Captain Carrot and his Amazing Zoo Crew #1 (1982)

Captain Carrot and his Amazing Zoo Crew #1 (March, 1982)
"The Pluto Syndrome"
Writer - Roy Thomas
Peciller - Scott Shaw!
Inker - Bob Smith
Letterer - Todd Klein
Colorist - Carl Gafford
Editor - Dick Giordano
Cover Price: $0.60

Another Sunday, another instance of Superman teaming up with an anthropomorphic bunny... Sorry, no delicious chocolate milk this time... might I interest you in a carrot?

--

We open on Superman and Captain Carrot discussing their current plight.  Evidently, in the Captain Carrot Special Preview in (New) Teen Titans #16 Superman was zapped into Earth-C (for "carrot", maybe?  "cartoon", perhaps?), an Earth full of "funny animal" characters.  While flying, the two observe a plane being bombarded with rays from the planet Pluto (it's still a planet to me).  The ray causes the animals inside to "revert", lose their more human traits... such as the ability to fly an airplane.

The plane begins is speedy descent and plummets toward the ground.  Superman is able to swoop beneath the airliner to ensure it lands belly first on the tarmac.  Once on the ground, the plane continues to taxi at speeds well over 100 mph.  It is up to Captain Carrot to halt the jet before it crashes into the airport.

With the day saved, Superman and the Captain head out to toward Pluto to see what's what.  Along the way, Captain Carrot recounts his origin.  One day, in his civilian life, comic book artist (of the JLA: Just'a Lotta Animals, natch) Roger Rabbit (!) the Captain ate an irradiated carrot.  A meteor had recently landed, and gave several of the "funny animals" super powers.

The duo are unable to make it all the way to Pluto due to a (Yogi) barrier.  Superman finds himself trapped like "a fly on flypaper" before vanishing.  Captain Carrot begins to plummet back to Earth.

PLOP!

Luckily, he happened to be exploring space directly above Piggsburgh, home of the mighty "Pig-Iron".  The over-sized super swine handily catches the Captain and the two decide to team up.  Pig-Iron shares his origin as well.  He was once Peter Porkchop (there's a morbid name for a pig), a steel mill worker, who was bopped on the head with a chunk of meteor causing him to take a swim in a limestone vat.

The two realize that in order to help Superman they are going to need more help.  In the Special Preview edition, the news showed four additional post-meteor superheroes.  It is decided to recruit them to the cause.

First stop, Mew Orleans to draft Alley-Kat-Abra.

It's Mardi Gras, and the streets of Mew Orleans are hopping... Before the boys can approach Alley, a Pluto-revert ray bathes the crowd.  Carrot, Pig-Iron, and Alley team-up to restrain the crowd of newly "wild" animals before regaining order.  Alley-Kat-Abra agrees to join the cause, however, not before subjecting them to her senses-shattering origin tale.  Felina Furr, martial arts instructor and soup enthusiast accidentally ate some meteor-irradiated tabbachi, giving her magic powers.

Next stop, the great state of Kornsas to draft Fastback, the reptilian rocket!

We are introduced to Fastback as he attempts to stop a "cotton-pickin' tarnado" that, as luck would have it, just happened to ensnare our proto-Zoo Crew.  After stopping the tornado, we have another origin story foisted upon us.  World's slowest firefighter, Timmy the Terrapin was heading west when a chunk of meteor landed inside his shell causing him to "run like sixty".

Our final stop, Follywood... home of Rubberduck and Yankee Poodle.

The gang arrives during rush hour, and the heroes they seek are currently making an attempt to direct traffic.  After lending them a hand, Carrot is able to convince the duck and dog to join up.  Yet another origin tale follows... Here we witness gossip columnist Rova Barkitt and screen actor Byrd Rentals (hey, I get that reference) being victimized by their chunk'o meteor.  While they were relaxing in their Bel-Airdale mansion, Rova takes a meteor to the head, which bounces into Byrd's Jacuzzi.  Rova was given the "American" powers of attracting with one hand, while repelling with another, while Byrd got the Mr. Fantastic/Elongated Man treatment.

Captain Carrot lays out their task, and our six-some head Pluto-way.  Upon arrival at the Yogi-Barrier, the new-crew is zapped away, just as Superman was earlier.  They are now on Pluto where they find not only the captive Man of Steel... but his captor... Starro the Conquerer!

Not to be left out, Starro shares his origin with the crew, recounting his battle with the Justice League of America in The Brave and the Bold #28, and his defeat at the hands of Aquaman.  One of Starro's bits fell through a chartreuse hole leading to Earth-C where it grew into a brand-new Starro.

Superman warns the Carrotteers that this Starro is a true threat.  Our funny animal friends take turns attacking the giant starfish.  Starro disposes of each member handily.  It is then that the gang realizes they need to embrace the power of teamwork to take down their foe.  Working in tandem the team easily overpowers Starro, before Alley-Kat-Abra covers the beast in magical salt... causing him to shrivel up like a slug.

Superman congratulates the team on their victory and Captain Carrot dubs his collective as the Amazing Zoo-Crew.

Our scene shifts to the White House, where President Mallard Fillmore is being spied on by a shadowy figure... and we're out.

In lieu of a letters page, Roy Thomas provides a text piece, Candygram which proves to be an interesting history lesson in "Funny-Animal" comics.

--

Yeah, I guess I'm not a "funny animal" kinda guy.  I get that this is attempting to be funny... but, as a guy who often (unsuccessfully) attempts to be funny, I think I've kinda got a feel for when something falls flat.  This issue played with well-trodden comic book tropes, and I suppose it did so the best way it possibly could... it just went to the well a few times too many.

I also didn't dig that this was the first issue of this series, and not the beginning of the story.  I suppose I could dig through my old Teen Titans books to check out the preview piece and see Superman get zapped onto Earth-C... but, I don't feel I should have to.

The non-origin writing was decent, though certainly not up to the level of quality I would normally expect from Roy Thomas.  I understand this is a different kind of animal (pardon the pun), so I suppose that may be somewhat unfair criticism.

The art, for the most part is great.  There were several instances throughout this issue, however, where panels were packed so densely that it was hard to follow the action... or even look at, if I'm being honest.  This is especially evident toward the end of the book.

Perhaps my biggest takeaway from this issue is how bigoted Captain Carrot is.  No less than four times throughout this issue, he refers to Superman as "Pinkie".  Words hurt, rabbit... I might expect that from Fastback... but, you?  C'Mon.

Can't really recommend this one outside of its novelty, though if you are inclined... DC Digital has this issue at #1.99... which feels rather steep.  There is also a giant Showcase Presents black and white volume available, which if you don't mind the lack of color, will give you much more content for your money.

--

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Aquaman (vol.7) #49 (2016)

Aquaman (vol.7) #49 (April, 2016)
"Rising to the Surface"
Writer - Dan Abnett
Penciller - Vicente Cifuentes
Inkers - John Dell & Vicente Cifuentes
Colorist - Guy Major
Letterer - Tom Napolitano
Asst. Editor - Amedeo Turturro
Group Editor - Brian Cunningham
Cover Price: $3.99

Wow, this is a new one.  I know I don't usually review contemporary releases, but I found myself enjoying this one so much that I wanted to discuss it.

I'm not really what one would call an Aquaman fan.  My idea of an iconic Aquaman includes long hair, a beard, and a hook hand.  That was the last time I felt invested in the character.  While what Geoff Johns did with him post-Flashpoint was a great step forward in regard to the legitimacy of the character (and hopefully sparing us of "hur hur, he talks to fish" observations), I still wasn't interested enough to pony up the three-bucks a month to follow his adventures.

I'd heard some divisive things about the most recent ex-writer on the title, Cullen Bunn's run.  I will admit that I did not follow it.  I picked up the first post-Convergence issue, and while I didn't dislike it, it also did not inspire me to pony up the now four-bucks a month it would cost to follow along.  I'd heard rumors that the post-Bunn Aquaman would feature the return of Geoff Johns to the title... which I suppose may now be held back until Rebirth.  I guess amidst all the excitement, I somehow talked myself into picking up Aquaman again... and I'm glad I did.

As this is a brand-new issue, I'm going to (attempt to) be lighter on the summary than normal.  My intent is not to completely spoil the story... just discuss some points of it.  Hopefully I'll be somewhat successful to that end...

--

Mera and Aquaman are wrapping up their day at the lighthouse when the subject of a proposition comes up.  Arthur proposed something of a cultural immersion for Atlanteans.  Living on land would help provide insight as to how "land dwellers" live.

There is a knock at the door.  It is Officer Watson who invites the Aqua's to that weekend's Sea Festival at Amnesty Bay.  While Arthur hesitates, Mera accepts the invitation.  Before leaving, Watson tells them they should bring friends along.

The next day at the Festival, we join Arthur, Mera, Tula, and Garth... the latter trying to become accustomed to their bizarre land-dweller garments.  This is a fun scene, where Arthur and Mera introduce their guests to such novelties and diversions as cotton candy, fair games, photo booths and ships in bottles.

Remember Fun?
I'm starting to...

This really is a wonderful cluster of scenes.  Arthur and Mera discuss his unique place in the world, being as though he is born of both land and sea.  Arthur believes he will be able to make Atlantis relevant to the global community once more.  Mera ultimately approves, and in an absolutely jaw-dropping full-page spread dons an Aquawoman costume.

There are scenes peppered throughout this issue introducing an incoming threat from the water.  We see several individuals attacked by clawed hands emerging from various water sources, including a cup of water, fish tanks, a sprinkler, and a bath tub.  These scenes definitely lend to how dangerous a threat this creature will be in short order.  I'm looking forward to seeing how that all plays out.

--

I really cannot believe how excited I am for the next issue of Aquaman.  That is probably a statement I've never made before.  This was such a fun issue, as well as a perfect "jumping on point".  From what I'd heard, the last run on this title was a rather large departure for the character.  If so, I suppose this is a return to form.

The writing was very good.  Normally, when I think "Aquaman" I think of a guy with a stick up his butt.  No fun, all serious... this issue changed all of that.  Arthur is embracing a lighter hearted, almost self-depreciating in a way, attitude.  Mera came across as a very real/human character as well.  The two together felt like a very natural couple... I really like that.

The pending threat was handled very well.  Spacing these vignettes out really helped the flow of the story.  Interjecting a serious deadly threat throughout a fun visit to the fair story was a great decision.

The art... well, this was a beautiful book.  I'm not terribly familiar with Cifuentes, though I'm sure I've seen his work before.  He is a wonderful fit for this title, and I hope he will be on it (and the post-Rebirth volume) for a while to come.

Recommended for certain.  Should still be on the racks as of this writing... do yourself a favor and check it out.  I say this as a guy who has not ever collected an extended run on this title.

If tasked with a numerical grade... 9/10.

--

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Hawk & Dove (vol.2) #1 (1988)

Hawk & Dove (vol.2) #1 (October, 1988)
"Ghosts and Demons"
Writers - Karl Kesel & Barbara Kesel
Penciller - Rob Liefeld
Inker - Karl Kesel
Letterer - Janice Chang
Colorist - Glenn Whitmore
Asst. Editor - Renee Witterstaetter
Editor - Mike Carlin
Cover Price: $1.00

"It's Rob Lee-Field, maaan!  It's Rob Lee-Field!"

One of my earliest comic collector experiences with the work of Rob Liefeld was rather negative.  Not for any of the reasons you may be thinking.  No, I wasn't influenced by some ridiculous hit-piece "50 Worst Drawings of such-and-such" article, or "hur hur, pouches".  My problem with Rob Liefeld came from a completely different source.  Not Rob himself, but my local comic shop owner.  It's story time...

I grew up a fairly hardcore X-Men fan.  In the early 1990's there were ads from a company called "American Entertainment", sometimes known as "Entertainment This Month".  They would try to sell and hype what were considered the "hot books" at the time.  Think if Wizard Magazine had a comic book store, this is kind of what it'd look like.  These ads continued running throughout the first-half of the 1990's.  The ad to the left is from Uncanny X-Men #287 (April, 1992).

In one of these ads, right under the X-Men listing was a blurb about a "Hot New Team of Mutant Heroes" called Youngblood which was to be drawn AND written by Rob Liefeld.  There is no mention of Image Comics in this blurb, so 11-year old me figured this would likely be a brand new X-Men family title.  Stands to reason right?  It says "mutant" and there's no turtles in the picture...

In the weeks leading up to the release of Youngblood #1 my friends and I came to learn that this book would cost us $2.50.  We were still ignorant to the fact that this was not a Marvel title, much less an X-Title.  We were somewhat used to having up-priced books foisted upon us for one reason or another... crazy foil cover, polybagged, trading cards included... so the fact that this would cost twice what a normal Marvel Comic would (we were paying $1.25 for much of Marvel's output at the time) did not really phase us.

Release day couldn't come soon enough for us.  You gotta remember, Rob Liefeld's art was considered something of a breath of fresh air in its uniqueness back then, especially among young teens.  It was frenetic and wild... fun to look at.  I know that's not a fashionable stance to have... and I promise I'm not trying to get all "contrarian cat" here, but Liefeld's art was (and still sorta is) a big selling point.  I won't go as far as to say he's one of my favorites, but I won't dog on him either.

Mike's Amazing World lists the release date of Youngblood #1 as April 17, 1992.  My buddies and I were there that day... We trudged two towns over to our nearest comic shop, walking the train tracks the entire way.  This was before our town suddenly had a shop in every strip mall... We popped into the shop, only to find that Youngblood #1 was nowhere to be found on the shelves.  Well, hell... I guess it sold out.

Nope.

Our comic shop owner had one copy of the title, already bagged and boarded... tacked on the wall with a $5.00 price tag on it.  Mind you, this was release day... I protested a fair amount, as well as a cowardly preteen can protest, that is.  I just asked him why it was up-priced... just a week earlier I bought a copy of X-Factor #5 (featuring the first appearance of Apocalypse) for $4.00, how in the world is a brand-new comic worth a dollar more than that?

The owner's answer?
"It's Rob Lee-Field, maaan!  It's Rob Lee-Field!" (mispronunciation kept in for effect)

Everything I said to him was met with that same mispronounced proclamation... Rob Lee-Field... maaan.

Needless to say, I did not buy Youngblood #1 that fine day.  I doubt I even got $5.00 a week in lunch money... I simply couldn't afford it.  Couldn't justify it, either.  A buddy of mine, however, could.  With only $2.50 in his pocket, he asked if I minded walking all the way back to his house so he could hit up his mother for the other half.  All told, we easily walked ten miles that day.

When we returned to the shop, my buddy plunked down his five-dollars in a mishmash of folding money and coins of varying denominations.  The shop owner bent down, reaching into a large box behind the counter that we came to find was positively overflowing with copies of Youngblood #1, and flopped it onto the counter.  My friend asked why he couldn't have the one off the wall, after all... it was bagged and boarded.  The shop owner laughed, and dismissed his request... claiming that copy was only there "for show".

It was on that day I decided I didn't like Rob Lee--er, Liefeld.  Nothing the man himself did, but for the sins of a crooked comic shop owner.  I found a copy of Youngblood #1 for 8-cents later on... only then, did I feel redeemed.

I have since softened and (gasp) matured, and can accept Rob's work for what it is.  High-action comics, that are (many times) fun to look at.

I said all of that, so I can say this... Whenever I see a Rob Liefeld comic, that shop owner's exclaimed mispronunciation of the man's name is constantly going through my head.

So, yeah... Where was I?  Oh, Hawk & Dove #1... let's take a look...

--

We open with the villain Kestrel interrogating a young man who is bound and gagged.  He believes this young man to be Hawk.  When it becomes clear that he has the wrong man, Kestrel kills his captive.

The scene shifts to the disheveled apartment of the actual Hawk, Hank Hall.  There is a police scanner playing.  It is reporting a shooting and Hank is quickly in route.  Hank transforms into Hawk, and smashes the shooters' car with a large pipe.  Their fight carries on into a nearby steelyard, wherein Hawk is successfully able to subdue the criminals.

The Police and Press arrive on the scene and Hawk gleefully brags about his victory.  When it comes time for the police to take the criminals into custody, we find that they had already escaped their bindings and scrammed.  Hawk is made to look like a fool, and is mocked by all present.  Realizing his Hawk powers were about to wear off, Hank flees the scene, citing pressing "Teen Titans" business, even though it is public knowledge that he had been kicked off the team.  As he leaves, he picks up a ball cap dropped by one of the criminals.

Hank realizes he is late for football practice, and heads to Georgetown College.  Once there, we find that Hank is actually not part of the team... and instead just stands on the sidelines and shouts at those who are.

As he jogs off the field he bumps into a fellow student named Kyle.  Together they run into Kyle's friend Ren, a photographer and part-time waitress.  Hank is invited to dinner that night at the Suds Bar.  He accepts the gracious invite and heads on his way.

Leaving the locker room, Hank runs into Linda.  Linda was Don's (the original Dove, now dead) girlfriend.  They have a heated discussion about Don's passing and how little it appeared to affect Hank.  As they part company, Hank hears a cry for help and transforms into Hawk.

Hawk attempts to stop a mugging, however, he is snuck up on and cracked over the head with a chunk of wood.  As he falls, he thinks he sees Dove on the scene.  While unconscious, Hank recollects his origins as a hero and his partnership with his brother Don.  When he comes to, he finds that the muggers were all taken out.  He figures he must have somehow beaten them up in his sleep.

We rejoin Kestrel who is at an airport.  He is attempting to buy tickets to Washington, DC to further his hunt for Hawk.  He boards his plane, and it is implied that he "cut into" somebody by nearby civilians who are trying to get a hold of a police officer.

That evening, at Suds, Hank meets up with his new friends.  Ren, the photog/waitress appears to have a thing for him (she likes 'em big and dumb).  While there, Linda literally bumps into them nearly spilling a pitcher of beer on the party.  We observe Linda's lightning-quick reflexes when she catches the pitcher before it does any sudsy damage.  Hank shows the table the cap he'd confiscated from the steel yard, while talking up how great a hero Hawk is.  His college pals identify where the cap is from and tell him that he'd really ought to turn it in to the police as evidence.

Hank, now knowing that this hat is from the nearby Paulson Photochemical facility takes his leave.  He claims that he will swing by the police station to drop off the hat, however, he actually has different plans.  Hank heads to the facility and Hawks up.  He enters a warehouse only to find himself surrounded and peering down a dozen gun barrels.  Before anything goes down, the new Dove makes her presence known.  Hawk stares up at her mouth agape, and we are... [to be continued...]

--

This was a very good issue.  Almost a perfect introductory issue for the series.  Hawk/Hank's character is established as a blowhard, however, not to the point of being abrasive.  Somewhat reminiscent of a younger Guy Gardner, Hawk is a bit of an ass... but you can tell he has a heart, and passion... He thinks what he's doing is right, and justified.  We are also given insight as to Hawk's place in the world.  You get the feeling that people just put up with him, but overall think he's a joke.

The retelling of the origin was very well done, and perfectly placed.  Recounting what has come before while the character is unconscious was a great choice.  The side characters were all introduced well.  Hank's college clique did not overstay their welcome, and served the purpose of moving our man from point A to B.

The mysterious appearance of an all-new Dove was also quite nice.  Hints have been dropped throughout this issue, clearly... however, nothing has yet been outright said as it pertains to her identity.  Her showing up at the end of the issue works very well.  Hank/Hawk's personality states that he would run into action without considering the consequences.  Without the thoughtful Dove at his side, balancing his alpha-aggression, Hawk would not be long for this world... or at least his line of work.

I cannot think of any complaints as it pertains to the art.  The art was very nice.  I suppose it can be argued that this is very early Liefeld, before his style truly evolved into what it would become... and be derided for.  This art was very Liefeld-lite, almost Ian Churchhillian, with Todd McFarlane-esque faces.  If your only exposure to Rob Liefeld art is the aforementioned hit-pieces, or that unfortunate Captain America bust-shot... you really ought to check out this miniseries... and, yes... people in this issue have feet.

I understand Rob's art isn't for everybody.  What I have trouble understanding is how personal people try to make it.  Sometimes it's as though his work is an affront to them as a person... I just don't get it.  I will never have a problem with Liefeld or his work... by all accounts, he's a helluva guy... and, I cannot harbor any ill will toward anybody who loves comic books as much as he does.  He's a huge comic book fan, just like me/us.  That's really all I need to know.

This entire five-issue miniseries is available from DC Digital.  If you're like me, and digital comics make your teeth itch... there is also a physical collected edition available.  Give it a look-see, it may challenge some of your preconceptions... and the story is great fun to boot!

--

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Another one in the to-read pile/mountain...

Sandman #12 (1990)

Sandman #12 (January, 1990)
"The Doll's House, Part 3: Playing House"
Writer - Neil Gaiman
Penciller - Chris Bachalo
Inker - Malcolm Jones
Colorist - Robbie Busch
Letterer - John Costanza
Associate Editor - Art Young
Editor - Karen Berger
Cover Price: $1.50

This is one of those issues I'll always remember buying.

It was the summer of 2011, and the wife and I were browsing a Half-Price Books.  It was a weekday, which was odd for us, as we normally visit our haunts on the weekends.  My work schedule at the time gave me a day off during the week, and my wife the school teacher was on her summer break.

My normal M.O. at Half-Price Books is to scour the quarter-bins first, then move on to the "non-clearance" area.  On this day, the quarter-bin gods were not really smiling on me.  The only book I nabbed was this issue of Sandman.  It was bagged and boarded, however.

I moved my attention to the regular bins, and shuffled through the X-Men books as I'd often do... not expecting anything besides some post-Claremont and Age of Apocalypse era issues... Imagine my surprise when the first six comics behind the X-Men divider were...

I mean... are you kidding me?  I gotta be dreaming right?  All six of these issues were a buck each.  I plucked 'em outta the bins like I was stealing something and bee-lined it over to the wife.  She did not understand the significance of what I was showing her, but I was babbling like an idiot I'm sure.

Acting like I actually was stealing something, I told her I wanted to leave right away... feeling as though somehow I was going to lose out on this deal.  Something was going to happen to stop me from leaving the store with my bounty.

I've had experiences at local comics shops where I'd come across a decent-to-great find in the bins, only to be told at the register that the price sticker was "wrong"... or they were in the midst of "re-pricing" all of the back issues, and offer to sell me a book with a $2.00 sticker for upwards of $5.00.  Luckily, those shops have all fallen by the wayside... I was still a bit shell-shocked, however, at the prospect of losing out on this day.

At the register I was greeted by a fella around my age with thick rimmed glasses and a sad attempt at a lumberjack beard.  I was hoping I'd be checking out with one of the more mature women who worked there... they'd likely have no idea what they were looking at... hell, it was probably one of them that slapped the $1.00 price tag on these to begin with.

Anyhoo... I placed my finds on the counter, stepped back, and held my breath.  Palms sweaty, I fiddled with my wallet... and then I heard it.

"You've gotta be kidding me!" the cashier exclaimed.

Crud... I'm screwed.  I looked up at him, teeth chattering... eyebrows anxiously raised...

"I can't believe we..." he continued...

"Put an issue of Sandman in the quarter-bin!"

Wait... what?!?  This guy's got the complete Days of Future Past in front of him... and he's questioning the store's pricing of a random issue of Sandman.  I shrugged it off, and said something along the lines of "yeah, go figure... lucky me".  I paid the man and left.

I will always remember this issue of Sandman for the story of its procurement... is the story within worth remembering as well?  Let's find out...

--

We open on a woman named Lyta (Hippolyta Hall... I think she was the Golden-Age Fury) who is currently with child.  She is living in a dome in what she believes to be the Dream Dimension with her recently deceased-then-reincarnated husband, Hector Hall (son of Hawkman and Hawkgirl... former Silver Scarab... future Dr. Fate... current, "Sandman").

Hector believes himself to be the Sandman, the true God of Dreams.  He has been given his title by a pair of rogue dreams, Brute and Glob.  He is apparently only able to leave the Dream Dimension for one hour a day.  Brute and Glob warn him about a "Nightmare Monster" who threatens the dome.

Lyta wishes to speak with Hector, she is concerned that they have been in the Dream Dimension for several years at this point, and she still has yet to deliver their baby.  Hector shrugs it off, telling her the stork was simply having trouble locating them in the Dome.  With that, the new Sandman heads back to continue observation on the Nightmare Monster.

We shift scenes to an old couple berating a young boy.  The boy is Jed, and he is their current ward.  They couple keep him locked in the basement so that they may collect his state benefits ($800/month).  The old man warns the boy not to tell the soon-to-visit social worker about his mistreatment, and slugs him in the gut for good measure before locking him back downstairs.

Back in the Dome, Hector is monitoring the incoming Nightmare Monster while Brute and Glob look on.  It turns out the Nightmare Monster is actually the God of Dreams, Morpheus and the rogue dreams are using Hector so that they may have complete control of the Dreaming.  We observe Lyta reflecting on how they came to be in the Dream Dimension... her thoughts are interrupted by Hector who informs her he is off to dispatch the Nightmare Monster.

We move to rural Georgia, where we see a woman named Rose Walker and an older man named Gilbert tending to their broken down automobile.  They find themselves having to walk to a nearby motel, where they talk the man behind the counter into giving them a room for the evening.  They must be gone first thing the next morning, as the motel will be completely booked for a "cereal convention".

Still in Georgia, though now in Atlanta... we view a scene via first-person perspective.  An individual is about to be mugged by a pair of young men.  The thugs are shocked when the individual's eyes bite off some of their fingers.  He then picks up one of their knives and... we shift scenes.

Back in the Dream Dimension, Hector approaches the Nightmare Monster.  As he draws closer, we rejoin the young boy Jed who appears to be deeply affected by the proceedings.  Hall threatens all the ways he will defeat the Nightmare Monster.  Morpheus is curious... he asks where his "masters" are... he asks who he thinks he is... When Hall introduces himself as the Sandman, Morpheus breaks down in hysterical laughter.  Shortly after Jed appears to break free of the basement.

Morpheus greets Brute and Glob, and asks that they explain their actions.  They come clean, confessing that they were looking for a Dream King that they may have control over.  They'd tried with a living specimen, Garrett Sanford... however, he could not take the pressure and wound up taking his own life.  The rogues then turned their sights to the already-dead Hector Hall.

Promising to clean up their mess, Morpheus exiles Brute and Glob to the darkness.  Lyta begins to lose touch with the Dream Dimension, she's suddenly sensing familiar Earthly smells.  They appear to now be in the basement where Jed was held captive by his abusers.

Morpheus, setting things right, returns Hector to the realm of the dead while Lyta protests.  She strikes out at him, which Morpheus forgives as she is currently grieving.  Lyla is returned to the world of the living, and before he leaves, Morpheus tells her that one day he will be back for her child.

Before we close, we watch as young Jed is hitchhiking.  He is picked up by the man who killed the two thugs earlier in the Atlanta alley... and we are... [to be continued...]

--

... and with this issue, I have no idea why I've avoided this series so long.  I enjoyed this far more than I thought I would.  I guess it stands to reason that sometimes the popular opinion is right on the money.  This is an amazing issue that includes some long-standing DC characters in situations I had never expected.  I'm definitely going to have to work my way through this series in the near future.  I own the entire thing, just never felt motivated enough to plow through it.

Although I was coming in relatively blind, it did not take me too long to get my bearings.  Even in the days without text-recap pages, I was able to follow along (for the most part, I'm sure there are a few nuances and beats I missed).  The writing was very even, it did not dwell in what came before and it did not move forward at a break-neck pace.  My joining in on the echo of heaping praise on Neil Gaiman's writing and storytelling mastery is really no big surprise.  Again... sometimes the popular opinion is the right one.

Late last week I had an exchange with Jim from Weird Science DC Comics in the comments of my ElfQuest 25th Anniversary Special piece wherein we discussed avoiding books that are hyped up, and the stubbornness that goes into such behavior.  I'd long kept away from the Sandman simply because it was so hyped.  I'm comfortable saying that I was wrong to do so, and I am now hopeful and optimistic that the rest of the series meets my new raised level of expectation.

I first encountered Chris Bachalo's art during his run with Scott Lobdell on Generation X.  I was immediately blown away.  His work had such style, and looked different than anything else at that time... while still somehow maintaining a classic comic book feel.  I loved it there, and I really dig it here.  He is not quite to his Generation X (and beyond) level here, but it will get no complaints from me.  Looking back, I always enjoy his work on the proto-Vertigo titles, such as this and Shade the Changing Man.  He has the ability to craft a wonderful atmosphere with the potential to be simultaneously scary and somewhat comfortable.

I feel funny recommended a book that I'd aggressively avoided in the past... but, here we are.  May read better in trade, though, I am admittedly ignorant of that at this moment.  Worth tracking down for sure... but you didn't need me to tell you that...

--

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Once more, let's look at how inexpensive this hobby was...

Night Force #1 (1982)

Night Force #1 (August, 1982)
"The Summoning, Chapter One: Genesis"
Writer/Editor - Marv Wolfman
Artist - Gene Colan
Inker - Bob Smith
Letterer - John Costanza
Colorist - Michele Wolfman
Co-Editor - Ross Andru
Cover Price: $0.60

Justin over at the wonderfully fun DC in the 80's blog recently put together a great piece discussing the first volume of DC Comics' Night Force.  This is a series I'd picked up in bits and pieces, however I've never actively pursued it.  I guess I only grabbed them because I knew Marv Wolfman was the writer/creator.  Due to Mr. Wolfman's amazing work on the New Titans he will always have my readership, and I will pick up most anything I can that he'd written.  I have not yet established a full enough run to give the entire series a fair read-through, but I can sure give #1 the ol' once over.

In a half-hearted attempt at blog-synergy, I figure this is as good a time as any to subject Night Force #1 to my inimitable and unfortunate discussion and review style... Hold on tight, here we go...

--

It's nighttime.  Two men, Kerry James and Trevor Simmons are driving unaware they are being trailed by a helicopter.  As their car crosses a bridge, the chopper opens fire.  Both men are killed, and the car careens into the waters below.

Our scene shifts to the Potomac Psychiatric Hospital, where a young woman is being held.  She is haunted by visions who threaten that they will soon "have" her.  She lunges toward the apparitions, and falls to the floor of her padded room.

Former Time Magazine reporter, Jack Gold, who is now working for the Enquirer-esque National Chronicle approaches a large Georgetown estate.  He is set to talk to the master of the house, Baron Winters about his involvement with the occult for a story he has been assigned.  Winters greets him at the door... Gold is surprised to see that the Baron keeps a large wild cat as a pet.  Winters introduces the cat as "Merlin", and claims that he was a gift from the man himself, and the name is in tribute.

The two men share a somewhat contentious meeting.  Jack doesn't believe anything the Baron is telling him, and this appears to tickle Winters somewhat.  The Baron excuses himself to take a phone call and Jack heads toward the back door of the estate.  Upon opening the door, Jack is shocked to find himself in front of a scene more akin to nineteenth-century Paris than twentieth-century Georgetown.  Everything returns to normal when Winters returns.

Still not on board with the occult angle, Jack takes his leave... returning to the motel the Chronicle has put him up at.  While there he receives a call from his ex-wife who is questioning the whereabouts of his latest alimony check.  Defeated and knowing he desperately needs the cash, Jack returns to the Baron to continue the assigned occult piece.

The scene shifts to something of a demonic ceremony.  A man stands in the middle of a pentagram, torch held high... around him, several nude individuals dance in tribal formation.  This ritual appears to have a possible connection to the visions the young woman at the sanitarium had experienced.  Apparitions similar to hers's are now terrorizing a nearby affluent neighborhood.

While this is occurring, the young woman, now identified as one Vanessa Van Helsing is having a severe episode.  Clinical staff attempt to subdue her, yet she breaks free.  She desperately heads toward the doors, running headlong into the apparitions she collapses.  At the same moment, the demonic ceremony's conductor, Dr. Donovan Caine ends the ritual... the people stop dancing, and the demons vanish.

Dr. Rabin at the sanitarium attends to Vanessa.  She is informed that she was covered in fresh blood, however, not her own.  It is clearly stated that this is something of a regular occurrence.  Rabin knows that if she wants answers, she must contact "that charlatan" Baron Winters.

Winters and Gold are continuing their discussion when Rabin's call interrupts the proceedings.  The Baron claims to be unavailable to intervene on the Van Helsing case, and refers the doctor to one Dr. Donovan Caine... the same Caine who was conducting the earlier demonic ritual.

We rejoin Caine, finding that his ritual was a Georgetown University experiment that hopes to tap into some sort of "energy source" at the behest of the Pentagon.  Caine and a woman I presume to be his wife leave the University for the evening.  While in the parking lot, they somehow bump into the men from the opening scene, Kerry James and Trevor Simmons.  Alive and well, they claim to be from the Pentagon.

Before they leave, Mrs. Caine(?) alludes that she noticed one of the doctor's students appears to have a bit of a fixation on him.  Shortly after, we observe that same student reporting to a shadowy someone via telephone about Caine.

Jack Gold arrives at the Psychiatric Hospital to meet with Ms. Van Helsing for more Chronicle story fodder.  The two share a brief visit before Dr. Caine arrives.  Caine volunteers that his doctoral discipline is parapsychology, and advises Rabin that he has arranged for Vanessa's release, effective immediately.

Dr. Caine takes Vanessa back to Georgetown University, and Jack follows.  In order to prove that Vanessa is a victim rather than "crazy", Caine seeks to conduct a test.  The three stand in the pentagram, and Vanessa is suited with electrodes.

Eighteen minutes later we are on a nearby Georgetown street.  Ethereal smoke pours out of a manhole, and victimizes a passing motorcyclist.  As that occurs, the Baron relates to Merlin that "It begins".  With that, he blows the seeds of a dandelion and retires to his home to await what is to come.

--

Now I'm not a horror comic fan (or at least I don't think I am), but I found myself really enjoying this issue.  I suppose it stands to reason that if I like Wolfman, I'll probably like this.  This issue served as a great introduction for the (current) cast.  The letters column makes mention that there are regular characters in this series, but at the same time, there aren't.  Of the ones met in the inaugural issue, I feel we were given just enough about their plights and personalities to whet our appetite for more.

Letters Page

The characters were given something of a motivation, however, Marv appears to be playing their true ends close to the vest.  We learn very little about the Baron, yet... what we are told makes me want to know more.  I always dig getting a "point of view" character in non-superhero tales.  Reporter, Jack Gold acts as our eyes into this strange and mystical world.  His reactions may well be our own, and his skepticism is refreshing, I feel he will likely struggle with his disbelief even when he witnesses something unexplainable firsthand.

This was as good an opening issue as I could hope for with a story of this kind, and I now look forward to tracking down the rest of this volume (and beyond).  I have the first three volumes of Marvel's Essential Tomb of Dracula, which boasts a very familiar creative team to this.  I'd picked those up years ago as part of one of my infamous "reading projects" that I never get around to.  You know, those meticulously stacked piles in that one corner of your home?  Makes it look as though you're boarding the world's most obsessive-compulsive hoarder?  Yeah, it's in there.  In reading Night Force, I think those Tomb of Dracula collections have moved up a hair in the rotation... meaning I'll probably get to them within the next five years rather than ten.

The art was as to be expected, great.  Clean and gritty all at once.  During the initial scene with Jack and the Baron, I swear I smelled cigarettes... I take that back, every time Jack is on panel, I smell cigarettes.  During Vanessa's scenes, not only her face... but her whole body depicts such sadness... such defeat.  It's as though she has completely given up hope of ever living normally.  Even if you were to take her out of context, the art does an amazing job telling Vanessa's story.

Most definitely recommended if you're in the mood for something just a little bit different, though, with a familiar voice.  DC Comics' digital store has the first four issues of this volume in one handy and affordable package.  Even if horror books aren't your thing, I'm thinking there's lots to dig in Night Force.

Thanks to Justin at DC in the 80's for this inspiration on this one.  Check out their stuff at  dcinthe80s.blogspot.com/ on Facebook and on twitter @DCinthe1980s

--

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