springsteen’s prior album, Born to Run — not Darkness on the Edge of Town.  The fifth track, Racing in the Street, may display Springsteen’s innate storytelling ability more than any other song on the album.  The main character finds an escape from national turmoil in street racing, and it loses him the girl. It’s a heartbreaking yet soothing song that is easily among the best in Springsteen’s career.

The Promised Land clearly explores the opposite perspective of Badlands. This track now shows the light at the end of the tunnel instead of the bleak reality found in Badlands.  Promised Land shows a character daydreaming of the promised land; yet, he isn’t going anywhere. Promised Land is a relatabletrack and again one of Springsteen’s best tunes.

Factory again references Springsteen’s father, this time as a factory worker. It’s a forgettable piece, and there are better Springsteen songs that tell this same story.  The eighth track, Streets of Fire, has a similar style to Adam Raised a Cain.  Its aggressive melody compliments the lyrics of someone who has been lied to about the realism of an American dream. Streets of Fire has a similar theme to many of the other songs on this album, but it’s still worth a listen.

Prove it All Night is the second love song on Darkness on the Edge of Town. The lyrics come off as very similar to I’m on Fire, and the track feels closer in spirit to The Rolling Stones. With that being said, it serves its purpose,

Finally, the title track, Darkness on the Edge of Town, encapsulates the message that Springsteen has laced throughout the album.  The character’s lost everything; yet, he finds something worth living for.  His voice painfully echoes desperation and despair; and, yet, hope and triumph aren’t lost.  The title song perfectly closes out the album by showing the character’s motivation to rise above everything that drags him down.

Darkness on the Edge of Town has arguably become Springsteen’s best album and for good reason. The balance between dreaming of a better life and living in an even bleaker reality is what makes Darkness so powerful. 

ROSCOE’S ODD MOON RATING:                            8 Stars

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Categories
Digital Songs & Albums Music & Radio Shows Rock & Symphonic/Metal

BORN IN THE U.S.A. (by Bruce Springsteen)

SUMMARY:                              RUNNING TIME: 46:00 Min.

Born in the U.S.A. is Bruce Springsteen’s seventh studio album.  It was released on June 4, 1984, by Columbia Records. This twelve-track album was recorded from January 1982 through March 1984. 

Track Number:                                     Run Time:

  1. Born in the U.S.A.                               4:38
  2. Cover Me                                              3:26
  3. Darlington County                                  4:48
  4. Working on the Highway                         3:13
  5. Downbound Train                                   3:35
  6. I’m on Fire                                             2:37
  7. No Surrender                                         4:01
  8. Bobby Jean                                             3:46
  9. I’m Goin’ Down                                      3:30
  10. Glory Days                                            4:15
  11. Dancing in the Dark                               3:59
  12. My Hometown                                        4:34

REVIEW:

Born in the U.S.A. kicks off with a brash anthem describing a soldier adjusting to life after the Vietnam War.  Springsteen is able to identify the flaws in the United States while still calling it his home. Add a phenomenal performance on the drums by Max Weinberg, and there’s a reason why it’s Springsteen’s trademark tune.

Cover Me is an unimaginative love song, but it works for what it is.  The third track, Darlington County, is one of Springsteen’s “story songs,” as  two boys go cruising from New York to Darlington County.  It’s closer in spirit to his 1980 album The River, but it gets the job done.  Working on the Highway is an upbeat, 60’s style track about a middle-class road worker. It’s catchy but ultimately forgettable.

Downbound Train is easily the most underrated on this set.  It follows Springsteen’s classic “working man who falls out of love” formula, but it still remains one of the better songs on Born in the U.S.A.  The sixth track, I’m on Fire, is a simple but very catchy tune.  It’s one of Springsteen’s best-known and most covered songs of his career. 

No Surrender is another song that strays away from rock and draws closer to pop.  It’s another song that’s hard not to sing along to.  Bobby Jean shows a man reminiscing about his relationship with his old girlfriend, Bobby Jean.  It’s a solid track, with a great sax solo by Clarence Clemons.  Track 9: I’m Goin’ Down, is a repetitive piece that isn’t anything special.

Glory Days has ‘The Boss’ reflecting upon his younger years. It’s consistently considered one of the best songs from Born in the U.S.A. and is definitely worth a listen.  The album’s most successful track would be Dancing in the Dark.  It’s likely the most complete song from Born in the U.S.A., with its use of synthesizers, drums, saxophone, and its face-paced tempo. 

Born in the U.S.A. closes with My Hometown. It’s a sad look at someone’s hometown that has fallen victim to racial and economic despair. This final trackcaptures the essence of Springsteen’s overarching message of what it’s like to grow up.

Born in the U.S.A. was Springsteen’s breakthrough into mainstream media, as his album mixes traditional rock with a more contemporary pop sound for the time.  It has become Springsteen’s best-selling set and is arguably his best work.

ROSCOE’S ODD MOON RATING:                 8 Stars

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