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Post by tingramretro on Dec 12, 2016 6:17:33 GMT -5
Judge Dredd began life in 2000 AD before getting his own spin-off title, which has now run for 378 issues and counting.
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Post by tingramretro on Dec 12, 2016 6:15:32 GMT -5
In the truest definition of spin-off, I would say the 2 most significant spin-off titles were Superman from Action Comics and Batman from Detective Comics. If you want to limit it to characters who started in a book and weren't the lead when they made their debut, I'd say Wonder Woman who debuted as a back up in All Star #8, then as the lead in Sensation before getting her own title. -M Would this not also apply to Spider-Man, who was a spin-off from Amazing Fantasy?
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Post by tingramretro on Dec 11, 2016 10:52:08 GMT -5
Has anyone mentioned Lobo, yet?
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Post by tingramretro on Dec 11, 2016 10:01:07 GMT -5
Captain Britain #14 (Jan '77)Script: Gary Friedrich Art: Herb Trimpe/Fred Kida "The Malevolent Menace of Mastermind!" This issue launches straight into the action, as Captain Britain rushes into "the hidden laboratory at Braddock Manor" (eh? Hang on, if it's hidden, how did the cleaning lady get into it?) to tackle the "mechanical monstrosity" that was controlling the late Dr. Synne...ony to find himself confronted by a bald giant who introduces himself as Mastermind, and commands him to "Stop!--or die before you reach the bottom of the stairs!" The Captain isn't impressed, but Mastermind halts him in his tracks by revealing that he knows his secret identity, then fires an energy blast at him while he's off guard. The Captain, diving out of the way, demonstrates the powers of observation that have made him a scientific prodigy by thinking "that blast from his wrist weapon just about nailed me"...despite the fact that the weapon in question is clearly strapped to Mastermind's forefinger, and nowhere near his wrist. A lengthy fight ensues, until the Captain deflects one of Mastermind's energy blasts back at him...and it goes straight through him! At this, however, Mastermind offers a truce, and an explanation-though he warns that "you may discover that what you hear is even more painful than death!" (but probably not more painful than Friedrich's dialogue) The two having laid down their weapons, Mastermind directs CB's attention to a wall mounted video screen, on which he see's an image of himself canoodling with one Valerie Campbell in a pub on the night his parents died. Where Mastermind got this footage, and indeed why and how there would be a video camera randomly recording the patrons in a village pub in 1976, is not made clear, but in any case, as Brian moves in for the kill with Val, the image shifts to the door of the lab at Braddock Manor (also evidently under video surveillance) where Dr. James Braddock and his wife have come to check the computer "until Brian arrives" (the point which Mastermind is belabouring, of course, is that these events would not have played out this way if Brian had been at home helping his dad rather than in The Lion's Rock trying to get his leg over). Discovering a "power shortage", which unknown to him has been caused by the computer itself to lure him "towards his doom", Braddock tries to fix it-but just as he asks his wife to hand him a wrench, the computer unleashes a fatal charge of electricity! Zapped, we are told that "as life ebbed from their bodies, they cried out for the son who was not there to furnish aid, or phone for a physician" (so, quite a slow acting fatal electric charge, then). Mastermind sternly declares that "by your absence, you murdered your parents--as surely as if you had thrown the switch!." Which is kind of an interesting interpretation of events. The guilt trip works, though: distracted by all this drama, CB doesn't even notice Mastermind pick up his finger mounted wrist weapon again...and when the giant gloats that "once again, you have allowed me to gain the upper hand", our self hating hero rather improbably invites him to " kill me! I no longer deserve to live!" Self pity is so unbecoming of a hero, Brian. What would your parents say?
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Post by tingramretro on Dec 11, 2016 7:51:10 GMT -5
Moon Knight began his career as a villain in Werewolf by Night, but was retconned as a hero when it became obvious fans liked him.
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Post by tingramretro on Dec 7, 2016 10:38:49 GMT -5
You're better than this, Brett Ewins. Get it together. One thing I've noticed is that there are lots of comics artists who can't convincingly depict someone holding a telephone. No matter what era--modern cell phone or clunky land-line receiver--American comics artists routinely fail. The thing is, this is such a common activity, one that almost all of us do on a daily basis, if it's drawn even a little off, we can "feel" it: the phone is gripped too gingerly, or it's held wrong, or it's not in proportion to the hand. But an artist is doing well if it's drawn just a "little" off. Usually, it's far worse, like the Brett Ewins example here. It's almost like he's never used a phone himself! Just to be pedantic: the late Brett Ewins was not an American comics artist. He did some work for the US market, but he was from London.
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Post by tingramretro on Dec 7, 2016 3:07:17 GMT -5
Loving the reviews, tingramretro. Still no interestn in reading these comics myself, mind, but i'm loving your reviews of them anyway. Who is the artist on those last two covers? Is it Trimpe? That cover to issue #12 looks decidedly Kirby-esque. As far as I know, it's Trimpe. He does seem to be channeling Kirby, though.
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Post by tingramretro on Dec 6, 2016 12:02:24 GMT -5
Captain Britain #13 (Jan '77)Script: Gary Friedrich Art: Herb Trimpe/Fred Kida "From the Ashes!" The Captain's final battle with the diabolical Dr. Synne begins with him escaping a fiery doom pretty much by accident: determined to die "like a warrior" with a weapon in his hand (God, this guy's a little ray of sunshine) he grabs his fallen quarterstaff and inadvertently presses the middle button on its shaft which it has apparently never occurred to him to investigate before, only to find himself surrounded by a protective force field! Handy, that. But handier still is the arrival of "longtime charwoman Emma Collins" over at Braddock Manor; yes, the devilish computer controlling the villain is in the late Dr. Braddock's basement lab, and even as Captain Britain engages Synne in battle again, the seemingly rather simple Emma, who has decided to give her dead boss's previously off-limits lab a good clean (curiously rationalizing that this is what he would have wanted in death despite having forbidden her entry when he was alive) rather conveniently turns off the electricity in order to avoid getting an electric shock when she mops the floor(!) Deprived of his power source and pushing himself too far in his attack on CB, Synne immediately has a fatal heart attack. As he dies (I did say the Captain's enemies rarely seemed to survive their first stories, didn't I?), his illusion casting powers fail, and Brian recognizes him as his late father's former assistant! Free of the computer's control, Synne chokes out some suitably ominous last words, warning the Captain that "you must-- destroy the--computer! Before it--destroys the world!" Sending the dazed villagers, now free of Synne's influence, back to their homes, a distraught CB ("I can't believe my father would have created anything evil!") heads back to his family home...where, having finished cleaning the lab, Emma has just reconnected the computer's power! Aware of the Captain's approach, the sinister machine activates "defence plan M"... Could it be that we are about to finally learn why Brian Braddock is an orphan? Why yes, I think it could!
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Post by tingramretro on Dec 6, 2016 8:36:24 GMT -5
Captain Britain #12 (Dec '76)Script: Gary Friedrich Art: Herb Trimpe/Fred Kida "To Die a Superhero!" We rejoin our hero as he dashes into danger to save the young girl targeted by the villagers last issue from being burned at the stake, which he manages to do, but at the cost of the loss of his quarterstaff (which is "engulfed" by flames). As the Captain prepares to take on the enraged mob empty handed, Doctor Synne turns up and calls the "rustics" off, declaring that they can't kill the hero, as that pleasure belongs to him. Unfortunately, the Captain is more powerful than predicted...at least by the "highly secret computer complex" to which we now cut away, which we are told is controlling Synne's every move and every word he speaks "unbeknownst to him"! This situation is becoming more unbelievable by the minute! The computer calculates that it will need to transfer more power to Synne (who is clearly nothing but a puppet) by diverting it away from "all other subjects". Immediately, much to brother Jamie's surprise, Betsy Braddock awakens from her coma back at the Mordor clinic; it seems the computer was keeping her zonked out. As Betsy's duplicitous doctor (who is in league with Synne, remember) wonders what's gone wrong, back at the village, Captain Britain takes a moment to rather puzzlingly wonder about the identities of the two "gods" who originally empowered him, as Synne levitates him towards the fire from which he'd saved the girl... Priorities, Brian, priorities!
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Post by tingramretro on Dec 6, 2016 4:03:27 GMT -5
bry914
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Post by tingramretro on Dec 5, 2016 17:24:06 GMT -5
Over the last few days, I read X-Men #19 and #20. What with the Beast and the Mimic and the Blob, I wonder if Jay Gavin ever got tired of drawing toes. It's been decades since I read #19 and I've never read #20 before. I rather like the Mimic story. And though it was good to see the Blob and Unus in #20, the whole Lucifer saga is a bit of a clichéd drag about world-conquering aliens who have goatees and wear giant, purple thimbles on their heads. I'm so glad Lucifer has been left behind on the ash heap of X-Men history. He did turn up again years later and fight Captain America and Iron Man.
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Post by tingramretro on Dec 4, 2016 12:49:58 GMT -5
I display them, some loose, some in their original packaging. But no, I don't play with them. Not anymore. Though I have had some of my collection since I was a kid, so I obviously did then (Action Man, Star Wars figures, Mego figures, Denys Fisher Doctor Who figures...)
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Post by tingramretro on Dec 4, 2016 12:24:24 GMT -5
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Post by tingramretro on Dec 2, 2016 3:18:38 GMT -5
Hello everyone! New member here, first post, hope I'm doing this right. I'm quite surprised it took so long for someone to post a Super Friends cover!
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Post by tingramretro on Dec 1, 2016 11:54:19 GMT -5
"biased contest"...ha, you think? Oh well, who cares about upsetting other members here. It's all ok, you are just expressing yourself. I have just come to the conclusion that no matter how much better my selection is than others here that I will not win, but now I just post for the fun of it. Hey, you got 4 wins, that is something. I had 1 win when I first registered btw. Also, those who wish to rag on juggernaut for expressing his opinion...just let it go. Don't stay gone long Juggernaut, look forward to seeing your future submissions. Hold on bry914, you agree that it's biased ? I don't know how it could be biased. It's not like we are all in the same room when we vote. I'm afraid I agree with bry and Juggy, I also feel there's an unintended bias to the contest, but I tend to feel it's just one of those things. When I first started posting entries, I made a conscious effort to post covers from the British comics I grew up with, wanting to share some of the material that formed me as a comics fan, but I gradually noticed that my entries tended to provoke little comment, and that started to leave me feeling disillusioned, I started to not enjoy the contest. I also started to notice that the same people kept winning, which was mildly irritating. And then I realized: despite the fact that there are members from all over, most of the most active members here are a) American and b) in a certain age range, which means they have similar tastes-in particular, mainstream American superheroes from the sixties to about the early eighties. They vote for each other's entries because those entries reflect their experience and their particular era. I can post what I consider an iconic Kevin O'Neill 2000 AD cover from 1983, and it will be ignored by most because it doesn't 'speak' to them, it's not a cover they'll have any emotional connection to. Likewise, a Silver Age Lois Lane cover can provoke a page of fond comments, even though to me, it means nothing-it just registers as a rather silly book from before I was born, in a culturally alien setting, with a character I never cared about. It's sad, but it's inevitable, and in no way deliberate.
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