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Post by profh0011 on Jul 24, 2019 22:03:27 GMT -5
A shame they slipped up like that. I still recall getting ahold of ESSENTIAL MARVEL HORROR Vol.2 and thinking how handy it was, to collect so many short-lived series, many of which kept jumping from book to book between installments. Saved a LOT of trouble tracking down all that stuff!
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Post by codystarbuck on Jul 24, 2019 22:23:02 GMT -5
Marvel Graphic Novel #6 Star Slammers Sounds like an interstellar hamburger chain! Creative Team: Walt Simonson-writer & artist, John Workman-letters, Louise Simonson & Deborah Pedler-colors, Archie Goodwin & Jo Duffy-edits. Julianna Jones & Jennie Rubenstein-special help Julianna Jones is the daughter of Weezie and Jeff Jones/Jeffrey Catherine Jones and the step-daughter of Walt Simonson. So, the whole family was involved in this. Interesting to see Weezie as a colorist, rather than editor (or writer). I suspect she didn't have time or wanted a more neutral voice. Can't do much better than Archie, who Walt credited with teaching him so much about storytelling, on Manhunter. Jo Duffy was one of the better assistant/editor/writers. So, top notch crew for a story of elite mercenaries. This project had a long an interesting history. Walt Simonson graduated from Amherst College, with a degree in Geology. However, like many of his generation, he was at odds with hat to do next. he moved home and went to work at the local college bookstore, where he filled their shelves with sci-fi and fantasy works. That led him to fall in with the Washington Science Fiction Association (where he was no doubt led down the dark path which resulted in this). WSFA was looking to land the World Science fiction Con, for 1974 and looked for ways to lobby for votes. Walt hit upon the idea to do a serialized one or two-page comic, to get their name out there, which could be distributed at other sci-fi cons. Walt called the series The Space Slammers, after noticing a western paperback, title Gunslammer. He drew two pages, in a day, then chucked them away. In his own words, he was trying for an R Crumb/Vaughn Bode sensibility and failed miserably.  He revamped the idea as Star Slammers and produced it in 5 page installments....  From there, Walt enrolled in the Rhode Island School of design, where he confinved hi advisor to let him submit his work on the strip as part of his year long junior project. He then carried it forward to his senior project, finishing the work. That ended up forming the basis of his professional portfolio, which when seen by Carmine Infantino, got him a job on a Len Wein script. Archie Goodwin used him on a war comic story, which led to Manhunter. After that, Walt faded into obscurity.  Walt revised the idea into this graphic novel, for the first professional publication of his own property. Oh, yeah, Washington won the right to host the 1974 World Sci-Fi Convention. Synopsis: On some distant world, a soldier looks out from his besieged location. They are surrounded by an enemy, smaps and "flitters, and it looks like the flitters are going to dine on blood. their only hope rests in word having reached the Slammers and they would arrive to relive them. Word was there would be less than 50 of them, which doesn't sound good. The night passes and the soldier is awakened by the sounds of explosions. The enemy camps were hit hard and there were bodies everywhere. Soon, they saw the slammers had arrived and there were less than 50...  The 3 Slammers are welcomed into the Citadel and offered food, drink and women. They aren't impressed and call for beds and the spoils of battle to be gathered. That night, they are visited by an official, who says the Citadel leaders plan on betraying and murdering them, after the conflict is over. She offers a bigger reward from the enemy. meanwhile, on the enemy mothership, we learn their losses were heavy and they hope this plan will end the Slammer threat, though they recognize they will have to kill them, too. It proves to be a moot point. The Slammers capture the mothership and the enemy commanders and take the booty to the Citadel. they also alert them to the traitorous official, who tries to free the prisoners in an aerial assault, in a fighter. the Slammers deal with her with a sling...  They take her ship and all of the captured weapons as spoils, daring any objection, then head back into space. We learn the Slammers have been collecting weapons to face an invasion from orion. They expect it any time now. They speak of the Silvermind, a unification of the minds of all of the Slammers, to fight the Orions. Ethon, the youngest has mindbridged with the Grandfather, and orion who leads the Slammers. At present, he can bridge with Jalaia, the female member of the trio; but, not the leader, Sphere. We learn of his knowledge of the Grandfather. We see Ethon's family killed, for sport, while his father takes out the killers, before dying, leaving Ethon and his sister alone. We see how the Orion senator used this as an excuse for genocide and how the Grandfather rebelled. He counsels Ethon that only the Silvermind will allow the Slammers to stand against the entire might of Orion. The trio jumps back into real space and finds themselves in an ambush by a fleet of Orion ships. They are taken prisoner. In the brig, they are hit with a synapse disruptor, knocking them unconscious and Ethon is taken for study. He is tortured and mindbridges with Jalaia. She shares with Sphere and they see that the guards have gone to watch. they break out and kill the guards and others, before killing the interrogator. Ethon dies of his wounds. Sphere and Jalaia return to the homeworld. The use a lifepod, with Ethon's body aboard, to blast through the orion blockade. All homeworld saw what happened to Ethon. They prepare. Sphere reflects back on how the Grandfather came to them and how the Star Slammers were named and became mercenaries...  We learn that the Slammers were originally exiles from Orion, who had fallen from favor. They wield the Power Slammer sling, and do so again, alerting the Grandfather to their existence, which is why he sought them out. he is a relative of the exile who founded their society. The Orions reach orbit and begin a planetary bombardment. the Slammers rise in ships to meet them and attempt the Silvermind. iT isn't working. They fight and target bombs and ships. the bombs are too many and the explosions interfere with concentration on the Silvermind. They see that interceptors have been launched. They get hit and sheer numbers beet skill. the Silvermind is failing; but, Jalaia finds the key. She moves out in the open to draw an attack and initiate the Silvermind, while her mind is stripped to the core, facing death. It works. The Slammers fight as one. the cost is high; but they win. On the ground, Sphere finds the Grandfather dead, but he tells them to move ahead. they prepare to take the fight to Orion...  Thoughts: others have reviewed this before, including our own Edo Bosnar. My thoughts are these: I first saw Walt Simonson's work at DC, years ago and loved it. I have loved every piece I have ever seen, regardless of how good the story was. walt never lets you down, visually. There has been debate about the writing on this; but, not in my eyes. it's a damn fine story and it stirs the imagination. There is enough info to propel the story, but there are gaps that make you want to read more. I have a thing for military sci-fi (no surprise, as I have a thing for military history and was a naval officer, in my youth) and this is good military sci-fi. It's also just good sci-fi. A small race of people, exiles from another world, have grown in a harsh environment to become a dangerous foe for their homeland. They rebel against those who would destroy them, for sport or convenience. It reminds me of the resistance groups that rose to fight the Nazis, the warrior societies like the Spartans, and the frontiersman who helped form this country. It's the idea of those who dwell where others fear to go without heavy protection and learn the ways of the land and can stand where others cower. It's the stuff of heroes and I am a sucker for heroes. it's also not so simple a thing. The Slammers have their issues, they needed guidance, they don't win easily. Despite Hollywood, there is no glory in war; only death. these people fight for survival and that requires taking the fight to their enemy. It will be bloody, for all. Walt had a create vehicle here; and, like edo, I think he could have told so many stories of the Slammers days as mercenaries, their fight on the Orion homeworld, which was skipped when Walt returned to the Slammers, at Malibu's Bravura line (with the ending at Dark Horse). Walt owns this, so they only thing stopping him from revisiting it is the economies of the industry. I first saw this in the graphic novel format, at a Waldenbooks and bought it a few years later, in college. IDW later collected it with the Bravura/Dark Horse series and Walt provided the original WSFA storyline comics and an intro about its genesis. This is the kind of thing I wanted to see in the Marvel graphic line; not higher priced, but average comic book stories. I wanted to see more experimental, personal works from top creators. Starlin, Russell and Simonson did that, why didn't more? Well, I think we probably can guess the answers to that. Certainly, marvel wanted more content that they controlled and owned. regardless, this was the kind of thing lacking from the comic book line, in any depth and only Epic was even poking around in those realms. I still believe that Epic was the way of the future for Marvel and can only wonder how they would have advanced into the 90s if they had pt the muscle behind Epic and creator works like this, as they did so many mediocre and derivative comics.
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Post by EdoBosnar on Jul 25, 2019 3:48:09 GMT -5
Yeah, I can't praise Star Slammers enough - by that I mean this graphic novel, the later series from the 1990s and the whole concept in general. This is space opera in comics as it should be. Otherwise, I now have the IDW collected edition - found a sweetheart deal online a few years ago, $19 total (i.e., with postage) - and that is one beautiful book. If you're a fan of Simonson's work and have never read Star Slammers, I highly recommend picking that one up.
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Post by codystarbuck on Jul 25, 2019 12:09:17 GMT -5
Yeah, I can't praise Star Slammers enough - by that I mean this graphic novel, the later series from the 1990s and the whole concept in general. This is space opera in comics as it should be. Otherwise, I now have the IDW collected edition - found a sweetheart deal online a few years ago, $19 total (i.e., with postage) - and that is one beautiful book. If you're a fan of Simonson's work and have never read Star Slammers, I highly recommend picking that one up. It illustrates why I wish Walt had been the regular penciller on Star Wars, for the period between Star Wars and Empire. His one or two issues just stood out against carmine Infantino (and I mostly liked Infantino's work on the series). But, the have Walt on art and Archie's stories? That would have been heaven. Walt did eventually come on as the regular, post Empire, when they had so many story restrictions on them (and when I lost interest, until the Jedi adaptation). At least he & Archie gave us Valance. |
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Post by EdoBosnar on Jul 25, 2019 12:51:58 GMT -5
It illustrates why I wish Walt had been the regular penciller on Star Wars, for the period between Star Wars and Empire. His one or two issues just stood out against carmine Infantino (and I mostly liked Infantino's work on the series). But, the have Walt on art and Archie's stories? That would have been heaven. Walt did eventually come on as the regular, post Empire, when they had so many story restrictions on them (and when I lost interest, until the Jedi adaptation). At least he & Archie gave us Valance. I started following Star Wars a little more regularly post-Empire, because I generally wasn't a fan of Infantino's work on the title, but the stories just didn't grab me as much. I'd actually recommend the last ten or so issues of Marvel's Battlestar Galactica mostly drawn by Simonson, in which he also served as writer for the last few. Those were better than the TV show - as I've said before elsewhere - I wish that series hadn't been cancelled at that point and we had, say, at least a dozen more issues of Simonson space opera magic. |
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Post by berkley on Jul 25, 2019 21:30:07 GMT -5
It looks to me like Sonny Trinidad might have been deliberately drawing Gene Colan's version of Dracula, especially in his rendering of the folds of his cloak, but also the face, to some extent. Don't think I ever noticed any other artist trying that.
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Post by codystarbuck on Jul 31, 2019 14:16:18 GMT -5
Marvel Preview #13 Creative Team: David Anthony Kraft-writer/editor (also conceived by), Herb Trimpe-pencils, Klaus Janson (pt 1) and Pablo Marcos (pt 2)-inks. Ralph Macchio-assoc. editor, Roy Thomas & Roger Slifer-consulting editors. Kind of top heavy issue, if you know what I mean. In an editorial, DAK swears up and down that this had a basis in a childhood encounter and a lifelong fascination (with an apparent lack of skepticism) in UFOs and not the Spielberg film, which was released 2 months before the issue (and for which Marvel did an adaptation). I suspect the adaptation deal had much to do with the scheduling of this issue and the subject. Still, UFOs and other unexplained phenomena (well, to the layman's mind they were unexplained but scientists had plenty of rational and reasonable explanations that just weren't exciting enough) were a big deal in the 70s (as were conspiracy theories and the two dovetailed nicely). You could walk into any store, nearly, and find a book or magazine about UFOs, Bigfoot, the Loch ness Monster, the Bermuda Triangle or the appeal of Tony Orlando's music. Cheapo comic magazine producer Myron Fass (the man behind the "split-zam" Captain Marvel) had about a half dozen schlock magazines devoted to the subject. Kind of surprising that the comic companies didn't jump on this more, though they had plenty of sci-fi comics for such things, plus similar things in regular series. Synopsis: A man and a small gril are terrified and running, as a machine appendage rises from a garbage can. A wino asks what the yelling about and intercepts the death ray, as father and daughter run for their lives...  We get a flash back of the man, Tom, who is a scientist and has built a pyramid structure which "proves" the existence of pyramid power, that the structure acts as an energy accumulator. Mom is a bit skeptical and answers a knock at the door and opens to find a hovering machines, which hits her with a death ray. Tom and daughter Sissy escape, but are hunted by the machines, while Tom gets far away looks. In one suche episode he has visions of being in ancient Egypt, observing a space ship firing a ray on a pyramid. Tom and Sissy arrive at an airport and prepare to board a plane, when Tom is attacked in the bathroom, by a metal tentacle (paging Dr Freud....Dr Sigmund Freud....). He destroys it and they get on a plane, to go see a Dr Werner Strauss, while Tom recalls something about a Project ET. On the plane, Tom has another episode, where he finds himself a German pilot, in WW1, in the middle of a dog fight and witnesses an alien craft attack the planes.  He awakes on the plane, screaming. They land in Europe and take a bus to Marseilles (drawn like an American Greyhound bus, rather than the typical European bus styles, of the period). He has another episode and is in Nazi occupied territory and witnesses aliens working on their craft, in a forest. In Marseilles, the board a ship to Egypt, which seems to be followed, by something. The boat is attacked and destroyed, with Tom and Sissy surviving. Tom unpacks his portable pyramid to use as a life raft and a saucer-shaped craft appears, complete with hovering aliens...  Tom and Sissy hide inside the pyramid and the aliens examine the exterior, then leave. Tom has another episode and is an airline pilot, whose jet is attacked by a spacecraft. They arrve in Egypt and see a newspaper which describes the disappearance of a Brazilian airliner, which matches the vision. Tom theorizes that his pyramid is unleashing mental abilities. he and Sissy climb inside and get a vision of the aliens and learn that they seek a pyramid station that discharges psychic energy that sustains them; but, Tom's experiments threaten to disrupt this. They head for the desert and run into a caravan of bedouins, which turn out to be aliens. They smash through and arrive at Giza, and set up the portable pyramid by the tomb of Cheops. There, they see the aliens at work. they have abducted humans and then feed off their psychic energy, like parasites. Tom gets out of the pyramid and runs smack into aliens and is disintegrated, leaving Sissy alone, inside the pyramid. She then feels the aliens inside her mind. Sadly, I only have a scan of this, which does not include the non-story material. Included in the issue were articles about alleged encounters by Jimmy Carter and John Lennon (definitely other explanations for weird phenomena, with him), an excerpt from Robert Anton Wilson's The Cosmic trigger, and a piece on the USAF Project Blue Book, which was an ongoing investigation of UFO sightings and strange phenomena. It inspired the tv series Project: UFO... The tv show lasted 2 seasons, with 26 total episodes. It featured a pair of Air Force investigators examining the sites of UFO sightings. most episodes usually ended with hints that there were alien encounters, though one or two did uncover deliberate hoaxes. The series was from jack Webb's Mark VII Productions, with Webb voicing the opening narration. He pulled ideas from Air Force files, but seriously jazzed them up, as most Air Force examinations found far more reasonable explanations for th sightings. There is a new Project Blue Book series, with Aidan Gillen Thoughts: The story is fairly exciting and intriguing and Trimpe does a good job in keeping things moving, mixing the weird with the mundane. I wouldn't want a steady diet of this; but, it's a pretty good one-shot. Kraft's story is ure Twilight Zone structure (or maybe Outer Limits) as there is no escape from the aliens. The rest is total pseudo-science, science-fiction, and malarky. I'm a cynic (No....really?) and a skeptic and it takes a lot more than badly focused photos of shadows in a grainy sky to convince me of alien visitors, or some mundane person, from a humdrum life, who has an encounter out in the middle of nowhere. Most UFO reference material features great leaps in logic, evidence taken out of context and poor research, much like associated things, like Area 51. My Father served on the Roswell AFB, with a B-36 Bomber squadron int he early 50s and never heard even rumors of the alleged 1947 "crash." he did say that there were restricted parts of the base; but, that includes where the nukes were housed (it was a SAC base and the B-36 was the first nuclear deterrent aircraft) and classified aeronautical research was conducted on the base. Classified as in testing new avionics and airframes, not as in dissecting alien bodies. These things seem to revolve around reality not being exciting enough, so let's skip right over it and go for the wild story, with no concrete evidence. Astronomy tells us that the nearest star to our solar system is 4.5 light years away. So, alien life, travelling at the speed of light, would still take 4.5 million years to get here. It just doesn't add up, logically. Well, then, what about tachyon power or worm holes or...... Fine, theoretical physics, not practical engineering proven to exist. So, possible? Sure, it's a big universe. Probable? Not very. Wanting it to be true and proving it so are two greatly different things. Many unexplained phenomena discussions lack rational and scientific underpinning. Take the Bermuda Triangle. Books and articles speak of all kinds of disappearances. However, the area encompassed by the "triangle" is between 1 and 3 million square miles (depending on whose boundaries you use). It is also one of the most heavily trafficked areas in the world. You draw borders that big, with that much traffic, and you will get a lot of disappearances. There are just as many, if not more, on the Great Lakes. It is an area where hurricanes develop. There are far more reasonable explanations for ship and aircraft disappearances than aliens or dimensional doorways, or strange undocumented energy. Certainly, these "what if" discussions can be entertaining exercises of the imagination and has led to some great fiction and drama (and a ton of not-so-great); but, that doesn't make them any more real than the Minotaur, a giant ark of all animal life and a family of people, or Rob Liefeld's concept of human anatomy. Your mileage may vary. I'm sticking with the skeptics, until presented far more convincing evidence. Besides, james Randi is more fun than the Uri Geller crowd.
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Post by codystarbuck on Jul 31, 2019 15:53:37 GMT -5
Oddly enough, our next Marvel Graphic Novel fits into the same theme, as we have humans fighting alien invaders Marvel Graphic Novel #7 I've already discussed this one in my War of the Worlds 2: Electric Boogaloo thread. I don't really have much to add, other than PCR's artwork is spectacular and McGregor's scripting had grown. There was supposed to be a sequel; it didn't happen. So, we will move onto.... Marvel Graphic Novel #8 Super Boxers Spectacular cover by Bill Sienkiewicz, less-than-spectacular interiors by Ron Wilson. Creative Team: Ron Wilson-plot & pencils, John Byrne-script, Armando Gil-inks, Mike Higgins-letters, Bob Sharen, Steve Oliff, John Tartaglione, Joe D'Esposito, & Mark Bright-colors, Bob Budiansky & Mike Higgins-edits This is set in a future world, where corporations rule and people lead oppressed lives, with breads and circuses. So, pretty much the world we live in. Synopsis: We start with a rip-off of Rollerball.....  We are introduced to our hero, max, a big bruiser of a guy, who climbs down a manhole to the world below. he goes to a metal door, gives the password and instead of a speakeasy, we have an illegal underground power boxing arena.  Max wins his fight and we see some blond bearded guy in the crowd. We then cut to the legal boxing and the champ, Roman. he has the high tech gear and was born and bread for this. of course, he wins easily. In the crowd is Marilyn Hart, head of Delcosmetics, sponsor of the losing fighter. there are rumors of financial trouble. The blond guy sees Marilynn and tells her about Max. Delcosmetics' rivals are pushing to take over her company; she needs a success. Meanwhile, robotic police are hunting for the illegal fights. They burst in on Max's next fight and everyone scatters. the blond guy, Rolf, catches max and takes him to a bar, to discuss and offer. The mobster who runs the illegal fights isn't happy, but backs down when he recognizes Rolf as a "corpy." max is recruited, gets high tech gear and trains and Marilyn is fascinated by him. he invites her to an underground fight, then has to protect her when the robot cops turn up. His pal Strap, gets attacked along the way. The fight is set up between Max and Roman, and Marilynn seduces Max...  At the signing of the match, Max learns that he is now the property of Delcosmetics and if he loses the fight, the company passes to her rivals, as does Max. He is a slave to the corporation's will. he storms off and visits Strap. Rolf is murdered by a sparring robot. Strap convinces Max that Marilyn has been working to improve the plight of the lower classes and is being targeted by the other corps because of it. Max decides to fight. Max fights Roman and is getting clobbered, because the fix is in. Roman is using XL-10 power gloves, instead of regulation XL-7s. Strap figures it out and sabotages the controlling machinery, at the cost of his life. now, the gloves are useless and Max and Roman face each other in the purest form: bare knuckle. Roman has trained to fight with the power gloves, Max is a trained fighter. Max beats Roman..  Delcosmetics wins and survives. Marilyn and Max look to the future, together. Thoughts: On the surface, this is a decent story. However, it is swiped from every boxing film and Rollerball, right down to the image of the raised fist in a spiked glove. Rollerball featured a world run by corporations, with a breads and Circuses distraction of the violent sport, designed to show the futility of individual action. the problem is, a superstar emerges, Jonathan E (James Caan). The corporate heads want him destroyed, and change the rules until there is nothing left but death and destruction. Same basic set-up here, mixed with the boxing cliches of the under-privileged street fighter who gets a shot at the title. It's Jim braddock, Rocky, Requiem For a Heavyweight, The Champ....you name it. The art pretty much mixes the rainy, noir vision of the then recent Blade Runner with mid-century futurist architecture and design. The problem, apart from the cliched story, is in the art. Wilson does a decent job; but, it has a murky quality and Wilson isn't that great with characters; or at least, a variety of characters. He does a better job at madilyn, while Max and Roman are generic steroid bruisers and everyone else feels like a stock character. It isn't bad; but, it is hardly spectacular. It feels more like an extended Strange Sports comic than anything else. On the whole, it's a decent read, though not the most visually exciting or intriguing story. You can predict the thing from opening panels. It is an experiment, which is what you would hope, from a graphic novel line. Wilson is trying to stretch his talents; but, he just doesn't fully rise to the occasion. He still did a pretty good Thing; but, this isn't Ben Grimm. Does this deserve the graphic novel treatment? Well, from a quality standpoint, probably not. However, it does fit the bill, as an experimental work. Wilson created the concept and retained copyright, so it is a creator-owned work. I almost get the feeling it was meant more for Epic Illustrated and got pushed into here, as they needed to fill the schedule, though maybe not. One thing is for certain, it is the least artistically impressive part of the line, so far; but, I give it points for reaching beyond. When I first read it, I noticed the cliches; but, mostly enjoyed it and I do, still, to a point. The art never looked that great; but, I think Wilson had some ideas here, that in the hands of a quality writer could have been something much more. Hard to tell how much Byrne fleshed things out. It's not a rousing success; but, it is an interesting experiment. |
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Post by codystarbuck on Jul 31, 2019 15:57:16 GMT -5
I think most people saw this, when they looked at the cover of Super Boxers...  Given that Bob Peak was one of Howard Chaykin's painting influences, imagine what Chaykin would have done with Super Boxers..... |
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Post by MWGallaher on Jul 31, 2019 20:22:19 GMT -5
I talked to Ron Wilson about Super Boxers at a convention shortly after this was published, and he had high hopes for it, and apparently had some toy company interested in developing the property. I couldn't see much of the necessary visual appeal and variety for a successful toy line, but decent selling toys have risen from much flimsier premises.
I think Wilson rose above his usual standards for this creator-owned work, and I quite liked what Armando Gil brought to the pages (as did Wilson). Although it was lacking originality and really wasn't anything special, I've always been fonder of this than many of the other installments of MGN that are generally regarded more highly. I'd have bought an Epic ongoing for sure.
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Post by badwolf on Jul 31, 2019 21:16:58 GMT -5
It definitely looks a lot nicer than MTIO or The Thing, though the inks and colors probably have a lot to do with that.
I could imagine some toys based on the boxers in the "costumes" on that earlier page. Maybe the femme fatale could get a figure too (no pun intended).
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Post by codystarbuck on Jul 31, 2019 21:17:20 GMT -5
I talked to Ron Wilson about Super Boxers at a convention shortly after this was published, and he had high hopes for it, and apparently had some toy company interested in developing the property. I couldn't see much of the necessary visual appeal and variety for a successful toy line, but decent selling toys have risen from much flimsier premises. I think Wilson rose above his usual standards for this creator-owned work, and I quite liked what Armando Gil brought to the pages (as did Wilson). Although it was lacking originality and really wasn't anything special, I've always been fonder of this than many of the other installments of MGN that are generally regard more highly. I'd have bought an Epic ongoing for sure. I would agree with most of that. I liked it when I read it and it was different from most of Marvel's stuff. I don't know about an ongoing series; but a longer mini, where things could be fleshed out more, would have been cool. |
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Post by EdoBosnar on Aug 1, 2019 3:30:16 GMT -5
I only read Super Boxers for the first time about 5-6 years ago, so my thoughts on it aren't colored by nostalgia; mainly, I was curious about it because it was something that completely flew by me back in the day and because I'd read a number of snarky reviews on various comic blogs (including Gone & Forgotten if I recall correctly) that almost universally panned it.
And I ended up liking it more than I thought I would. Yep, the story's derivative and mostly predictable, but it was solidly told, and, like badwolf, I think Wilson's art here looks better than his work in Marvel's monthly books (incidentally, there's a few panels that look to me like they were either done or finished by Byrne). I also agree with M.W. Gallaher that it would have been cool to see some kind of ongoing or mini-series set in this world.
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Post by badwolf on Aug 1, 2019 9:45:18 GMT -5
I read Super Boxers as a teen and wasn't mad about it, but it was mainly because it was about...boxing. I was a die-hard superhero fanboy. And I don't really understand any sports but I understand ones like boxing and wrestling the least.
When I re-read it when I was older I think I got the story a bit more, but it just wasn't my thing.
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Post by codystarbuck on Aug 1, 2019 10:43:40 GMT -5
I read Super Boxers as a teen and wasn't mad about it, but it was mainly because it was about...boxing. I was a die-hard superhero fanboy. And I don't really understand any sports but I understand ones like boxing and wrestling the least. When I re-read it when I was older I think I got the story a bit more, but it just wasn't my thing. What's to understand about boxing? Punch the other guy and try not to get punched; everything else is mostly window dressing. If the other guy would rather lay on the mat than punch back, or just stops punching back, you win.  I grew up watching Ali's fights and Olympic boxing, on ABC's Wide World of Sports, so I was at least curious about this. The high tech look of the gear was intriguing. |
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