Neither had I until just recently, I was actually looking for Batman: Nevermore (which again I just discovered) but literally got sniped at the last second on ebay and at the bottom of the page it suggested Golden Streets of Gotham. It looked good, and better still it had the "buy now" option so I pulled the trigger and I'm glad I did as it was one of the better elseworld stories I've ever read.

No way! That'd be awesome I'm a huge Guy Davis fan and him on Batman just sounds amazing to me.

Planet of Vampires



Planet of Vampires (1975) #1-3

Overview:

An extremely short-lived series from Atlas that seemed equally influenced by Marvel's Killraven and the immensely popular Planet of the Apes films. It follows a band of astronauts, recently returned from a 5 year mission to Mars, only to discover a world that, in the wake of nuclear war, has devolved into civilized vampire oppressors that must ingest a serum made from untainted human blood in order to stay alive, and the wild tribal humans living around their well-defended dome who have developed an immunity to the disease plaguing the aristocrats, but who are therefore preyed upon by them for their blood.

In only three short issues a whole lot goes down, with key players dying every issue, and our protagonists having a serious impact upon the world in which they find themselves. The dialogue and characterization are stilted, sexist, and, at times, borderline offensive (I've never had a taste for blacksploitation passing itself off as an attempt at racial equality), but the action is nonstop, and the post-apocalyptic world that is developed is fascinating, especially as it quickly begins to devolve in response to the astronauts' presence.

I tried this series out expecting it to be hokey to the max, but it's actually genuinely good storytelling, even if it's also absolutely dated in many respects. And, as for the brevity of the series, that might have been a good thing. I honestly wonder how this title could have topped the epic events of the third issue. A plotline that could have taken another storyteller three years to unravel pretty much climaxes in the most jaw-dropping of ways by the final issue and rarely feels rushed. Yes, there was a lot more story to tell, as well as a solicitation for the next issue, but this was a fine stopping point.


Worthwhile to read: With only three issues to the series, and so much covered in that limited stretch, why not? So long as you don't mind a little corniness in your sci-fi lite storytelling, this series is absolutely worthy of your time.



Grade the run as a whole: B+

Yep.

Len Wein on The Incredible Hulk



Incredible Hulk #176-220

Overview:

Though the Hulk had been enjoying his own monthly series for nearly a decade by the time Len Wein came along, he was also arguably stuck in a rut. The Hulk was invulnerable and, thus, could seldom ever fight a battle where the outcome was unclear and, as the outward expression of his alter-ego's rage, he was a pretty uni-dimensional and single-minded character to boot. Thus, while the Bronze Age was bringing about higher steaks and greater emotional depths for most of its characters, no one was able to do much of either with The Hulk.

Enter Len Wein.

Wein came aboard at the conclusion of a storyline in which the Hulk meets Adam Warlock, a clear analogue to Jesus Christ who would be executed at the close of that story. Gerry Conway (writer of that storyline) made the unusual choice to have the Hulk form a bond with Warlock and, thus, surprise us by showing grief at the close. However, the even bigger surprise came when Wein decided to take this unexpected reaction and run with it, using it as a turning point from which the Hulk could become a deeper, more sensitive character who could explore emotions beyond rage both simply and deeply throughout his ensuing run.

What most people remember from this run is Hulk #180-181, the massive three-way battle that introduced the world to The Wolverine, but what has always stood out to me more in that story is the immense pathos The Hulk is able to feel towards the villain by the close; there's a tragic beauty in that moment that finds expression throughout the first half of Wein's run on The Hulk as he encounters various characters that he is able to befriend and feel comradery with for short periods of time until cruel fate intervenes. Essentially, it's like the Boris Karloff Frankenstein -- a frightened and agitated but sensitive child in the body of a monster, and that characterization proves powerful and endearing, even if it doesn't exactly make sense for the character and requires The Hulk to remain The Hulk even when he is calm and content (which should not be possible for the character).

However, presumably due to the departure of Herb Trimpe and his replacement by Sal Buscema, this more endearing approach to The Hulk quickly goes out the window halfway through the run in favor of an attempt at a new direction in which Dr. Banner receives more emphasis, starting a new life in Manhattan with a new supporting cast, but it doesn't work particularly well and is abandoned after a year. Wein does make two final attempts to bring back the innocent side of the Hulk at the very end of his run, but it's too little too late and doesn't connect with the same magnitude as his earlier endeavors.



Worth Noting:

#176-178 were not written by Wein, but they were the basis for the first half of his run.

Wein was editor for the run at the same time that he was its writer. In fact, he was EIC for the entire Marvel color comics line for a large chunk of this run (1974-1975).

Wein co-wrote the final three issues with his successor, Roger Stern.

As this run gives a lot of attention to continuity, the two major things anyone beginning with #176 would need to know are that Glenn Talbot was lost and presumed dead in an engagement with the Russians just prior to this run, and that, also prior to this run, The Hulk was shrunken down to microscopic size and, there, both Hulk and Bruce Banner fell in love with Jarella, the green-skinned queen of a microscopic race of people. Any further information that is needed is ultimately provided within the run.

At least twice after Buscema came on board (#201 and #204), there were clearly drastic last minute re-writes, resulting in stories that barely matched what appeared on the covers.



Worthwhile to read?:

#176-198 is the true definitive classic Hulk run, as far as I'm concerned, playing up that deeper characterization that the reader can relate to on an emotional level while also serving up fantastic battles, innovative settings, and stunning guest appearances, issue after issue. After that, the new direction Wein takes with Buscema is far more dull, offering up too many talking heads and a less often seen Hulk who is angry without much further depth to him. You could easily skip these.


Key Issues / Highlights:

#176-178: The Death of Adam Warlock. Outstanding story in its own right, but its effect on The Hulk marks a critical turning point for the series as well.

#180-181: First appearance of Wolverine, a fantastic three-way slug fest, and a truly and unexpectedly touching ending for The Hulk.

#182: Hulk befriends Cracka-Jack Johnson, a wandering hobo. Possible the deepest friendship Hulk is ever allowed to cultivate.

#187-188: Great action, setting, and drama as Hulk and his supporting cast take on The Gremlin, and Hulk learns to actually behave like a hero.

#189: Hulk makes another friend and almost finds peace once again, tearing at the heartstrings in the best of ways.

#190-191: Fantastically imaginative Sci-Fi as the Hulk comes the closest yet to finding peace and happiness, only to have it snatched away once again.

#193: The return of Doc Samson

#194: Far out sci-fi and tremendous action as The Hulk saves a town from a horde of attacking giant insects.

#195-196: The Hulk and The Abomination battle it out in an amusement park with tremendously fun results, and Hulk forges the last emotionally poignant relationship he'll get in this run.

#204: Bruce has an opportunity to travel back in time and prevent himself from ever becoming The Hulk. Totally nonsensical issue, but the premise is intriguing.



Worth re-reading?:

#176-198. Yes. Great stuff!


Grade the run as a whole: B- for the whole thing. A- for #176-198.

My Hulk collection is very spotty up until Wein's run, but it's safe to say I have an issue or two from just about every creative run, and I re-read them prior to reading Wein's. My comment is based upon those issues. I'd like to hear more about what you feel the strengths of those earlier runs were. What I saw was the same old trope, issue after issue, featuring a protagonist who was the pure embodiment of rage fighting some impossibly strong antagonist.