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Post by beccabear67 on Jul 7, 2018 12:09:02 GMT -5
I'm wanting to like Gerber's writing, partly because he was given quite a build-up to me from older fans and also because he came across as an interesting person in a couple of interviews. I'm thinking I caught the tail-end of his career, and true, I was going backwards finding it most of the time, just Stewart The Rat I think I actually bought new out. It's nice to think I might not be the only one to be wowed by his comics, as well as that I still haven't seen the best ones.
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Post by rberman on Jul 7, 2018 13:04:52 GMT -5
Man-Thing had moments of inspired lunacy. Writing an ongoing series about a mindless muck monster is no mean feat, but Gerber kept it interesting.
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Post by EdoBosnar on Jul 7, 2018 13:27:17 GMT -5
Gerber's run on Man-Thing is a solid through and through, and definitely worth reading. My personal favorite is a two-part story in issue #s 9-10, centered around an old couple and their dog living in the swamp. The end never fails to put a lump in my throat.
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Post by Icctrombone on Jul 7, 2018 21:52:41 GMT -5
The more I see George Tuska's work, the more I love it. He really was one of the under appreciated talents of the Marvel Age.
There I said it.
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Post by kirby101 on Jul 7, 2018 21:59:01 GMT -5
The more I see George Tuska's work, the more I love it. He really was one of the under appreciated talents of the Marvel Age. There I said it. I did not like his work in Iron Man back when he was doing it, those funny cockeyed mouths always bothered me. But over the years i have grown to appreciate his skills.
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Post by kirby101 on Jul 7, 2018 22:04:39 GMT -5
Gerber's run on Man-Thing is a solid through and through, and definitely worth reading. My personal favorite is a two-part story in issue #s 9-10, centered around an old couple and their dog living in the swamp. The end never fails to put a lump in my throat. Song Cry of the Living Dead Man in Man-Thing #12 was quite revolutionary at the time.
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Post by Icctrombone on Jul 7, 2018 22:06:10 GMT -5
I really love Tuska's short Avengers run from 138-140 and re-read it just about every year.
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Post by beccabear67 on Jul 7, 2018 22:39:46 GMT -5
I really love Tuska's short Avengers run from 138-140 and re-read it just about every year. I have those and at least the later part of his Iron Man residency, but I remember thinking he was particularly good on the short-lived Shanna The She-Devil comic! He seemed at home drawing Greek gods somehow too.
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Post by Duragizer on Jul 9, 2018 1:24:36 GMT -5
"Whatever Happened to the Man of Tomorrow?" and "The Killing Joke" are both grossly overrated pieces of schlock.
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Confessor
CCF Mod Squad
Not Bucky O'Hare!
Posts: 10,080
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Post by Confessor on Jul 9, 2018 1:53:19 GMT -5
"Whatever Happened to the Man of Tomorrow?" and "The Killing Joke" are both grossly overrated pieces of schlock. Not an Alan Moore fan then, huh? Personally, I think they're both excellent and, perhaps more importantly, where both pretty groundbreaking and revolutionary in their time. I'm not sure that either should be described as "schlock": they both had a lot of attention lavished on them by Moore and Curt Swan or Brian Bolland. Whether you like them or not, these were definitely not quickly churned out, inferior product. I'm not sure how old you are, duragizer, so forgive me if I'm wrong in assuming that you're younger than me, but having read these when they initially came out in 1986 or 1987 would definitely colour your perception of or reaction to them now. The Killing Joke, in particular, will always have a spot in my Top 10 favourite single issues of all time. It was the comic that, more than any other, showed me exactly how much the medium was capable of, in terms of telling a story with complex adult themes.
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Post by Duragizer on Jul 9, 2018 4:13:56 GMT -5
"Whatever Happened to the Man of Tomorrow?" and "The Killing Joke" are both grossly overrated pieces of schlock. Not an Alan Moore fan then, huh? Personally, I think they're both excellent and, perhaps more importantly, where both pretty groundbreaking and revolutionary in their time. I'm not sure that either should be described as "schlock": they both had a lot of attention lavished on them by Moore and Curt Swan or Brian Bolland. Whether you like them or not, these were definitely not quickly churned out, inferior product. I'm not sure how old you are, duragizer, so forgive me if I'm wrong in assuming that you're younger than me, but having read these when they initially came out in 1986 or 1987 would definitely colour your perception of or reaction to them now. The Killing Joke, in particular, will always have a spot in my Top 10 favourite single issues of all time. It was the comic that, more than any other, showed me exactly how much the medium was capable of, in terms of telling a story with complex adult themes. You're right, I'm not a fan of Alan Moore (I do recognize his talent as a writer, though). You're also right in that I'm young (31 as of this past Thursday). You're right again in that if I'd been around to read these stories when they were first published, I might've come away with a different understanding of them. But I didn't. I read them in the 2000s, a decade where you could pick up a mainstream superhero comic and find Black Adam tearing people in two or the Blob eating the Wasp or Dr. Light raping Sue Dibny. When I read these stories of Moore's, all I see is the template lesser writers used to turn the DC & Marvel Universes into slaughter/charnel houses.
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Post by Prince Hal on Jul 9, 2018 7:10:35 GMT -5
Not an Alan Moore fan then, huh? Personally, I think they're both excellent and, perhaps more importantly, where both pretty groundbreaking and revolutionary in their time. I'm not sure that either should be described as "schlock": they both had a lot of attention lavished on them by Moore and Curt Swan or Brian Bolland. Whether you like them or not, these were definitely not quickly churned out, inferior product. I'm not sure how old you are, duragizer, so forgive me if I'm wrong in assuming that you're younger than me, but having read these when they initially came out in 1986 or 1987 would definitely colour your perception of or reaction to them now. The Killing Joke, in particular, will always have a spot in my Top 10 favourite single issues of all time. It was the comic that, more than any other, showed me exactly how much the medium was capable of, in terms of telling a story with complex adult themes. You're right, I'm not a fan of Alan Moore (I do recognize his talent as a writer, though). You're also right in that I'm young (31 as of this past Thursday). You're right again in that if I'd been around to read these stories when they were first published, I might've come away with a different understanding of them. But I didn't. I read them in the 2000s, a decade where you could pick up a mainstream superhero comic and find Black Adam tearing people in two or the Blob eating the Wasp or Dr. Light raping Sue Dibny. When I read these stories of Moore's, all I see is the template lesser writers used to turn the DC & Marvel Universes into slaughter/charnel houses.That's like saying Alfred Hitchcock's Psycho is schlock because he's to blame for the Saw and Hostel series. Are you going to blame Dali for Rob Liefeld's distorted anatomy, too?
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Post by adamwarlock2099 on Jul 9, 2018 8:16:24 GMT -5
You're right, I'm not a fan of Alan Moore (I do recognize his talent as a writer, though). You're also right in that I'm young (31 as of this past Thursday). You're right again in that if I'd been around to read these stories when they were first published, I might've come away with a different understanding of them. But I didn't. I read them in the 2000s, a decade where you could pick up a mainstream superhero comic and find Black Adam tearing people in two or the Blob eating the Wasp or Dr. Light raping Sue Dibny. When I read these stories of Moore's, all I see is the template lesser writers used to turn the DC & Marvel Universes into slaughter/charnel houses.That's like saying Alfred Hitchcock's Psycho is schlock because he's to blame for the Saw and Hostel series. Are you going to blame Dali for Rob Liefeld's distorted anatomy, too? To be fair consumers are responsible for what is popular or deemed good artistically. I won't argue IF Moore and rape in Killing Joke is the catalyst for what modern comics have turned into, but something did start the fire. Someone thought Human Centipede was an idea that modern society would watch. It now has two sequels. Again I won't argue Hitchcock is to blame, or any specific person is to blame. But at some point, the car gets to the top of the hill, and when it gets a tiny push it starts going down the hill with no breaks and we get to where we are in entertainment as what is "acceptable" and what is not.
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Post by Slam_Bradley on Jul 9, 2018 10:29:40 GMT -5
"Whatever Happened to the Man of Tomorrow?" and "The Killing Joke" are both grossly overrated pieces of schlock. I'm a huge Alan Moore fan. And I actually happen to not like either of these works. But they're definitely not schlock. The amount of care, thought and craft that Moore puts into any given comic pretty much precludes schlock. If you've ever seen one of Moore's scripts there are no details left unanalyzed.
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Post by comicsandwho on Jul 9, 2018 12:10:03 GMT -5
Some people regard 'Whatever Happened to the Man of Tomorrow?' as the canonical 'end' to the Silver and Bronze Age Superman. Sinc the point became moot die to the 1986 revamp, I'd prefer to think of it as an early, unannounced, example of 'Elseworlds'. Interestingly, for the Steve Gerber discussion above, he wrote the final issue of 'DC Comics Presents', and the story ther actually 'cribs' some of Moore's treatment of two supervillains, for a story that was billed on the cover as 'an untold 'Pre-Crisis universe' tale. It's almost like they're saying that Moore's version was the 'imaginary story', but Gerber writing cetain characters in a similar fashion was the 'real' version. 'The Killing Joke' is more troublesome, due to the (mis)treatment of Barbara Gordon, which was allowed to be canonical, and completely screwed up a great character.
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