|
|
Post by berkley on Jan 10, 2017 14:35:20 GMT -5
Forever People #7 Our issue ends with a tale of Lonar and his horse Thunderer. he meets Orion and introduces the horse, resurrected from the ruins of the Old Gods. Orion awakens some memories in the horse and it bolts. That's it. Like many of the others, it's an odd diversion, to fill up the page count of the expanded DC comics. It isn't of much consequence, other than to introduce Lonar, much like previous ones introduced Fastback. I actually think this little vignette is significant for the light it shows on Orion's character. One of the many things later writers tend to get wrong is making him this sort of glowering, sneering type that looks down with contempt on anyone that doesn't share his violent predilections . The Lonar story highlights something that should already be apparent from the New Gods book as a whole: that yes, Orion is violent and destructive by nature but that he is striving with every means at his disposal to control that violent nature and to be more like the peaceful gods of New Genesis, his adopted home. In contrast to, I don't know, the Green Goblin or Batman or whoever - someone who deliberately dresses up and behaves in a way meant to be scary and intimidating to his enemies - Orion is a scary guy who is trying NOT to be scary. That nearly every writer after Kirby failed to appreciate this very basic point is a disheartening thought. |
|
|
|
Post by codystarbuck on Jan 11, 2017 2:59:46 GMT -5
Forever People #7 Our issue ends with a tale of Lonar and his horse Thunderer. he meets Orion and introduces the horse, resurrected from the ruins of the Old Gods. Orion awakens some memories in the horse and it bolts. That's it. Like many of the others, it's an odd diversion, to fill up the page count of the expanded DC comics. It isn't of much consequence, other than to introduce Lonar, much like previous ones introduced Fastback. I actually think this little vignette is significant for the light it shows on Orion's character. One of the many things later writers tend to get wrong is making him this sort of glowering, sneering type that looks down with contempt on anyone that doesn't share his violent predilections . The Lonar story highlights something that should already be apparent from the New Gods book as a whole: that yes, Orion is violent and destructive by nature but that he is striving with every means at his disposal to control that violent nature and to be more like the peaceful gods of New Genesis, his adopted home. In contrast to, I don't know, the Green Goblin or Batman or whoever - someone who deliberately dresses up and behaves in a way meant to be scary and intimidating to his enemies - Orion is a scary guy who is trying NOT to be scary. That nearly every writer after Kirby failed to appreciate this very basic point is a disheartening thought. Good point. Orion is a better fleshed character, under Kirby; and, as you say, one who is striving to find the peace and joy of those of New Genesis. As we just saw in the battle with Kalibak, the savagery of it caused the true face of Orion to emerge and he is embarrassed for Lightray to have seen it. Mother Box helps calm Orion and give him a more beautiful countenance; but, when his Apokolipsian nature emerges and runs free, his physical form is affected. One of the more interesting, though brief, uses of Orion was in the expanded edition of Kingdom Come, where we see him after deposing Darkseid and he rules Apokolips, trying to reform it. Superman remarks how much he looks and somewhat acts like his father. We are left to wonder if Orion would truly be the victor, if he destroyed Darkseid. Would killing his own father turn him into the same monster? It is certainly the stuff of mythology, which Kirby is really capturing. I don't hate the vignettes; but, they don't have enough room for Kirby to do much with them. The Lonar one was superior to the Fastback and both were better than the DNAlien ones, in Jimmy Olsen. The Young Scott Free are still the best, as they give us a peek at Scott's brutal life, prior to escaping, and pave the way for the next issue I will be covering. |
|
|
|
Post by codystarbuck on Jan 11, 2017 15:19:03 GMT -5
Forever People #9  Well, our story, featuring a guest appearance by Deadman, starts, appropriately, in a morgue. There, we see Doc Gideon, a would-be Dr Frankenstein, trying to bring life to a corpse. It doesn't work out; so, he heads home, trying to figure out how to bring a scientific spark of life to his creature. Maybe he should have tried feeding it... While he walks home, we see the Forever People on the street, as some criminals come barging through, chased by an old woman who says they have stolen her life saving. Big Bear is bemused by the situation and is called a Hair Bear by the old woman. For those who don't get the reference, a bit of a lesson.. The FP stop the thieves and return the money, which earns them the devotion of the old woman and a place to stay. Observing all, so far, is Deadman, who has been revived, even though he caught his killer at the end of his series. More on that in a moment. The old woman, Trixe Magruder, takes Beautiful Dreamer to get some new duds, where Kirby makes a statement about our obsessions with outer beauty..  BD tries on a flapper frock; but, Serifan plays Mr Blackwell and deems that it needs a makeover...  Serifan also uses one of his cartridges to bring some tchotchkes to life, which is witnessed by Doc Gideon, who is one of Trixie's tenants. He realizes that capsule is the missing element to bring his Frankenstein to life. he conspires to get it. Trixie invites everyone to a seance, where Doc Gideon makes his move to steal the capsule, while everyone is distracted by Trixie contacting a spirit: Boston Brand. Trixie was a carnival worker and witnessed his death. He wants to know why he is back and she reveals that he got the wrong man with a hook; it was on a different hand. After an explosion of energy, Serifan realizes the capsule is gone. Doc Gideon uses it to animate his creature; which, in the grand tradition of these things, goes on a rampage. The FP try to stop it and Boston Brand ends up inhabiting it, and has a confab with the kids...  They offer to help out and our story ends. There are a few cute moments, like BD and Trixie scenes, as BD tries on clothes. The rest? Well...... Adding Deadman wasn't Kirby's idea. Carmine Infantino wanted Jack to add DCU guest stars and suggested Deadman, a character he had a hand in. Jack hated the name and really didn't like using other people's characters; but, he was a good soldier and agreed to do it. He wasn't enthused and let Steve Sherman and Mark Evanier plot the story. Then, he ignored their plot and did a new story. The only part he used was the name Trixie Magruder (Mark Evanier's music teacher). Jack asked for Mark's opinion on what had been wrong with Deadman and Mark said the story ended when he found his killer. So, that part was undone, to give the character new "life." Jack wasn't keen about him not having a physical form, which will lead to the next issue. The rest is a Frankenstein riff, and it's okay; but hardly classic Kirby. He was doing the same thing over at Jimmy Olsen; so, I guess he had been watching the Universal movies recently, or something. This isn't a bad story; it's just kind of mundane, for Kirby, especially after what had come before. It feels like filler while Jack searches for a new epic. He does his best with Deadman; but, it's just not his kind of character (even though he did the original Vision and some other supernatural characters). It's not a favorite of the fan press and Jack took a lot of flack, back in the day. Some even said it was the demarcation line, that Neal Adams was the future of comics and Jack the past. Well, history kind of showed that Jack was the future of comics, way back in the past and it took 20 years for the industry to catch up. Meanwhile, Neal spent more time in advertising and sporadically produced comics for his own Continuity Comics, with some often bizarre results. There's a lot of prelude here and most of it pays off in the next issue, which is much better, in my opinion. We'll see that next time. |
|
|
|
Post by codystarbuck on Jan 11, 2017 16:16:17 GMT -5
New Gods #9  This issue gives us the debut of my favorite 4th World character (aside from Mister Miracle and Big Barda): Forager, aka Bug. There's just something really likeable about the guys and Kirby does some interesting things with him. He got a great start in the Gerry Conway series and Don Newton went to town with the character, when he infiltrates the DNA Project; but, Conway soon forgot him. Jim Starlin picked up on him for Cosmic Odyssey, then did a number on him that still ticks me off. He was also used well in the New Gods two-parter on Justice League. He's a great visual design and lends himself well to action. Plus, he provides a new perspective to the 4th World, as someone with his own special abilities, who looks in awe upon the New Gods. Our story begins as Kirby tells us that the war between Apokolips and New Genesis brought forth biological weapons; and, one, which was used in past, created "bugs" on New Genesis. They have a ravenous appetite and we see Forager leading a raid on food stores...  Supertown responds and the Monitors drop insecticide, killing many, though we see Forager escape and return to the Mound. While this occurs, Orion and Lightray greet the dawn, after Orion's battle with Kalibak. Lightray tries to bring hope and joy to Orion and the possibilities that the new day brings. His sentiments are echoed by an intruder, Eve Donner, a playwright and resident of the building. She is intrigued by Orion and his scarred and grim face. Back on New Genesis, the bugs of the mound eat the food Forager has brought, though he consumes alone. Another tries to take his share and he fights it off. This is interrupted by the Prime One, leader of the colony, who tells Forager they must talk.  We see that Forager is unlike the other bugs. His appearance is human and he has more in common with the gods above than the bugs below. The noise of the colony affects him and he has thoughts beyond living. The Prime One encourages him and Forager realizes that if they could communicate with the Eternals, as he calls them, then they could move about freely and live in peace. Just then an alarm sounds, as armored invaders attack the colony. A battle begins. Back on Earth, Eve Donner attends to a sleeping Orion and an awake Lightray. She is fascinated by Orion and sees his face softening in the sunlight. However, he awakes and reacts in anger, which causes his face to harden and Eve pulls back. Orion grows angrier and begins shouting challenges to the heavens, calling for Darkseid to face him, so they can end it in battle (next Saturday, at the civic arena, at 7:00 pm; be there!). Eve is horrified and Lightray tells her she sees the face of destruction. On New Genesis, the battle is over, as the bugs were aided by Mantis, who has returned to the colony that spawned him. He talks of a new ally and plentiful food. Forager realizes a wrongness about Mantis and goes to find the Prime One, only to see him a prisoner...  Prime One tells him to continue their quest to befriend the Eternals and find Orion. Prime One is put to death, which Forager tries to stop; but must flee, as he is pursued. He leaps into a Boom Tube, opened by Mantis, and arrives on Earth. Orion and Lightray take their leave of Eve Donner, who pities Orion's destructive nature; but he softens and promises to return, in victory. Eve changes her mind and wishes peace for Orion, that he may know something more than war. orion and Lightray go to meet Dave Lincoln and find the police waiting for them. It is here our tale ends. Another great issue! Kirby introduces the intriguing misfit, Forager, an outcast from multiple societies. He is a "bug" and a pest to New Genesis; yet he is humanoid, not insect, and an outcast in the colony. The Prime One knows his potential and sends him to bring an alliance between the colony and the Eternals. This is the first we see of Kirby using the term, which will come to use at Marvel, when he revisits his 4th World ideas. Forager is much like Captain America, leaping and tumbling, flying through panels. he's a tremendous action character and has a great depth of emotional content. He proves that Kirby could write more than just action. Meanwhile, Orion meets an Earth woman who can see beyond his monstrous true face, to the man inside. He reacts in self-loathing; but, is affected by her outlook and that of his friend, Lightray. he is starting to see beyond his instincts and origins. Here, Kirby gives us the possibility of life beyond battle, for Orion; possibly even love. Again, Kirby shows he can write with the best of them. This is Shakespearean stuff, a classic beauty taming the beast. If only Kirby could have continued; what wonders would he have brought to these two? What would have been Forager's destiny? How might the war with Apokolips have evolved? There is much for the future here and it was left untouched (mostly). Such a wasted opportunity by writers of less vision. Kirby is truly creating modern myth in the latter half of The New Gods, and he continues with the next issue. |
|
|
|
Post by codystarbuck on Jan 11, 2017 17:28:53 GMT -5
Mister Miracle #9  This is it; the final climax of the origin of Scott Free! We have been teased with snippets. First, he spoke of the "orphanage" where he grew up; a hellish, Dickensian environment. Then, we met the mad woman who raised him, in Granny Goodness. Next, we met Big Barda, the woman who loves him and followed him. We met other agents of Darkseid, who sought to bring him back and/or punish him. Along the way he fought and escaped, achieving miracles. He showed Barda that freedom and love are more powerful than anything Darkseid can conceive and build. He has shown Apokolips that Darkseid and his minions can be beaten. We got glimpses of his past, as The Pact showed how Highfather turned over his son to Darkseid and Granny, in exchange for Orion. We saw how Scott rebelled against Granny, never conforming to her teaching. He withstands horrible abuse and punishment, and then meets Metron. Metron gives him hope and helps him escape from the brain-addling food of Granny. Now we will see how he escaped from Apokolips and set off the next stage in the war between New Genesis and Apokolips. Our story begins in Armagetto, as Wonderful Willik, one of Darkseid's enforcers, comes looking for the rebel Himon, among the Lowlies, the slaves of Apokolips. They have been brainwashed to believe that dying for Darkseid is greater than living for themselves. Willik helps them do that and slaughters them with fire. This draws out Himon, who challenges him to enter the fire, as he has, and is able to hit Willik with feedback, and disappear. He doesn't totally make a clean getaway and needs Scott Free's help to fully phase back into form. There, we see Himon's band of misfits, Scott included. They are the square blocks who won't be pounded into round holes. Himon is teaching them to create Mother Boxes, though Scott displays doubt and disgust. Himon works on him and shows him Auralie, a young girl who creates visions of dance and beauty. Himon remarks how special that is on this hellish world. Another, Kreetin, is unable to bring his Mother Box alive. The dialogue is interrupted by Barda and the Furies, as they come to take Auralie back, though not to punish her. they seek to protect her, as they have been touched by her gifts.  Barda threatens Scott to keep quiet or she will reveal his secret meetings with Himon. Scott is unimpressed and reveals his own Mother Box. The argument is interrupted by a mob of Lowlies, sent hunting for the rebel. The children phase out, except Kreetin, whose Mother Box doesn't work. Himon stays to help him escape, at the cost of his freedom. Kreetin bears no gratitude and leaves Himon to his fate, even admitting as much to Metron, who encounters him. We see Himon escape a series of deathtraps and soon the Lowlies begin to have respect for him and start to question the authority over them. Himon and Metron meet and discuss how they must aid Scott in escaping, so that Darkseid can be brought down. We see Kreetin sell out Himon to Willik, who rewards him with a swift death. Next, we see that Willik has hunted down and killed Himon's proteges. They are hanging like sides of beef in a slaughterhouse. Into this hell come Scott and Barda. Scott sees those he looked down upon, gutted on meathooks. His own rebellion is revealed, as Willik remove's Scott's hood and finds that he has let his hair grow, in defiance of orders. Willik then reveals Barda's own rebellion, hiding Auralie. He shows her the lifeless corpse of Auralie. Scott and Barda are furious, but are blocked by a waiter who has delivered Willik's dinner. Strangely they follow him out, as Willik lifts the cover, revealing a bomb, which destroys the butcher.  The waiter is Himon and he reveals that he is the visionary responsible for the X-Element and the Boom Tube, as well as Mother Box. His creations have allowed Darkseid to bring death and destruction. Darkseid wants to destroy and control the universe; but, Himon opens it up. he tells Scott that Mother Box is powered by the Source, which Darkseid fears, as he can't control it. Himon prompts Scott to reveal his dreams and he says he hears a woman's voice, saying "You know Izaya, I never heard you sing."  Scott has never seen her face; but, she fills him with serenity. Thus does Scott begin his escape. We see Scott, with only his aero-discs, fly through a gauntlet of para-demons, besting them at every turn. Sheer numbers bring him down; but, he fights his way free. He then faces dog cavalry and infantry. It looks hopeless, when Barda and the Furies arrive, to block their pursuit. This is their revenge for Auralie. Scott asks why barda is helping and she says maybe because she couldn't save Auralie, maybe something else; she doesn't know. But, help she does. She helps Scott fight through weapons and near his destination, when gravity itself is used as a weapon against him. His goal is near and Himon and Metron stand beside the opening of a Boom Tube, urging him on. Darkseid appears and tells Scott he will not interfere, but urges him to stay, to serve Darkseid. Scott struggles on. Darkseid says he will find death if he leaves, Himon says he will find the universe; Scott says he just wants to find Scott Free and be himself. He reaches the Boom Tube and escapes. Himon and Metron phase out, telling Darkseid that he will now have his war and will seek the Anti-Life Equation. They also tell him it will end in Armagetto, with Darkseid battling his own son, Orion.  This is Kirby's masterpiece story for Mister Miracle. He continues his allegory of Nazi occupied Europe, as conquered people are forced to toil for a war machine, while "lowlies" are herded off to die for the glory of the Third Reich. However, where oppression lives, so does rebellion. Himon represents the resistance fighters and partisans who fought the Nazis, even as they butchered whole villages. He teaches others how to rebel. Some sell him out and gain their poetic reward. We see the innocent victims of cruelty. This is the moment that freed Barda. In trying to protect Auralie, she became as much a rebel as Scott. Himon showed her that Darkseid's way is wrong and Scott showed her that you can escape the horror. Barda is drawn to Scott and helps him to freedom, even if it cost her her life. Her mind has been freed, soon her body will be, too. She has found love and it is the basis for The Source and Mother Box. Through Mother Box, Scott hears the voice of Avia, his mother (there is some debate about that, but I choose to believe it). She longed for peace and beauty, Scott wants it for himself. Auralie awoke Barda and the Furies to the idea of beauty, in Hell, just as a flower can grow amid rubble. They nurtured that idea and it led to rebellion. Scott taught Barda that she could give and receive love and she became greater than she had been. Kirby's writing is beyond mere dialogue and plot; he is dealing in epic poetry. This is his Edda, his Beowulf, his Iliad & Odyssey. Kirby was a myth-maker, not just a storyteller. ps Notice those last panels; remind you of anything? No wonder many feel that george Lucas borrowed from the 4th World in creating Star Wars. |
|
|
|
Post by codystarbuck on Jan 11, 2017 17:45:48 GMT -5
As for the debate about Avia being Scott's mother, it stems from her death at the hands of Steppenwolf. In the pact, it seems that the war rages for some time after that, before Izaya becomes Highfather and arranges the truce with Darkseid, where they exchange sons. Kirby had a tendency to forget what he had done before and it seems clear to me, with the dialogue from Scott, where he says he hears Avia's voice in his dream, quoting her line at the beginning of The Pact, that Kirby is saying she is Scott's mother. What other voice would he hear, via Mother Box? You can rationalize it as a slow growth, due to the New Gods long lives and power. We also never really see how much time passes between the death of Avia and the Pact. It could be days or months, or years. Kirby leaves it up to your own interpretation. It's possible that the time frame was relatively short and that Scott went from newborn (perhaps the new parents were enjoying a moment of peace, in celebration of the birth) to the infant he was, when he is handed to Granny. For those reasons, I choose to believe that Avia is Scott's mother. Kirby gave us no other, as he did with Darkseid's sons, where Orion is the son of the wife chosen by Darkseid's mother and Kalibak is the son of Darkseid's lover. The irony there is that Darkseid has more admiration and "love" for the son from the woman he hated and contempt for the son sired with his lover.
|
|
|
|
Post by Rob Allen on Jan 11, 2017 17:55:11 GMT -5
This is where I came in - I finally overcame my Marvel Zombie phase and started buying the Fourth World books with the last two you reviewed. It was love at first sight; I wanted more. Himon and Metron resonated with me in a big way.
|
|
|
|
Post by berkley on Jan 15, 2017 1:17:26 GMT -5
New Gods #8 ... Orion and Kalibak continue pounding one another, while the cops move in. Kalibak heads for the high ground and taunts Orion into following, hoping to ambush him, until he sees Orion's true face..  Forgot to mention earlier that I think this is probably the best version of Orion's real face Kirby came up with. He never really settled on a consistent look for Orion minus Mother Box's alterations, and some of the the earlier ones never quite worked for me, but this one was pretty good, I thought. Maybe this or something similar would have been his final version, since it comes in one of the later issues of the book's short run. I can't think of anything good from later artists either, off the top of my head. Does anyone have a favourite? The most recent one I can recall, from the Wonder Woman appearances, made him look more like a harmless "Teen Wolf" (Michael J Fox movie from the 80s) than the son of Darkseid. Which reminds me, I always wondered why no one, including Kirby, ever tried the most obvious thing: make him look a bit more like his stone-faced father. Though I suppose Kirby does a little bit of that here with the wider mouth and stronger cheekbones. |
|
|
|
Post by codystarbuck on Jan 15, 2017 1:42:45 GMT -5
Forever People #10  Deadman getting hit with something? What up wit dat? Our issue starts with a sort of James Bond prologue. We see some dude hanging from a handlebar, above some kind of high tech car...  Our mysterious figure is an operative for The Scavengers. he drops on the car and stays aboard, using magnetic boots. he then uses a device to activate the ejection seat, sending the driver into the air, then hops in the car and steers it away, contacting his boss to let him know the mission was a success. I could totally see this with any of the Bonds, though Roger Moore would probably pull up to a drive-thru and order champagne and caviar (and get it!). The boss is talking to another operative about stealing an entire pyramid (!!!) Another goon has footage of Serifan working on a "follower," a robotic construct that mimics his movements. It has been developed to give Boston Brand a physical form. The boss wants it. Oh, and he has a hook for a hand, like the man who shot Deadman. Just sayin'... Next, Kirby gives us a bit of fan service...  Homina, homina, homina......Jack certainly liked his ladies curvy! Beautiful Dreamer is doing a modelling gig, to help pay the rent and asks to take 5. The photographer isn't having it; so, she messes with his head...  and with Jack's pencils  BD and Serifan head out and we see them surrounded by people in groovy threads. big Bear shows up looking ridiculous in a chauffeur's uniform, after getting a job as a driver. Back at the apartment building, Trixi is calling Mark to dinner and reminds us about the seance last issue. While Mark talks to Trixie and Deadman, one of the Scavengers makes off with the follower, in what looks like a used HYDRA aircraft. He brings the follower back to the boss, who watches it knock out a thug with a steel glove. Deadman catches up, followed by the FP and all hell breaks loose. There's a feudin' and a fightin' and a fussin' and the director tries to take it on the lam, via an underground rail system; but, Beautiful Dreamer zaps him with a tunnel of horrors illusion and nabs him. Turns out he knows about Deadman's murder; but, he ain't spilling. His organization is involved and there is more than one man with a hook for a hand. He's not the right one, either. All of this was to help set up Deadman for a potential new series, which didn't happen and the events were subsequently ignored, by DC. There's plenty of action and mayhem; but not a lot of satisfying story. This one is good in bits and pieces and not much else. I tend to think Kirby might have crafted something more interesting if he didn't have to shoehorn Deadman into things. Since we have only one issue left, I'm just gonna dive right in. Forever People #11  The cover tells us that the Infinity Man returns! Oh, boy, that sounds exciting; I suppose.... Aw, I can't do it. The Infinity Man is completely boring. The design looks like a remnant from a Kirby closeout sale and the guy has absolutely no character. He's Captain marvel without the whimsy, and he's a bit of a pompous ass, to boot. Sorry Jack; but, not one of your better creations. Anyway, we start off with the FP being attacked by Devilance, the Pursuer...  It's a weird name; but, it beats being attacked by Devilance, the Perfumer! Just imagine, being assaulted by an evil department store perfume sniper! The horror, the horror..... Where was I, oh yeah, attack in progress. We don't know why Devilance is attacking other than it's comics and he's a villain. Big Bear jumps in the fray and gets Frayed! More hippies go flyin and the pigs, I mean the cops show up. They are getting used to brawls at Trixie's, though they don't like it. Being allergic to bacon (and being ordered not to get involved with humans, as much as possible), Devilance flees from the police. The FP phase out, too. Meanwhile, we find out where the Infinity Man ended up (um, infinity?). He keeps trying to return from whence he came; but, gets thrown around more. Kind of like lost airline luggage. While this goes on, the FP are hiding from Devilance; but, he finds them and attacks. The gang actually fights back, for a change and hold their own for a bit; but, Devilance keeps comin back for more. The Infinity Man figures out that he needs the kids to get out and makes contact with Mother Box and they switch places. So, mister glory hog whoops Devilance and the hippies are dumped on the other side of the universe, while Darkseid and Desaad watch.   The gang is stuck there, Forever? Well, it's and ending, of sorts. It feels like Jack got the word that the book was being cancelled and sent one last attack from Darkseid, returned the Infinity Man, and got rid of the gang, all in one fell swoop. Apart from the fight with Devilance, there isn't much to sink your teeth in. Really, Jack kind of used up his best material with Happyland and Sonny Sumo. After that, he seemed to be spinning his wheels. There wasn't much allegory left and all that remained was a group of goofy kids, without much character development. Not exactly the stuff of long term storytelling. maybe that is why they have been problematic for others. They are a product of the time and they mostly served to make a statement about the innocence and vision of youth, when faced with the darker outer world. The first half of the series handled this metaphor well; but, I think Kirby took it as far as it would go. Well, that's it for Kirby's Kosmic Kids, the Hyper-Kinetic Hippies, the not-so Forever People. Next up, the New Gods continues to be epically awesome and Mister Miracle returns home, with friends! Stay tuned... |
|
|
|
Post by codystarbuck on Jan 15, 2017 1:47:53 GMT -5
New Gods #8 ... Orion and Kalibak continue pounding one another, while the cops move in. Kalibak heads for the high ground and taunts Orion into following, hoping to ambush him, until he sees Orion's true face.. Forgot to mention earlier that I think this is probably the best version of Orion's real face Kirby came up with. He never really settled on a consistent look for Orion minus Mother Box's alterations, and some of the the earlier ones never quite worked for me, but this one was pretty good, I thought. Maybe this or something similar would have been his final version, since it comes in one of the later issues of the book's short run. I can't think of anything good from later artists either, off the top of my head. Does anyone have a favourite? The most recent one I can recall, from the Wonder Woman appearances, made him look more like a harmless "Teen Wolf" (Michael J Fox movie from the 80s) than the son of Darkseid. Which reminds me, I always wondered why no one, including Kirby, ever tried the most obvious thing: make him look a bit more like his stone-faced father. Though I suppose Kirby does a little bit of that here with the wider mouth and stronger cheekbones. Well, there was Alex Ross, in the expanded Kingdom Come...   Note that his throne is a damaged Mobius Chair. |
|
|
|
Post by codystarbuck on Jan 15, 2017 12:56:02 GMT -5
New Gods #10   Our issue begins with Mantis emerging from his energy cocoon...  and he stirs up the Reichstag beetles into attacking Earth. So, before you can say "infestation," they're off. Meanwhile, Forager has been.......well, foraging!  (by the way, I wonder if the two chefs chasing Forager are these guys...) Forager runs off, vaulting cars, jumping on lampposts and running up the sides of buildings, in truly awesome dynamic Kirby fashion. He stops for some lunch when a helicopter comes along and snares him in a net. Our scene shifts to police headquarters, where Dave Lincoln is being grilled about Orion, by cops and the DA. Orion shows up and tells them more trouble is coming. We then see Mantis and his swarm arriving, interrupting a couple of street bums discussing the state of the economy (seriously!). The confab at police HQ continues, as Forager is brought in...  Orion displays bigotry against the youngster, until he unmasks..  Forager tells them about Mantis and off they go. While the intros were being made, Mantis is wreaking havoc. Orion, Lightray and Forager arrive and set an ambush. Then, they start stompin' bugs...  Kirby creates another epic battle, as the bugs swarm entire buildings and Orion tosses 'em around, via the other end of a lance..  There's bug guts galore (not seen; it is a Code comic); but sheer numbers are too much; but, Lightray, sensing that just mushing bugs isn't going to stop them, spots a sonic research facility (just like in every neighborhood) and gets them to transmit specific frequencies. That sets the bugs to screamin' and they Boom Tube it outta there! Must have played a Beiber song. Things wrap up, as Orion praises Lightray's use of brainpower, something Kirby respected, even if modern creators don't. More Kirby fun and some awesome battle sequences. We also see more of the nasty side of Orion, and a slip from Lightray, when they first met Forager, who they dismiss as a "lowly bug." Even the gods of New Genesis have their prejudices. However, through Forager, Kirby shows that it is one's actions and character that make up a person, not their race or origin. It's a nice racial allegory, thrown into the middle of an epic adventure. The scenes with Forager running through the city are always great and it makes me wish the New Gods had continued and we got to see more of him. It lets Kirby do Captain America in a new setting and with a new character dynamic, even more than OMAC. We also see more of Earth authority being made aware of Darkseid and his designs of conquest and control. Heady stuff. Unfortunately, we all know what is coming. We have one more issue to go, before the axe falls. Y'all come back now, ya' hear? |
|
|
|
Post by codystarbuck on Jan 15, 2017 13:38:05 GMT -5
Mister Miracle #10  Disembodied heads always make for a great comic! Our story begins with Scot, Barda, and the Furies arriving at Gate 9, on the Boom Tube Concourse. It doesn't take long before they are attacked (and not by Hare Krishnas)  Scott locates a gun turret, which is firing at them and works his way to it, destroying it just as it has him at point blank range (naturally). After he destroys it, a group of soldiers come out of a bunker...  Scott takes them out with a dropkick (I'm tellin' ya', Kirby must have seen a bit of Mil Mascaras) and then goes looking for the ladies, as they seemed to have disappeared. He heads down an elevator shaft and finds our disembodied head, who is "head" of the World Protective League. He shows Scott around, where we see Orbital Plague Bombs being armed, and other devices of terror. The WPL is actually a global protection racket; and, when Scott is about to challenge, he gets brain blasted. We switch to the ladies, who are waking up from their brain blast, inside a glass cage. Their visible weapons are gone; but, that doesn't stop them. Mad Harriet produces power spikes and cuts the glass (with the perfect nails on a chalkboard sound effect) and then Stompa kicks out the glass. Now, how about some appropriate music? The gals break out of their cell and Barda comes across a smooth talking secret agent, from the All nations Agency. He sounds a bit familiar, and he has met his match in the Furies. It goes something like this.. ...but with more threats and testosterone. The repartee is interrupted and battle commences. The girls kick hinder, while Scott gets stuffed into a cocoon and escapes; then, gets blasted and dumped into the Orbital Plague Bomb, though the head gets caught in there two. Barda and the ladies battle their way there, only to see the rocket launched; but, Scott is safe and sound in the control room. The place is blowing up, thanks to the secret agents sabotage and Barda takes back her Mega Rod and the group escapes in the nick of time. I get the feeling Kirby had been watching Bond movies, as both this one and Forever People #10 have definite Bond-like scenes. Our story ends with the arrival of Ted Brown Jr at Oberon's house and a reunion with Scott and friends. This is great fun, as both Scott and the Furies get to mix it up and Kirby gives us his take on the spy-fi genre. Man, who wouldn't want to see Stompa go up against Oddjob? The gals are tremendous here and they add a ton to Scott's entourage. No wonder they were one of the 4th World elements quickly revived, post-Crisis. On that note, I'll leave you with some more music... Dedicated to my mom and all of the Female Furies out there who change the world, in big ways and little ones. |
|
|
|
Post by Deleted on Jan 15, 2017 17:15:59 GMT -5
Cody, Man you've really pull all the stops in these reviews and I have been enjoying them immensely and keep up the good work! ...
|
|
|
|
Post by codystarbuck on Jan 15, 2017 18:33:07 GMT -5
Cody, Man you've really pull all the stops in these reviews and I have been enjoying them immensely and keep up the good work! ... Thanks, I've been havin' fun writing them. |
|
shaxper
CCF Site Custodian
Posts: 22,867
Member is Online
|
Post by shaxper on Jan 16, 2017 7:13:29 GMT -5
Cody, Man you've really pull all the stops in these reviews and I have been enjoying them immensely and keep up the good work! ... Thanks, I've been havin' fun writing them. And we've been having fun reading them! |
|
