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CLUE VCR MYSTERY GAME (by Parker Brothers)

SUMMARY:

Released in 1985 by Parker Brothers, this interactive murder-mystery game presents a three-level storyline (easy, intermediate, and hard) where the iconic CLUE characters (including four new additions) act out visual and verbal hints.  While the recommended age range is for teens and adults, savvy pre-teens should be able to keep up. 

The storyline depicts Boddy Mansion (presumably, somewhere in New England) where a thunderstorm’s damage has stranded its self-involved guests for a long weekend.  These ten suspects mostly consist of friends, family, and staff of the late Mr. John Q. Boddy, whose own enigmatic murder has never been resolved.

Note: Despite multiple teases, the game’s plot never reveals who killed Mr. Boddy – that lingering mystery is left to the players’ imaginations.  Instead, players must decipher various combinations of which suspects are the culprits and/or victims, along with each weapon and room.  As a FYI: neither corpses nor blood are shown on-screen.

Consisting of eighteen games (6 per level) and a total of fifteen short scenes (5 per level), players are instructed to pause/stop the video between scenes for each ‘suspense’ round.  In order to win, all the murders per game must be successfully deduced.  An optional bonus is an identity game where players are each assigned suspects – they must then carefully divulge hints while deducing each other’s assigned identity.  If a player subsequently makes murder accusations and fails, then that would-be sleuth is eliminated from gameplay.  

If players decline the suspect identity component, then these Suspect cards are shuffled in with the other cards.  For practicality’s sake, the Suspect cards (essentially, suspect portraits) are also helpful for basic visual observation, as to a suspect’s attire and/or physical attributes.    

Again assuming the suspect identity game isn’t played, players are equally dealt a random assortment of three types of cards: CLUE, Suspect, and Investigation.  The number of cards dealt depends upon the number of players: at least two with a maximum of ten.  For instance: with two players evenly dealt the allotment of cards, there’s likely enough CLUE cards to deduce each solution without even really needing an Investigation card – at least, for the Blue and Green levels. 

In ongoing ‘suspense’ rounds between scenes, however, the competitive practicality of Investigation cards (i.e. options for obtaining information from another player, replaying a scene, handicapping an opponent by stealing a random CLUE card, or even hiding one to keep others from obtaining it) becomes more relevant.  Hence, with several players, there are far fewer cards to go around and outwitting opponents is a slower process.

The Storyline: Level Blue (“The Will”) allows players to familiarize themselves with the characters, rooms, and weapons.  Outlandish character secrets are alluded to, as Boddy’s will reading necessitates that the ultimate heir must outlive the others – by any means necessary. Predictably, Boddy’s unscrupulous associates aren’t thrilled that outsiders, intentionally or not, may become their fellow heirs.   

In the intermediate Level Green (“The Search”), rival searches of the manor for possible ‘alternate’ wills means at least two suspects connive to informally blackmail the others.  A kooky séance sets up the concluding Level Red (“The Secrets”).  Flaring tempers, death threats, and meltdowns will at last confirm/expose various secrets amidst the inevitable pandemonium.  

Hosted by Mr. Boddy’s gracious butler – Didit (Bill Lucas), he introduces the game. In a video tutorial, he articulately explains the rules/gameplay.  An impartial Didit also advises that he is also the sole non-suspect/victim.  The ten suspects and victims are:           

* = new to the franchise  

  • *M. Brunette (Michael Dell’Orto): Boddy’s eye-patched French attorney may be more than what he seems.
  • Mr. Lyman Green (Barry Doe): Accustomed to being a domineering bully, Boddy’s surly business partner is evasive about his actual profession.
  • *Sgt. Gray (Richard McElvain): This mentally erratic and easily distratcted state patrolman finds himself trapped with the others.
  • Colonel Mustard (Walter Clovell): Once Boddy’s hunting buddy, this pompous (and faintly British) big game hunter evidently has a similar international past as Miss Scarlet.
  • *Ms. Melba Peach (Mara Flash):  The flamboyant, young Southern belle initially claims to be a stranded motorist, but she may also be a surprise heir or something else entirely.
  • Mrs. Peacock (Betty Lee Bogue): Married multiple times, Boddy’s well-dressed bridge partner proudly notes that she never gets divorced. This sixty-ish socialite resembles the sinister equivalent of one of NBC-TV’s The Golden Girls.
  • Professor Plum (Jack Neary): Boddy’s geeky and sniveling son-in-law is also a chemist, who gleefully concocts new (and undetectable) poisons.
  • *Madame Rose (Mara Clark): She is Boddy’s ultra-eccentric, middle-aged sister, who considers herself a clairvoyant.
  • Ms. Scarlet (Janet Wong): Reputedly Boddy’s favorite knitting partner, this Asian American femme fatale gloats about her shadowy past exploits overseas … and then emphatically denies ever being there.
  • Mrs. White (Cheryl McMahon): After a quarter-century in the family’s employment, Boddy’s high-strung maid seemingly knows everybody’s secrets … despite ineptly hiding a few of her own.

Note: A 1987 sequel, CLUE II: Murder in Disguise – A VCR Mystery Game, was produced with this same cast.  Ostensibly, their characters are now all fugitives wanted for murder while hiding out undercover overseas.  Again, the ensemble’s acting hijinks are meant to come off as over-the-top dinner theater.

The Weapons: Knife, Candlestick, Gun, Poison, & Rope.

The Rooms: Hall, Dining Room, Conservatory, Kitchen, & Library.

Here’s a checklist of the game’s full set of materials, as it should include:

VHS Cassette: The video mystery’s length is approximately an hour.

CLUE Note Pad: The notepad has a full allotment of intricate 8” x 11” sheets where players can keep track of players, rooms, weapons, and write out their accusations.  Photocopying additional notepad pages may be prudent.

Detective Casebook: It explains the rules, extensive gameplay details, brief character bios, and the coded solutions.  The back cover includes suspect portraits from the Personal Identity cards.

CLUE Cards: For each game (numbered 1 through 6 per level), at least one clue is conveyed.  CLUE Cards are Blue (easy), Green (intermediate) and Red (difficult). 

Suspect Cards: Each depicting a suspect/victim, these cards are Black.

Investigation Cards: Shuffled in randomly with the CLUE cards and possibly the personal identity cards, these cards determine actions a player can take during each ‘suspense’ round. These cards are Gray. 

Writing utensils aren’t included.

REVIEW:

Given the cast’s delightfully campy approach, the Clue VCR Mystery Game retains its nostalgic charm. 

Though modern convenience means locating the video portion online, this VCR whodunnit’s cheesy interactive fun surpasses the board game’s entertainment value.  Comparatively speaking, only the suspect identity guess-who portion is something of a bore.  By this same token, the video’s tongue-in-cheek, present-day plot adheres more faithfully to the source material than the 1985 feature film set during McCarthyism. 

If one can find the complete game package, then one’s family and friends are in for a welcome treat on party game nights.  Though today’s teens will likely roll their eyes at its antiquated elements, the game’s all-ages appeal still sports a welcome asset.  Specifically, the comedic plot is depicted more tastefully than contemporary party games inspired by ‘true crime.’      

It’s a shame that Parker Brothers has not bothered to release this cult favorite in either a DVD or Blu-Ray format.  Then again, a 40th Anniversary re-release would would be welcome.

ADDITIONAL FEATURES:

Also included is a red 3-D filter strip, which allows players to read each game’s coded solution. These solutions are found at the back of the casebook.  If the strip isn’t provided, then one will have to research the eighteen solutions online.

BRIAN’S ODD MOON RATING:                   8 Stars

Notes: As a fun double-feature, an ideal film (aside from the 1985 movie) would be 1945’s black-and-white And Then There Were None. Its darkly comedic and almost spoofy approach to Agatha Christie’s classic suspense novel/play is similar to this game.

Also, in 2013, a 38-minute documentary entitled Who Did It?: The Story Behind the Clue VCR Mystery Game was released to celebrate the game’s innovative legacy.

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

SUPERMAN: THE MAN OF STEEL, VOLUME 5 (DC Comics)

Written by John Byrne & Marv Wolfman.

Art by John Byrne; Jerry Ordway; Keith Williams; Karl Kesel; P. Craig Russell; Bob Smith; Jose F. Marzan; John Beatty; John Costanza; Albert T. DeGuzman; & Dave Tanguay.

Collection Cover Art by Jerry Ordway; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2006 by DC Comics, this 208-page trade paperback reprints 1987’s Superman # 9-11; Action Comics # 592-593; and The Adventures of Superman # 432-435.

Superman # 9: “To Laugh and Die in Metropolis.” The Man of Steel contends with the Joker’s unexpected presence in Metropolis.  The Joker’s abduction of hostages Lois, Jimmy, and Perry White further complicates this situation.

Note: Lex Luthor’s back-up tale isn’t included.  However, along with Byrne’s Superman # 11, Luthor’s ‘indecent proposal’ was reprinted a decade before in DC’s Lois & Clark: The New Adventures of Superman paperback compilation meant as a tie-in to the same-named TV series.

The Adventures of Superman # 432: “Gangwar, Part One: From the Streets to the Streets!”  An apartment building fire’s prime suspect is Perry’s wayward son, Jerry.  Jose Delgado (the future Gangbuster) tries to reach Jerry’s conscience before Lex Luthor’s illicit influence damages him beyond redemption.

Action Comics # 592-593: “… A Walk on the Darkside!” and “The Suicide Snare.” Visiting Metropolis, Big Barda is abducted into its sewers by Darkseid’s fugitive demonic minion, Sleez.  A mesmerized Barda is forced to become Sleez’s  scantily-clad erotic dancer/sex slave.  The Man of Steel’s botched rescue puts him into the same predicament. 

Only an unlikely savior can clue in Barda’s husband, Scott “Mr. Miracle” Free and Oberon to intervene.  It’s up to them to save a mind-controlled Barda and Superman from making illicit pornos/sex tapes for Sleez’s underworld profit.

Superman # 10: “The Super-Menace of Metropolis!” Reminiscent of DC Silver Age tales of the 1950’s, Superman’s powers have suddenly gone haywire.  With the Metropolis police challenging him, Superman must also face the armored menace of Klaash.  The Man of Steel realizes who the logical culprit is for engineering these events against him.

The Adventures of Superman # 433: “Gangwar, Part Two: A Tragedy in Five Acts.”  Clark, Lois, and Jose Delgado become further involved in Perry’s issues with his son Jerry (and, by extension, Luthor). 

Superman # 11: “The Name Game.” Continuing Byrne’s franchise reboot, Mr. Mxyzptlk is re-introduced.  He first appears as a visual nod to Marvel Comics’ Beyonder – not to mention his anagram alias of ‘Ben DeRoy.’  Clark is immediately suspicious of Lois being instantly smitten by this suave new suitor, as if by mind control. 

Ultimately, both the Man of Steel and Metropolis must contend with the Fifth Dimension’s magical imp and his destructively playful impulses.  Lois is later dismayed that Clark’s own affections may have shifted to someone else.     

The Adventures of Superman # 434: “Shambles.” A misguided Jerry White’s storyline continues, as Jose Delgado unleashes his costumed Gangbuster persona.  A possible love triangle ensues between Clark, a peeved Lois, and Jose.  Cat Grant is still the wildcard seeking Clark’s romantic attention.  

The Adventures of Superman # 435: “The Circle Turns.”  The mysterious telepath from Qurac returns to further torment the Man of Steel.  This time, he battles a taunting Wonder Woman, along with familiar reprises of the Silver Age’s Superman Family.       

Note: This title is also available in a digital format and a compendium hardcover.

REVIEW:

Despite veering between two very distinct styles (John Byrne’s and Jerry Ordway’s), the book’s art squads steadily contribute good visuals throughout this book.  Unfortunately, such terrific artwork is squandered by one middling plot after another.  

For instance, the Superman/Big Barda sleaze-fest (with all its smutty off-screen inferences) is a glaring disservice to both the characters and DC’s readers.  Whatever smug parody or other cheap entertainment writer/artist John Byrne sought with this two-part garbage is unfathomable – i.e. even Darkseid expresses he’s appalled by Barda’s sexual exploitation.   Without letting Byrne off the hook, any further diatribe only advertises his severe creative misjudgment.  The same contempt applies to DC Comics for reprinting such icky material – especially without a parental advisory.  

Of the seven other tales, there is no mistaking the glut of forgettable Super-dreck, such as the inexplicably weak Joker caper.  Unless one find the Jerry White/Jose Delgado’s Gangbuster storyline appealing, this tiresome volume proves far more a page count than a remotely good read.  The sole inclusion exuding an ounce of charm (let alone justifying a reprint of any kind) is the silly Mxyzptlk adventure.  Even then, such ridiculous fantasy pap that may have clicked in the Silver Age doesn’t adapt particularly well for the mid-80’s. 

Superman: The Man of Steel, Volume 5, suffice to say, is a disappointing letdown for fans.

ADDITIONAL CONTENT:

Entitled “How Did I Get Here?,” DC’s Mike Carlin pens an unremarkable two-page introduction.  Presented in a full-page format, a cover gallery (with Byrne and Ordway trading off as the cover artist) concludes this compilation.

BRIAN’S ODD MOON RATING:                               4 Stars

Categories
CD's Country, Folk, & Bluegrass Music & Radio Shows

TAKING THE LONG WAY (by The Chicks aka The Dixie Chicks)

SUMMARY:          RUNNING TIME: 1 Hour, 6 Min.

Released by Columbia Nashville Records in 2006, Taking the Long Way is The Chicks’ (aka The Dixie Chicks) seventh studio album.  All three members (Natalie Maines, Martie Maguire, & Emily Strayer) are co-writers on all fourteen tracks. 

Track 14: “I Hope” was subsequently nominated for two 2007 Grammys – specifically, Best Country Song and Best Country Performance by a Duo or Group With Vocal.  Track # 3: “Not Ready to Make Nice” ultimately scored three Grammy wins: Record of the Year, Song of the Year, and Best Country Performance by a Duo or Group with Vocal.  Taking the Long Way’s fourth and fifth 2007 Grammys would be for Best Country Album and Album of the Year.

The track list is as follows:

  1. The Long Way Around  4:31
  2. Easy Silence   4:02
  3. Not Ready to Make Nice   3:58
  4. Everybody Knows   4:18
  5. Bitter End   4:38
  6. Lullaby   5:51
  7. Lubbock or Leave It    3:54
  8. Silent House    5:23
  9. Favorite Year   4:29
  10. Voice Inside My Head   5:52
  11. I Like It    4:34
  12. Baby Hold On   5:04
  13. So Hard   4:28
  14. I Hope   5:25

REVIEW:

This album’s quintet of Grammys is merited.  Top to bottom, Taking the Long Way is an exceptional effort, as all fourteen tracks are well-played. 

As easy as it is to deem Track # 3: “Not Ready to Make Nice” this album’s best asset, it’s really more the one that leaves the most lasting impression.  Frankly, the other thirteen contemporary country tunes are just as exquisitely written,  performed, and produced, even if they aren’t all designed as radio hits. 

Impressively, Taking the Long Way offer several welcome shifts in tempo, tone, and well-structured melodies that emphasize the trio’s first-class originality.  Case in point: Track # 6: “Lullaby” is a gently low-key ballad and a simply classy effort.  The subsequent track: “Lubbock or Leave It” is a rollicking honky-tonk caper that immediately lifts off.  Though the pacing could have varied more throughout the album, the Chicks’ teamwork ensure their tracks exude the right amount of vocal energy.    

Suffice to say, more than just country music fans get their money’s worth with Taking the Long Way.  Appealing to a wide demographic beyond the genre, it’s a Chicks album definitely worth re-discovery.   

PACKAGING:

The CD is well-protected in a standard casing.  The insert is nicely produced.

BRIAN’S ODD MOON RATING:                      9 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

INJUSTICE: GROUND ZERO, VOLUME 2 (DC Comics)

Written by Christopher Sebela.

Art by Tom Derenick; Daniel Sampere; Juan Albarran; Marco Santucci; Jheremy Raapack; Pop Mhan; Derlis Santacruz; Andy Owens; Miguel Mendonca; Rex Lokus; J. Nanjan; Mark Roberts; & Wes Abbott.

Collection Cover Art by Mike S. Miller & J. Nanjan.

SUMMARY:

Released in 2017 by DC Comics, this 136-page hardcover reprints Injustice: Ground Zero # 7-12 from that same year.  Continuing her snarky narrative, Injustice’s Harley Quinn has derisively dubbed six marooned DC Universe lookalike counterparts as residents from the so-called ‘pancake dimension.’ 

Aside from the Joker, the stranded alternate-reality Justice Leaguers consist of: Hal Jordan’s Green Lantern; Aquaman; Wonder Woman; Oliver Queen’s Green Arrow, and, as ordered by the Injustice Superman for public execution, a captive Batman.  Though the Joker wears his familiar garb, these five counterparts are all wearing variants of their familiar costumes. 

A faint sense of renewed hope looms.  Allying with this short-handed Justice League, Injustice’s Batman leads a desperate rescue mission to save his tortured ‘pancake dimension’ counterpart from imminent death.  Simultaneously, the Injustice Lex Luthor makes a solo last-ditch attempt to neutralize the corrupted Man of Steel.  The Injustice Superman subsequently murders Luthor and Captain Marvel/Shazam.  They fatally dared to oppose the Man of Steel’s dual scheme: to decisively subdue Earth’s rebellion forces and then, for further measure, conquer this rival ‘pancake dimension.’ 

Both powered by magical green pills, a super-strong Harley Quinn and the ‘pancake dimension’ Joker trade off multiple times violently double-crossing one another.  With nudges from Doctor Fate and Zatanna Zatara, a pivotal interlude at the mystical Tower of Fate may forever change Harley’s mind.  Harley’s street gang later splinters into opposing factions, with one joining the Joker and the other still her loyalists.  Somehow, the fate of Earth may be determined by the outcome of this chaotic Gotham City feud. 

Meanwhile, the arrival from ‘the pancake dimension’ of its Cyborg and ultimately, Superman, sets up a final showdown.  The outcome is essentially a transition towards the premise of Injustice 2

Note: This title is also available in paperback and digital formats.

REVIEW:

As its dubious best asset, Volume 2 offers a marginally better read than the wretched Volume 1.  Despite a few good moments, glaring plot holes in writer Christopher Sebela’s repetitively padded storytelling are just too hard to ignore. 

Among such conveniently flawed details: why should Poison Ivy readily know the security access protocols from the JLA Watchtower to Batman’s ultra-secret Gotham safehouse (aside from being an ex-prisoner herself)?  Or how do certain characters already know of ongoing plot twists elsewhere without being present?  Worst of all: given the multiple setbacks Batman’s Insurgency forces have faced in five years, the relative ease of finally accomplishing their climatic victory comes off as ridiculous and underwhelming.  Deciding that all it really takes is for one good Superman to quickly defeat an evil one is a hardly satisfying resolution pitched to readers. 

Like with Volume 1, the art squad’s reliably likable visuals will compensate only so much for bewildering logic gaffes, not to mention a predictable excess of fight sequences.  Sebela’s plotting, in that sense, fixates on pushing gaudy, practically nonsensical violence vs. rendering plausible substance – or, for that matter, a remotely compelling storyline.  Harley’s definitive romantic future – does she choose either the Joker or her own reality’s Poison Ivy? – is as close as one gets to actual character depth. 

Everything else, unfortunately, is superficial truth-and-consequences, including how Injustice’s Barry Allen/Flash is the only ex-hero appalled by Captain Marvel/Shazam’s vile homicide.  Otherwise, Injustice’s irredeemable Hal Jordan, Wonder Woman, and its Superman are simply bland Crime Syndicate knock-offs.  Hence, the lukewarm Ground Zero, Volume 2 is primarily for those fans who prefer Injustice’s signature brand of sadistic mayhem.  There’s minimal justification for this storyline’s generally tone-deaf existence.  

ADDITIONAL CONTENT:

In a full-page format, the cover (both in color and slick black-and-white) precedes each story.  The cover artists are: Issue # 7 (Matthew Clark, Sean Parsons, & Andrew Dalhouse); Issue # 8 (Renato Guedes); Issues # 9-10 (Stephen Segovia & Elmer Santos); Issue # 11 (Mike S. Miller & J. Nanjan); and Issue # 12 (Clark & Dalhouse).   

BRIAN’S ODD MOON RATING:                        4½ Stars

Categories
Music & Radio Shows Records/LP's Rock, R&B, Pop, Soul, & Metal/Symphonic

GHOST IN THE MACHINE (by The Police)

SUMMARY:                RUNNING TIME: 41:03 Min.

As The Police’s fourth studio album, A&M Records initially released Ghost in the Machine in 1981. In addition to his work as bassist and on saxophone, Sting wrote all eleven tracks, though band members Stewart Copeland – drummer (Tracks # 7 and # 11) and Andy Summers – guitarist (Track # 9) also contributed.

Recorded in Canada, this album’s eleven tracks are:

SIDE A

  1. Spirits in the Material World 2:59
  2. Every Little Thing She Does is Magic 4:22
  3. Invisible Sun 3:44
  4. Hungry for You (J’Aurais Tojoures Faim De Toi) 2:52
  5. Demolition Man 5:57

SIDE B

  1. Too Much Information 3:43
  2. Rehumanize Yourself 3:10
  3. One World (Not Three) 4:47
  4. Omegaman 2:48
  5. Secret Journey 3:34
  6. Darkness 3:14.

Notes: This title is available in multiple formats (i.e. CD and digitally). Evidently, the album title is a nod to Arthur Koestler’s 1967 non-fiction book.

REVIEW:
Unsurprisingly, the majestic Track # 2 (“Every Little Thing She Does is Magic”) steals the show on Ghost in the Machine. Otherwise, this pop-reggae album’s recurring shifts between commentaries on real-world issues and metaphysical/sci-fi subject matter is at least an intriguing hodge-podge.

While Tracks # 1 and # 3 are distant favorites behind the iconic Track # 2, they still comprise a welcome opening trilogy. Afterwards, Track # 4 is performed primarily in French (for some reason). The fifth song is best known as a same-name inspiration for the cheesy 1993 Sylvester Stallone/Wesley Snipes action film. Suffice to say, Tracks # 4 and # 5 make for some good background noise, but neither one is memorable.

Track # 6 (“Too Much Information”) adds some disco flavor; if anything, this tune feels far more applicable in the Internet Age. Side B’s remaining five tracks are okay listening, but none leave much of an impression. If anything, Ghost in the Machine originates perhaps the Police’s best-ever song, plus an entourage of ten generally likable tracks that are a step above middling.

For Police fans, this album serves up a nostalgic treat. For others, it’s more like hearing a one-hit wonder.

PACKAGING:
Aside from listing the track titles, it’s ultra-sparse. The record itself lists both the tracks and their running times.

BRIAN’S ODD MOON RATING:                         6 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

SUPERMAN: THE MAN OF STEEL, VOLUME 1 (DC Comics)

Written by John Byrne.  

Art by John Byrne; Dick Giordano; John Costanza; & Tom Ziuko.

Collection Cover Art by Jerry Ordway; John Byrne; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2003 by DC Comics, this 152-page trade paperback reprints 1986’s complete Superman: The Man of Steel # 1-6 mini-series.  The project was designed to softly reboot Superman’s continuity after 1985-86’s epic Crisis on Infinite Earths.  Hence, writer/artist John Byrne re-imagines the familiar saga beginning with the destruction of planet Krypton.

Book One.  “From Out the Green Dawn …/The Secret/The Exposure/The Super-Hero” – With planet Krypton’s destruction imminent, scientist Jor-El and his wife, Lara, hastily sends their infant son’s matrix orb/escape pod into hyperspace. Unlike his wife’s condescension towards Earth’s primitive culture, Jor-El knows full well the purpose of young Kal-El’s programmed destination. 

Eighteen years later, Kansas farmer Jonathan Kent reveals to his son, Clark (Smallville’s star athlete), the hidden truth of his existence.  Seven years then lapse, as Martha Kent maintains a scrapbook of Clark’s anonymous heroics.  Forced to intervene, a high-profile, mid-air collision damaging an experimental NASA space shuttle in Metropolis exposes his secret. 

Among those immediately demanding answers is one of the shuttle’s guest passengers: Lois Lane.  Retreating home to Smallville, a despondent Clark realizes he must continue as this so-called ‘Superman.’  Martha Kent sews a colorful costume for her son’s new dual identity.       

Note: Clark states that he has quietly resided in Metropolis for three years prior to the NASA incident.  He is also already aware of Lois Lane’s celebrity status as a journalist.

Book Two. “The Story of the Century!” – While Superman acclimates to Metropolis, a tenacious Lois Lane finally resorts to desperate measures to obtain an exclusive interview.  Yet, some interloper named Clark Kent seeking work at The Daily Planet may blindside her effort to score the elusive ‘scoop of the century.’

Book Three. “One Night in Gotham City” – Come one Gotham City night, Superman meets Batman for the first time.  Their elusive mutual target is a psychotic thief dubbing herself as ‘Magpie.’  

Book Four. “Enemy Mine …” – Nearly eighteen months after Book Two, Lois Lane & Clark Kent have a platonic work date exploring Lex Luthor’s luxury cruise ship, The Sea Queen.  An at-sea hostage crisis subsequently prompts Superman’s presence.  Luthor’s simmering resentment of the Man of Steel ignites into full-blown hatred.

Book Five. “The Mirror, Crack’d …” – Confirming Superman’s alien origins, Luthor’s first strike is the creation of Bizarro.  Caught in the middle of this showdown is Lois’ younger sister, Lucy.

Book Six.  “The Haunting” – At home in Smallville, 28-year-old Clark believes it’s time to make Lois aware of his feelings.  Coming full circle with Book One, Clark encounters ‘ghost’ holograms  of his Kryptonian parents.  Meanwhile, Lana Lang confronts Clark with the fallout of the secret he had entrusted her with a decade before. 

After Jor-El & Lara’s download of Krypton’s legacy into his mind, the Man of Steel rejects their belated gift in favor of his preference for Earth and America.

Notes: This title is also available in a digital format and a double-sized hardcover. This mini-series was also the precursor to DC renaming its original Superman series – “The Adventures of Superman” and then Byrne starting a new Superman series with his own Issue # 1. DC’s third Super-title, Action Comics, was mostly left unaffected.

REVIEW:

In both scripting and visuals, unsurprisingly, John Byrne’s The Man of Steel storyline feels dated nearly forty years later.  The last page practically spells this notion out. 

While the traditional tone of his Batman team-up is spot-on, Byrne’s plotting of Volume 1 too often falls short of awe and charm.  Hence, the vibe of this simplistic reboot comes off as underwhelmingly bland.  DC Comics’ later efforts at tweaking (i.e. a closer alignment with Christopher Reeve’s Superman films) frankly makes a more cohesive and entertaining fit for subsequent reboots. 

Still, there are familiar structural elements utilized in TV’s Lois & Clark: The New Adventures of Superman and Smallville, not to mention the 2013 Man of Steel film, that appear partially influenced by Byrne’s work.  Volume 1’s all-ages material, at least, is easily readable – as compared to some of DC’s monotonous Super-dreck dwelling deep in its archives.  Byrne’s Superman: The Man of Steel, in that sense, could provide an accessible jumping-aboard option at the library.

ADDITIONAL CONTENT:

Entitled “Why Superman? Why Today?,” Ray Bradbury provides a two-page introduction – featuring some odd real-world analogies. Byrne also offers his three-page “Superman: A Personal View.” In a full-page format, the cover gallery supplies all six covers, plus Issue # 1’s variant.  Byrne and Dick Giordano are the credited cover artists.

BRIAN’S ODD MOON RATING:                      6 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

SUPERMAN: THE MAN OF STEEL, VOLUME 3 (DC Comics)

Written by John Byrne & Marv Wolfman.  

Art by John Byrne; Jerry Ordway; Dick Giordano; Karl Kesel; John Costanza; Michelle Wollman; Albert T. Guzman; & Tom Ziuko.

Collection Cover Art by Jerry Ordway; Tanya Horie; & Richard Horie.

SUMMARY:

Released in 2004 by DC Comics, this 208-page third volume reprints 1987: Superman # 4-6; Action Comics # 587-589; and The Adventures of Superman # 427-429.

Superman # 4. “Bloodsport!” – Claiming to be a Vietnam War veteran, a heavily-armed, African American urban terrorist goes on a bloodthirsty rampage in Metropolis.  With Jimmy Olsen’s help, a wounded Superman realizes that this trigger-happy adversary’s disillusionment isn’t what he claims.  A hidden wildcard is Lex Luthor, as he has his own sordid reasons for neutralizing Bloodsport and his high-tech firepower.

The Adventures of Superman # 427. “Mind Games” – The Man of Steel single-handedly invades the Middle Eastern nation of Quraci to avenge a terrorist assault committed in Metropolis.  Superman is threatened by a mysterious, feline-like telepath capable of penetrating his deepest sub-conscious thoughts.

The Adventures of Superman # 428. “Personal Best” – A Metropolis mobster orders the abduction of Perry White’s son, Jerry, to extort The Daily Planet into retracting an exposé.  Despite his son’s physical torture, Perry’s ethics won’t let him give in.  While Clark Kent and Cat Grant become closer, it is up to Superman to find Jerry in time.

Action Comics # 587. “Cityscape!” – A bizarre mystical crisis in Gotham City has Jason Blood/The Demon propel Superman back in time to team with Blood/Demon’s mid-12th Century counterpart.  To save present-day Gotham, the Man of Steel and the Demon must face off against Morgaine Le Fay.

Superman # 5. “The Mummy Strikes” – After a dream contemplating romance with Wonder Woman (in a brief flashback to Legends # 6), Clark Kent joins Lois Lane’s present archaeological assignment in South America.  However, a robot resembling a gigantic mummy initiates an explosive showdown with the Man of Steel.  (Part 1 of 2)

Superman # 6. “The Last Five Hundred” – In South America, Superman must fend off an alien invasion, as his adversaries have now taken human host bodies – including Lois Lane’s. (Part 2 of 2) 

Adventures of Superman # 429. “Old Ties” – In a sequel to Issue # 427, Quraci’s mystical Circle seeks revenge on Superman by sending the powerhouse assassin known as ‘Concussion.’  Meanwhile, as Clark Kent and Cat Grant tempt romance, Superman tries to reunite Cat with her estranged young son.

Action Comics # 588. “All Wars Must End” – Hawkman & Hawkwoman summon Superman to help thwart a renegade Thanagarian invasion of Earth.  The story subsequently ends of a double-cliffhanger.

Action Comics # 589. “Green on Green” – In outer space, Hal Jordan & the other six remaining Green Lanterns (Arisia; Kilowog; Ch’p, Salakk; Katma Tui; & John Stewart) save an unconscious Superman’s life.  The Man of Steel then collaborates with the Lanterns to confront an unexpected threat to Earth.

Note: This title is also available in a digital format and a double-sized hardcover.

REVIEW:

Volume 3’s best asset is that its various art squads ensure that the visuals are consistently solid.  Apart from the usual inconsistencies between John Byrne’s franchise reboot and Action Comics’ veteran Superman, the unremarkable storytelling lands squarely on the dull side. 

An ugly exception, however, is John Byrne’s Superman # 4.  Including its convenient, last-page plot twist, the story’s exploitative subject matter certainly isn’t entertainment in good taste.  The fact that Byrne dedicated this tale to ‘The Black Wall’ (presumably, he means the Vietnam Veterans Memorial) is akin to rationalizing vigilante action movies like First Blood as an ode to American patriotism.  Suffice to say, this compilation makes a crummy first impression.

Even guest spots by Jason Blood/The Demon, the Hawks, and the Green Lantern Corps mostly fall short of fun team-ups Superman had enjoyed in DC Comics Presents earlier that same decade.  That is really the crux of Volume 3 – these middling nine stories convey far more quantity than quality. 

ADDITIONAL CONTENT:

Jerry Ordway pens a three-page introduction.  In a  ¾-size format, a three-page cover gallery depicts all nine covers.  Byrne and Ordway alternate as the cover artists.   

BRIAN’S ODD MOON RATING:                   4½ Stars

Categories
Comic Books & Graphic Novels Marvel Comics MARVEL Digital Comics

CAPTAIN AMERICA # 281 (1983 MARVEL Comics)

Written by J.M. DeMatteis.

Art by Mike Zeck; John Beatty; Diana Alberts; & Bob Sharen.

Cover Art by Mike Zeck.

SUMMARY:

Originally released for May 1983 by Marvel Comics,“Before the Fall!” begins a three-part storyline. For a New York City movie date night, Steve Rogers winces viewing wartime news reel footage glorifying his masked alter ego, along with Cap’s late partner, “Bucky” Barnes.  Leaving the theater with his girlfriend, Bernie Rosenthal, Steve doesn’t notice a peculiar young man, who is subsequently prompted by an usher as the last person out.  It’s also possible that Kingpin makes a single-panel cameo among the last theatergoers exiting into the lobby.

Once home in Brooklyn, Steve & Bernie are stunned by the young man’s uninvited arrival, as he bears an uncanny resemblance to “Bucky” Barnes.  Following Steve’s initially violent reaction, he learns that this ‘Bucky’ had once been the sidekick of the controversial fourth Captain America in the mid-1950’s.  As indicated in current Marvel continuity, this storyline shows flashbacks to the mentally erratic ‘William Burnside’ Captain America, who is essentially Steve’s counterfeit lookalike. 

Though believed executed by Dr. Faustus and his brainwashed mentor (per references to Captain America # 153-156 and then Captain America # 236), SHIELD had quietly taken the ex-Bucky into its custody.  Now released into the modern world after decades of forced suspended animation, a disoriented and homeless ‘Bucky’ has sought out his true inspiration – the original Captain America.  With Steve & Bernie accepting him into their lives, ‘Bucky’ soon discloses his real name as Jack Monroe.

In San Francisco, a four-page interlude depicts Jessica Drew’s Spider-Woman lured into a venomous death trap devised by her supposed mother: HYDRA’s psychotic Viper.  Realizing who likely concocted this mother-daughter fabrication, Jessica senses an imminent showdown with another of her arch-foes – which soon ends Jessica’s own first series at Issue # 50.  As it’s revealed, Viper is busy elsewhere plotting her own mass terrorist attack from an underground lair.  Her scheme includes an undercover identity as a Midwestern suburban housewife. 

Infuriated by Spider-Woman’s escape, the Viper lashes out by killing one of her own henchmen and chillingly disposes of his remains.  SHIELD’s undercover agent, Gail Runciter (coincidentally resembling Sharon Carter), witnesses Viper’s horrific act of evil. 

On a midnight patrol, Captain America & Jack Monroe (dressed as Bucky) are ambushed by the Constrictor.  Evidently, the mercenary super-villain intends to deliver Cap as the Viper’s consolation prize.  Distracted by the Constrictor, Cap’s likely victory is a mere subterfuge.  A cliffhanger ending leaves a bewildered Jack alone. 

With Jack next shifting into the masked identity of ‘Nomad,’ this storyline subsequently concludes in Captain America # 283.

Note: This issue is also included in Marvel’s 2020 Captain America Epic Collection: Monsters and Men.

REVIEW:

As a forty-year-old comic vividly restored, Captain America # 281 delivers some welcome 80’s Marvel nostalgia.  Led by Mike Zeck, the art squad’s visuals are excellent for the era.  The same applies to writer J.M. DeMatteis, as his engaging plot ages far better than DC Comics’ then-equivalent: Batman’s recruitment of Jason Todd’s Robin. 

Suffice to say, the archived Captain America # 281 is a gem worth re-discovery.

ADDITIONAL CONTENT:

None.  If the original issue had a letters-and-answers column, it is not included with the digital version.   

BRIAN’S OOD MOON RATING:                       8 Stars

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Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

BATMAN: WHATEVER HAPPENED TO THE CAPED CRUSADER? (DC Comics)

Written by Neil Gaiman.

Main Feature Art by Andy Kubert; Scott Williams; Alex Sinclair; & Jared K. Fletcher.

“A Black and White World”  Art by Simon Bisley & John Costanza.

“Pavane”  Art by Mark Buckingham; Nansi Hoolahan; & Agustin Mas.

“Original Sins”  Art by Mike Hoffman; Kevin Nowlan; Tom McCraw; & Todd Klein.

“When is a Door”  Art by Bernie Mireault; Matt Wagner; & Joe Matt.

Collection Cover Art by Andy Kubert & Alex Sinclair.

SUMMARY:

First released in 2010 by DC Comics, this 128-page trade paperback compiles the two-part “Whatever Happened to the Caped Crusader?” from 2009’s Batman # 686 and Detective Comics # 853.  Out of the DC archives (dating back to 1989 and 1996) are a few of Gaiman’s previous Bat-tales: “A Black and White World” from Batman Black and White # 2;  and “Pavane” from Secret Origins, Vol. 2 # 36. Lastly, there is both “Original Sins” and “When is a Door” from Secret Origins Special # 1.

In a stream-of-consciousness-like dream, Batman and an unknown female invisibly observe a long procession (mostly his arch-enemies) assemble within Gotham’s seedy Dew Drop Inn.  Evidently, these mourners are from alternate realities, given a non-speaking cameo of the Joker from Batman: The Animated Series.  With the Dark Knight posed in an open casket, the memorial service prompts guests to each solemnly relate his/her own claim of Batman’s fatal last moments. 

The first of them are a Golden Age-like Selina Kyle/Catwoman and then Alfred Pennyworth.  Prodded by his enigmatic companion, Batman soon realizes he is in a near-death experience.  Subsequent guests include Bette Kane’s Batgirl; the Mad Hatter; the Joker; Dick Grayson’s Robin; Clayface, Harvey Bullock; Ra’s Al Ghul; and Superman. 

Batman’s instincts guide into a poignant face-to-face encounter with his companion.  Making peace with his origin, the Dark Knight seemingly bids farewell by a means reminiscent of Margaret Wise Brown’s Goodnight Moon

  • “A Black and White World:” Depicted in ultra-cynical black-and-white (no surprise), Batman and the Joker break the fourth wall, as they are seemingly actors backstage on the set of a comic book. 
  • “Pavane” A married Suicide Squad recruiter is seduced during his research on an incarcerated Poison Ivy.
  • “Original Sins” and “When is a Door:” A TV news documentary prepares a controversial exposé re-examining Gotham City’s sordid Bat-villains.  During the news team’s research, the Riddler flips an interview on its star journalist.  Despite Batman’s warning, the journalist and his production team find out why their ambitious project is a bad idea.

Note: This title is also available in hardcover and digital formats.   

REVIEW:

The art squad’s visuals are admirably top-caliber throughout this two-part quasi-mystery.  Neil Gaiman’s scripting, however, is a split-decision.  His first half (including its derivative nod to Robin & Marian) is beautifully enigmatic.  With the Dark Knight’s silhouetted companion telling him to figure it out, the tantalizing end of Batman # 686 seems spot-on. 

Gaiman’s intriguing subtlety, unfortunately, then shifts into a drop-the-hammer approach setting up the story’s outcome.  Per an ultra-obvious take on Goodnight Moon, Detective Comics # 853 implies Gaiman has penned the definitive epilogue to Batman’s saga.  There is no further explanation as to what this stream-of-consciousness memorial service supposedly means to Bat-fans beyond the obvious.  If anything, it would be exposed as a blatant bait-and-switch once DC’s inevitable ‘resurrection’ of Bruce Wayne was revealed months later.

As to the unimpressive back-up tales, the first instinct suggests to deem them the less said the better.  However, one shouldn’t let DC Comics off that easy.  These three unrelated tales are, at most, minor curiosities perusing Gaiman’s old DC resumé.  As his quirky scripting doesn’t redeem the mostly grotesque artwork, none of them justify inclusion.  Only “A Black and White World” even merits a possible reprint somewhere else. 

Had DC utilized common sense (i.e. a belated homage to the late Golden Age Batman), then, for instance, why not reprint 1982’s The Brave and the Bold # 182?  Adding other classy nostalgia along those lines from the Bat-archives would have been easy.  Aside from Andy Kubert’s neat sketchbook, readers are instead stuck with a slim helping of Bat-dreck.   

Kubert’s team deserves credit for disguising Gaiman’s plot holes by making everything seem as ethereal as possible.  Such an approach somehow works, but owning the storyline’s two individual issues makes more fan-friendly sense.  Otherwise, this skimpy compilation’s practical value belongs at the library.

ADDITIONAL CONTENT:

Gaiman provides a two-page introduction.  In a full-page format, the Kubert/Sinclair cover (and the Alex Ross variant) for Batman # 686 and both Kubert/Sinclair covers for Detective Comics # 853 are included.  Lastly, there is Kubert’s ten-page, black-and-white sketchbook, which details scenes and character designs for the project. 

BRIAN’S ODD MOON RATING:                     6 Stars

Categories
Comic Books & Graphic Novels DC Comics DC's Hardcovers & Trade Paperbacks

INJUSTICE: GROUND ZERO, VOLUME 1 (DC Comics)

Written by Brian Buccellato & Christopher Sebela.

Art by Pop Mhan; Tom Derenick; Daniel Sampere; Juan Albarran; Marco Santucci; Jheremy Raapack; Rex Lokus; J. Nanjan; Mark Roberts; & Wes Abbott. 

Collection Cover Art by Ben Oliver.

SUMMARY:

Released in 2017 by DC Comics, this 144-page trade paperback compiles Injustice: Ground Zero # 1-6 from 2016-2017.  Set in Injustice’s alternate-reality world, Harley Quinn explains her involvement in the Joker’s lethal scheme to corrupt Superman.  Later seeking personal vengeance for both the Joker and lost friends (i.e. Green Arrow & Black Canary), she defines her allegiance to Batman’s underground Insurgency.  Hence, Harley’s narrative sets this storyline prior to the events of Injustice 2.

With a handpicked crew (aka Harley’s Horde), Harley Quinn leads an overnight assault to destroy an illicit factory – at the behest of her reality’s Batman.  Initially unbeknownst to her, at least six parallel-reality counterparts become marooned in her world.  Among them are Wonder Woman; Hal Jordan’s Green Lantern; Aquaman; Oliver Queen’s Green Arrow; Batman; and the Joker.  In the confusion, the corrupted Superman’s forces abduct this alternate world’s Batman and subsequently resort to torturing him for possible answers.

Joining forces with Batman’s Insurgency, the counterparts convince them of the dire necessity of rescuing this other Dark Knight.  Shockingly, one unexpected ally may be the Joker.  While teasing a possible romance with Billy Batson’s Shazam, Harley Quinn senses a the opportunity of a ‘second’ chance with her true love.  Among the unresolved arcs in Volume 1: what is Harley’s real endgame?

Notes: This title is also available in hardcover and digital formats.  The remaining six issues are compiled in Injustice: Ground Zero, Volume 2, which is available in multiple formats.   

REVIEW:

Unsurprisingly, the project’s reliable art squad ensures that Volume 1’s visuals are terrific.  Given the premise, what’s also unsurprising is how this storyline seems wholly unnecessary.  The plotting is essentially a flimsy excuse for more Injustice mayhem and destruction adding little, if any, depth to the saga itself.  Volume 1, therefore, is strictly for those in need of an Injustice Harley Quinn fix.   

ADDITIONAL CONTENT:

In a full-page format, each Ben Oliver cover precedes its story.  Issue # 1’s Matthew Clark variant cover is the last page.  Also included is Pop Mhan’s seven-page, black-and-white sketchbook of scenes.  

BRIAN’S ODD MOON RATING:                      3 Stars