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Post by zaku on May 6, 2019 13:30:59 GMT -5
I have no interest in covering Marvel Zombies, not do I have any of that material. Nothing against anyone who enjoys that series; I just can't stand zombie stories. I was ecstatic that GOT wrapped that mess up, last week, so we can get back to snarky comments over wine glasses and people sleeping with their siblings. Anyone else wants to cover those stories, be my guest. What about his Paradise X appearances?  |
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Post by codystarbuck on May 6, 2019 22:51:45 GMT -5
I don't have the whole Earth X, etc stuff; I read the first issue or two of the first one and didn't really enjoy much of it and skipped the rest. Ross had nice esigns; but, the story wasn't grabbing me.
I might throw Howard a bone, though he looks more like Flash Gordon, in that sequence.
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Post by codystarbuck on May 7, 2019 23:00:29 GMT -5
Howard the Duck #2 Lucas should have included a space turnip. Creative Team: Steve Gerber-writer, Frank Brunner-pencils, Steve Leialoha-inks, Tom Orzechowski-letters, Michele Wolfman-colors, Marv Wolfman-edits. Synopsis: In the far flung future, Killmallard fight the alien Murrks, with Beverly at his side....  He blasts them here, he blasts them there, while purple prose litters the page, as they take refuge in a derelict McDonalds...until....  The septopods show up. 7-legged death stomps on our hero..... Then Howard wakes up from his nightmare. he's in Beverly's apartment, having fallen asleep reading one of her boyfriend, Artur's, stories, about Killmallard, freedom fighting duck, in a futuristic nightmare. Howard goes on to criticize the story for hitting you over the head with the message. Surprised the boyfriend wasn't called Don, or was that too on the nose. Bit of pot and kettle there, if you ask me, given some of Gerber's metaphors and long winded pages of text with single illustrations. Both he and McGregor, at times, seemed to think they were paid by the word. Anyhoo, the rest involves some guy finding a turnip, from space, getting his brain zapped, in the process, as Gerber proves my point...  People who use glass Smith-Coronas should not type stones! Said turnip-infested dude is Arthur, on dis day job, as a night watchman. He gets turned into Turnip Man, a root vegetable-based hero and saves Beverly, sort of, and things get loopier, until he is freed of turnip control, possibly by simmering in stock, until soup is ready. Possibly not. Thoughts: Well, you got some of that, above. Gerber uses the opening to poke fun at Don McGregor, ignoring that McGregor was following in Gerber's footsteps. he also uses that as an intro to Bev's boyfriend Arthur, so Gerber can poke fun at superhero conventions and starry-eyed dreamers. I still say, visually, it is more Flash Gordon...  ...while the Murrks are pretty much the Tharks, from John Carter... 
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Post by brianf on May 8, 2019 5:48:19 GMT -5
It looks like various other versions of Killraven have popped up in other places, like in the WISDOM minseries where at the end a young Killraven is being raised by Shang Chi (nothing ever came of this) |
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Post by codystarbuck on May 8, 2019 10:49:06 GMT -5
Avengers Forever #4-6   Creative Team: Kurt Busiek and Carlos Pacheco Synopsis: Not gonna spend a lot of time on this. Sorry, fans. Immortus has sent his stooge Tempus (sounds like an auto show) to kill Rick Jones. Kang interferes, because he is trying to change his future and the Kree Supreme Intelligence influences Rick to use the Destiny Force to summon help from different time periods (because that is the whole point of this. This includes the disillusioned Cap of the Englehart run, the psychotic and amnesiac Hank Pym as Yellowjacket, the Giant Man and Wasp from the present, Hawkeye from just after the Kree-Skrull War, Songbird, from some near future and Captain Marvel (Gennis Vell) from a deeper future. They go mucking through time, running into various Marvel people, especially Avenger types (like Two-Gun Kid and his cowboy buddies). This gives the 50's Avengers some time in the sun, leading to Agents of ATLAS. The Killraven connection begins in issue #4, barely.  Giant Man Hank and whiny Cap arrive in the future, where a group of Avengers are fighting a Martian invasion, complete with multiple Skars and some tripods. This Avengers includes an older Black Panther (with white beard to hammer the time frame home), Crimson Dynamo, Thundra, Jocasta (as more of a female Vision), Living Lightning and Killraven, who is using the photonic shield that Cap had in Waid's run, when the original was lost in the ocean. They don't do much in issues 4 or 5; they show up, meet Panther and his new band, then fight some Skars, with T'Challa doing a Mortal Kombat....  but doing f-all for the rest of #5, as the focus is on the 50s Avengers. Issue 6 has more, as they meet up with Mourning Prey and her butterfly creatures....  Cap is touched by Mourning Prey's mind and stops the fighting, after Jocasta has gone down. They are in the vibranium mines, which they need the element for spaceships, while the butterfly people need it for food. Jocasta needs it to live. T'Challa decides to forgo his vision of revenge on the fleeing Martians and Jocasta lives and delivers a baby synthezoid. Cap hands out cigars and they head back through time, leaving old T'Challa to wonder if Wesley Snipes is ever gonna make that movie. Thoughts: This is a Killraven cameo, little more. He is background clutter in the issues, just part of a bunch selected to be future dystopian Avengers, with no real thought to the character. he's given the Cap energy shield merely to be the future Cap. That's about all Busiek cared about, except Mourning Prey, which was there mainly to restore the disillusioned Cap's sense of purpose. You can miss this and it won't matter, on the Killraven front, any more than the Howard the duck parody (though at least Gerber was on form, in that period). On the whole, I liked Avengers Forever and seeing characters like Two-Gun Kid and the 50s Avengers was part of the fun. This sequence, though, was about as useful as any of the minor cameos in Crisis (such as Anthro seeing buildings from the Legion's era). It appears to be more trademark maintenance than story necessity. Your mileage may differ. Not gonna do Paradise X or any of the others; don't have them, and, I'm not really interested in looking at more stories with Killraven where he isn't the lead. As I said before, if someone else wants to cover them, feel free. I'm gonna stick with Killraven proper. So, someone wake up that Dawn dude; he's up.
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Post by codystarbuck on May 8, 2019 11:20:01 GMT -5
Sorry if I sound cranky; this just reminded me of one of my pet peeves of mainstream comics (especially this era). A lot of stuff was done with little more purpose than trademark continuation. Characters like Killraven would pop up in a mini-series or single issue, just to keep the trademark going. otherwise, they often served little purpose and the main stories weren't always that great, in the first place. I was really souring on mainstream comics, between feeling like I read the same stories 20 years ago (people like Geoff Johns were big culprits on that) or just the same old mindless violence and soap opera. The rare original take on things, like Starman, were my few superhero pleasures, at this point. That's why a Killraven proper issue was a bigger deal, to me.
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Post by codystarbuck on May 9, 2019 11:01:42 GMT -5
Killraven #1 (2000) Well, right off the bat, the sword is wrong.  I'm amazed the girl has that much clothing on. This is the dude who made a career of drawing Dawn...  No, not that Dawn....  No.....  Yeah; that one! Creative Team: Joseph Michael Linsner-story & art, Eva Hopkins-script assist, Letters-RS & Comicraft's Wes, Colors-Avalon Studios, Joe Quesada & Stuart Moore-edits, Kelly Lamy-asst. edits, Nancy Dekasian-manager, Joes Quesada-invasion What is it with post-90s credits? It's as bad as Hollywood, where even the accounting department gets screen credit. What's next-dude who delivered coffee to editor while kissing his backside, in hopes of an assignment? Oh, wait; that's the assistant editor's job.  Synopsis: Killraven and M'Shulla (with new cornrows and braids) are hanging out in New Jersey, while KR tells of testing out a new rifle on a tripod...  When it's partner (the travel in packs of threes, like Cylons) shows up and he has to fight with stars and tiny pistols that look like they are based on pre-WW2 German ones...  or Russian ones...  The smashed tripod punches through the street, revealing a hidden bunker below, where killraven finds computers with magnetic tape drives, Yes albums and 8-track tapes. oh, and a chick in hip-huggers...  She's in a cryo-chamber and the only one of 25 alive. So, KR pulls Sleeping Beauty out of it and carries her off, before tripod #3 shows up. KR takes her to an abandoned apartment and cares for her, until she wakes up and finds out it isn't 2001, that Martians invaded and destroyed everything and that HG Wells War of the Worlds actually happened. Turns out she was part of a group of students who went into hibernation chambers, in 1976. So, she also missed Star Wars.   After more Kennedy Conspiracy nonsense and a bunch of hippie talk of negotiating with Martians, Killraven tells her his story (her name is Alice, by the way), which includes fighting in an arena, buck nekkid, instead of in a skimpy singlet. Then, the third tripod shows up, KR blasts it, a martian creeps out, KR kills it, and Alice loses her s@#$ and wants to go back to the 70s. I mean come on, she missed Star Wars!  KR dreams of his past (in a two-page spread...)  then takes Alice back to the bunker and puts her back in her chamber, and she gives him a peace sign ring, before he activates the mechanism. Then we are back to the present, with him finishing the story for M'Shulla. We get a glimpse of Old Skull and an extremely pregnant Carmilla frost, in the background, as the story ends on a note of hope. Thoughts: Well, it looks all airbrushed and computery, I'll say that! The story is pretty slight and it's only real function seems to be to introduce Killraven to a new audience, with a sleeper awakening, to steal some more, from Wells. We do get a peek under KR's headband, revealing a wicked scar that either literally is a third eye or is just a scar from the Martian experiments that gave him psychic abilities. Linsner also gives Killraven a hooked nose that he didn't have before. Alice is a hippie stereotype, wanting peace and it will come in the future and yada-yada-yada. Let's face it, the hippie movement was dead and buried by 1976. Everyone was too busy with real life and disco and Bicentennial celebrations. The idea of a college professor even finding 25 students who still thought there was a utopia ahead is pretty hard to swallow, even in the year 2000. Still, it was nice to see Killraven again, the real Killraven; not just some alternate future, where he is an Avenger, or some background cameo reference. Linsner, more or less, stuck to what had happened in the original series, with a few embellishments. It gave me hope that we might get some more, though I doubted Linsner would be the one to do it. Even Dawn didn't come out that regularly. This was part of the Marvel knights imprint that Quesada was running, at first under contract to Marvel, then as the new EIC. Quesada's Event Comics had been contracted to handle a few books for Marvel, just as Lee & Liefeld had been contracted to do their books. Lee & Liefeld crashed and burned (Liefeld had incinerated, then crashed); but, Quesada's stuff was selling and Marvel made him an offer. he had brought some indie talent to work on things, which gave a fresher look to the MK books. That continues here, with Linsner. Storywise, it's pretty average and not especially memorable; but, makes for a decent single read, which is more than you could say for much of Marvel's output, of the period. It was style over substance; but, you can get away with that quite well in comics. It did stir some interest in Killraven, which would lead to more, though in a slightly different form. It would also be included in the Marvel Essentials: Killraven collection, though it lost quite a bit, in black & white. Next, the follow up to all of this, which, instead of continuing the original story, decides to just redo it.
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Post by rberman on May 9, 2019 13:37:28 GMT -5
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Post by EdoBosnar on May 9, 2019 14:40:14 GMT -5
So that's what that story looks like in color; not bad, I suppose, but yeah, a very airbrushed look. I have it in the aforementioned b&w Essentials volume, and I just re-read it last week, together with the Davis/Farmer mini that came a few years later, as I pretty much forgot most of what they were about in the first read-through - I think the problem was that I read them right after all of the earlier McGregor/Russell material, which left a stronger impression on me.
Anyway, this wasn't a bad little story, but nothing incredibly memorable, either. In fact, I think what I liked most was that it's so firmly tied into the previous Killraven continuity, taking place a few months after the events of the graphic novel from the early '80s.
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Post by codystarbuck on May 22, 2019 13:10:52 GMT -5
Killraven (2002) #1 Well, back to the singlet.... Creative Team: Alan Davis-story & pencils, Mark Farmer-inks, Pat Prentice-letters, Gregory Wright-colors, Tom Brevoort-edits, Joe Quesada-EIC, Bill Jemas-@$$ Credits for everyone and no one. Jemas made Jim Shooter seem like a nice guy (and by most accounts, he is, in fan interactions) Synopsis: We get some backstory, as we meet young John Raven and his mother, who are stocking up on canned goods. John has never been out before, never shopped; outside, we learn why...  They have been hiding in bunkers. The martians don't see them and move on. They see the martian facility in flames and wonder what happened. We then learn that tripods aren't the only threat, as martian slave hunters arrive on the scene. They run below, to the subways and are cornered. Suddenly, a star-shaped projectile impales a hunter in the face...  It is Killraven and his freemen! The boy isn't John Raven; psych! We meet the freemen: M'Shula, Hawk, Carmilla Frost and Old Skull. They bicker and banter; the boy's mother id dead. They ask the boy if he has anyone else and begin the journey to take him to his grandfather. The boy takes them to an underground bunker and his grandfather. The freemen have never seen an old man; no one gets to be old, in their world. He has recordings and information about how the martians came, how no conventional weapons could beat them, how they overrode guidance systems on nuclear weapons and redirected them against the military installations. They were immune to biological weapons. Earth was devastated and they took slaves. They are interrupted by the hunters, led by a martial warlord. The old man points them to a rocket train and they depart through a tunnel, as the old man detonates the bunker's self-destruct. The freemen and the boy escape; but, find themselves facing Mint Julep/ Thoughts: Well, we get faked out at the beginning, thinking we are seeing Killraven's origin; but, we are, instead, meeting a similar young boy. Killraven and his freemen are much as they were, though Hawk is a bigger presence and more belligerent, Carmilla is just one of the gang. Davis twists the old story a bit, as there is no previous invasion, only the modern one and nothing worked against them. Some people are surviving in underground bunkers, like John, Gramps and John's mother. Davis keeps things crashing along, with slight pauses in action. His work is dynamic, though it lacked the beauty of Russell. This is a more hard-hitting adventure take on things, more like the initial issues of the series. It is not a continuation; it is a reboot. Davis sticks with the singlet look, as the supposed uniform of the gladiators these people were. Killraven's stars get upgraded to discs, from which blades fold out, kind of like the Glave, in Krull. The swords are basically big switchblades, as they extend and retract into the hilt. The tripods get a bit of a redesign and everything seems more techy than the original. This is Killraven for a new generation, a bit more violent (though not significantly so) and less poetic. This is a bit more of what Killraven might have been, had Don McGregor not taken over the series. There are not satires of the present, no political statements, just dystopian futures and freedom fighters. In other words, a pretty standard Marvel comic.
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Post by brutalis on May 22, 2019 17:04:45 GMT -5
Yeah, this mini-series was at best okay. But ooooooooohhhhh that Alan Davis Art is so sweet. That really is just about all I can remember of it and I just read it again last year I think?!?
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Post by EdoBosnar on May 22, 2019 18:33:48 GMT -5
I just re-read the Davis/Farmer series a few weeks ago - this time with some distance from the last time I read the original McGregor/Russell material. As I noted above, it didn't leave much of an impression on me in the first read-through, but this time I appreciated it a little more. It's definitely a more simple, action-oriented sword & science story, taking its cue from Killraven's first appearance in Amazing Adventures - in fact, from the first half of that issue, as Davis asserted in the foreword to the HC that collects it. Still, he definitely retained some of the plot elements from the McGregor/Russell run, but just stripped everything down to fit into six issues.
As for the art, well, Russell and Davis certainly have different styles, but the latter's is no less beautiful...
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Post by codystarbuck on May 23, 2019 17:29:39 GMT -5
Killraven #2 (Electric Boogaloo) Some weird perspective on that one. And, ooh, look; Mint Julep has a puppy! Creative Team: Same bunch. Not sure why assistant editors are getting credits; but, whatever. Everyone gets a credit, anymore. Synopsis: We start with a flashback to Killraven's days of training, under Keeper Whitman...  He is battered and abused; but, has a natural talent for fighting; but, not for killing. He resists his conditioning, with the help of Old Skull's tales of the past and concepts like Freedom and Justice. We see how Sirens are used to manipulate but he still resists. He is forced to kill, but fights back. Eventually we learn it is a mind meld, by one of Julep's mutants. Killraven is travelling with Mint Julep in her improvised airship, a railroad passenger car suspended beneath gas bags  She speaks of the Martian weakness, that they are a dying race and fractious. She works with them to get close to the secret of their technology, to use it against them and gain power. She makes Killraven an offer to join her, which he rejects. He is taken below and goads his captors into attacking, then takes them down and cuts himself loose of his bonds. he runs into a woman, chained up an immersed ina barrel of oil (kinky!). he frees her and helps her clean off the oil, as he is introduced to Volcanna Ash.  We find the other Freemen, trussed up and bickering, when Killraven busts in to free them. they head up on deck, where we end up in a Mexican standoff with Mint Julep and her men, until Volcanna goes all fiery of her green derriere.  The Freemen get a line down to the ground and start escaping and Volcanna goes for Mint; but, she gut shoots Volcanna, then blows charges on the support cables for the gas cells, dumping the rail car. She departs of an escape balloon/airship, which breaks away. Killraven leaps after her and catches a cable; but, Mint blasts it and he is dumped to the ground, saved by Old Skull who helps catch him. He vows to to follow and rescue Volcanna. Thoughts: here, Davis improves upon what we saw of Killraven's past, in the original, getting deeper into the training and the conditioning and Kilrlaven's rebellion against it. In the original, Old Skull is befriended and saved by Killraven. Here, it is Old Skull who befriends Killraven and teaches him of old concepts, which fires his rebellion. It's a nice twist on things. Mint Julep is better portrayed, as well and is more of an agent to this story. The art is great and dynamic and the Amtrak airship is a pretty cool design, though I don't know about the gas cells, as depicted. It's not very aerodynamic and I'm not sure about the lifting; but, Davis has the right idea in that pack animals have to tow it, as they have no engines to propel it. Volcanna's prison is very logical, as any use of her powers to melt the chains will ignite the oil, though you do have to wonder if that would really hurt her. Whatever the case, the threat of incineration is enough to keep her a prisoner, which makes it effective, either way. Davis does poke fun at Killraven's singlet, as Mint makes a fashion comment, which brings the reply that it is a weapons harness. Um, maybe, but it isn't much protection, from anything. They still look like they have been hanging out in the clubs seen in Cruising.
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Post by codystarbuck on May 25, 2019 19:18:38 GMT -5
Killraven #3 For some reason, that cover just makes me want to listen to some Echo and the Bunnymen... Dear Mr Echo....... (Young Ones fans will get that one...) Creative Team: No change; Bill Jemas is still the orifice in charge. Synopsis: With no Martians to whack, Killraven, M'Shulla and Carmilla are busy whacking each other with swords. Old Skull tells John about the schools of gladiators: The Savages, who were lobotomized wild men, who just attacked and attacked, The Reavers, with some training, and The Spartans, who were fully trained killing machines. Killraven and the bunch are Spartans and he won't let John train. he doesn't want any more children to have to learn to kill. Hawk complains and we learn he joined the revolt when he was facing his first death match. The implication was that he was afraid to die, though he hasn't been afraid to attack Martians and their goons. John and Old Skull are fishing and we get e replay of a scene from PCR...  as the fish are biting; really biting! John cautions against eating it, as it doesn't match any fish in the records he saw and Hawk thinks he is a know-it-all brat, until Old Skull points out the human legs on the "fish" and says he thinks it was once a man. Hawk seems less hungry for meat, after that. The surmise that the scientists who created the fish man are nearby and John spots a city, in the distance. It is Washington DC (Dysfunctional Capital) and they go check it out, in disguise. Old Skull Killraven and John join up with people taking food into the center, asi if to market, though Skull notes it is too late in the day for a market and the people look under-fed. Turns out, they are bringing tribute to Lucifer, at the White House; and his demon troops terrorize the crowd. However, it is illusion as the demon men are just goons in fright masks and Lucifer is a middle-aged guy in a helmet, who is exposed by Killraven...  Joh is enthused about killing and Killraven realizes that the now free people have also lost their protection. he tells Skull to train Joh in the Spartan style. Later, he, M'Shulla and Carmilla follow a local to a hidden cavern, to try and track down the Martian base. They pretty much find what they are looking for...  Thoughts: Good issue, without advancing much of the central plot, though it does move the characters to Washington. John idolizes his rescuers; but, doesn't understand the horros that they grew up under, while he was sheltered. Like many a soldier, Killraven wants a future for "his children" where they don't have to fight, like he did. It's a lesson that is all too easy forgotten, especially when your leaders have never made the same sacrifice. The story of Lucifer and his men, preying on weaker people, is an old one and a favorite of dystopian tales. HG Wells' Shape of Things to Come, in the form of the movie, Things To Come, featured a war that devastated civilization and left people in ruined cities and villages, where warlords grew to fill the void of authority. One such group is under the heel of The Boss (played by Sir Ralph Richardson), who seeks to war on the hill people, who he fears, with their new-found aeroplanes. His dreams of conquest and fear of outsiders is undone by the arrival of John Cabla, who tells the Boss that he is a paper tiger. he later shows him the truth when Wings Over The World arrive in their massive bombers, dropping sleep gas on the city and putting an end to The Boss and the other Warlords. Michael Moorcock has similar characters in his Oswald Bastable stories, about a time and dimensional-displaced soldier, who ends up in worlds where airships and other wonders have replaced the world he knew, and not for the metter. The Land Leviathan, the second novel of the Nomad of the Timestream series (with Bastable) has Bastable return to another London, where he meets Major John, a warlord who runs roughshod over his turf and has Una Persson as prisoner. Bastable frees her and they escape to a better world, in South Africa (under Ghandi), before joining up with an African liberator, who has set his sights on the American South. Later, Washington DC is seen as a haven of slavery and Klan warlords, until the Black Attila arrives! Old Skull is a refreshingly more lucid character in Davis' hands, though I do miss the somewhat childlike Old Skull. Both are still favorite characters, just in different forms. Hawk appears to be a total tool, which suggests he will die a noble death. Or will turn heel. We will have to wait and see.
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Post by codystarbuck on May 27, 2019 14:30:20 GMT -5
Killraven #4 I think the woman's attire is this reality's equivalent of being Amish. Creative Team: No changes Synopsis: When last we left the non-Morgan freemen, they were wrapped in tentacles and facing teeth. They recover and slaughter the thing, by using a chakram to slice off one arm (thank you Xena for introducing an old weapon to modern entertainment.) Killraven follows by doing what no post-90s character has ever done (apart from Batman): he actually opens up one of his pouches and uses something in it. In this case, it is a bolo, which ties up one of the three heads' mouth, while M'Shulla does his lucha libre best to flip up over the monster and come down on it with his swords, mortally wounding it. We then see the dying third head, a human, who was grafted into this monstrosity, by the martians. They called him Cerberus, because Dave Sim would sue if they had a typo. He confirms that Mint Julep is below, in the Martian labs, with Volcanna and other surprises. Then he croaks.  Mint Julep is below, with Keeper Thavas, a bald dude, who created her from a plant. He's about to experiment on Volcanna and sends Mint away, though tells her to see him later, for some nookie. She gets nabbed by Killraven, threatened into leading the way and then they attack a Martian in his tripod Rascal scooter-thingie.  They are headed out and everyone is all "Killraven's got a girlfriend?" and he is all "I didn't say that, I just said she was nice. Shut up!" and they are all "KR and Volcanna sittin' in a tree...". Then, Killraven gets whammied by a vision of the dying Martian homeworld. Carmilla realizes if he tapped a Martian mind, then they know where the freemen are. They release mutates to create a diversion and all hell breaks loose, literally! Mint was withholding info, which Volcana knew and she gives her one back, by removing her slave collar, forcing her to have to run for her freedom, since removal means death. She hotfoots it out of there. Killraven spots human guards with big honking guns and steals them, then attacks the Martians in the Rascal tripods. The mutates then focus on the humans and it gets very melee...  Carmilla is saved by a mutate, with a stamp on his forehead.... GRO K Thoughts: Lots of mutates and violence. Volcana is locked into a device similar to what we saw in her origin tale, in the original series. In fact, one of the Martian agents we see, in a two-page spread of the melle looks like Atalon, from the death Birth citadel. So, Davis makes some call backs to the original, while upping the violence. Visually,, it is all dynamic and functional; but, I really miss the more alien look that PCR gave to things. Davis makes creepy monsters; but, the Martians are a bit more mundane and the environment is rather sedate. It's probably a more realistic idea of the environs of the Martians and the Keepers; but, it isn't quite as imaginative. Mint Julep has been playing both sides, until Volcana forces her hand and turns her into a fugitive, against her will. Payback is a female dog! We learn that she was mutated from a plant, though Thavas doesn't specify the species. It could have been a mint plant, in which case, she might have a future as a spokesperson for Wrigley. I wonder if Thavas wasn't inspired by Telly Savalas. There is a certain similarity and the name suggests a conjunction. Maybe. If he had a lollipop, then I would say definitely. Kojak was broadcast in the UK. Who loves, ya, Martian Baby?
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