Wildcats Version 3.0 #1 (2002)

Wildcats Version 3.0 #1 (October, 2002)
"brand building"
Writer - Joe Casey
Pencils - Dustin Nguyen
Inks - Richard Friend
Colors - Larry Molinar & Randy Mayor of WildStormFX
Letters - Richard Starkings & Comicraft
Editor - John Layman
Cover Price: $2.95

Still in a bit of a WildStormy mood... today we'll be looking at a series which, as it was hitting the shelves, was almost constantly being touted as being "ahead of its time".

Let's see if it fits in better... some 16 years later!

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We open in Vietnam, where Cole Cash is crashing a hoi-poloi party on behalf of Jack Marlowe's Halo Corporation.  He offers his card to a Truong Chi Linh to discuss "something like" manufacturing needs... more on this in a bit.  After a brief shot of Marlowe flying through space, we settle on a scene wherein an Agent Wax gets his job back with the National Park Service... but it placed on desk duty.  More on him in a bit too!

Wax looks... well, pretty indifferent, actually.  He leaves Agent Downs' office and heads... to the cubical farm.  It's only here that he shows a little bit of emotion.  It sure doesn't look like he's happy to be back!

We shift scenes to the Halo Corporation in Los Angeles, and Jack Marlowe has just arrived.  He holds a meeting with his staff, during which he expresses the importance of "building the brand" to better the world... something his predecessor, Jacob Marlowe didn't find too important.  Worth mentioning, "Jack Marlowe" is an identity taken on by former WildC.A.T.S: Covert Action Teams leader, Spartan.

Jack describes Halo's goal as "conquest of the free world... figuratively speaking, of course"... which, not gonna lie, sounds a bit ominous.  Speaking of ominous, we hop back over to Vietnam, where Cash has just thrown a female assassin out a window.

Grifter calls in to Halo and demands a body-slide back to his hotel... which he gets immediately, much to his embarrassment.  Ya see, Cole isn't exactly dressed... or dressed at all, really!

After an awkward elevator ride, Cole heads back to his room... and suits up for work.

Elsewhere, Agent Wax infiltrates a top secret area in order to find out some information regarding a missing FBI Agent... ya see, he's kinda working for Marlowe and Halo on the down-low.

Back in Los Angeles, Marlowe informs an accounting firm that he just bought them outright.  They attempt to counsel him on running the corporation, and suggest going public.  Jack says no dice, Halo will always be privately-owned.  Then the concern about some "questionable" practices being employed in some factories in Vietnam... to which, he says he's already looking into it.

In fact, our next stop is back to Vietnam, where Grifter is "meeting" with that Truong Chi Linh from earlier.  Ya see, this guy uses child labor to keep prices down, a big no-no.  Chi Linh pushes the blame back on the Americans for actually hiring him to run the factory the way he does.  Can't say he isn't completely without a point.  Grifter lets the child-labor-force beat the crap out of their old boss before body-sliding out.  I'm guessing we're not supposed to worry about what happens next?

We shift scenes to a Washington, D.C. Superhero Sex Club (this is Joe Casey, after all) where some bad stuff just went down.  Just then, Agent Wax of the National Park Service shows up to investigate the scene.

Well, he's "officially" here to hand off some information on the perpetrator... which, as his contact tells him, could've been done via email.  Wax receives a call from Agent Downs... who ain't happy to find out his new-hire is back in "the field", especially when he'd been tossed on desk-duty for the moment.  Wax apologizes... and hails a cab driven by a dude with sinister eyes.

Wax is dropped off at Capital City Brewery, where he meets up with... Cole Cash.  Wax explains the situation regarding the missing FBI Agent to Cash... and informs him that Marlowe has made that their top priority.  They discuss what "specific agenda" ol' Jack might have... and after performing some research on the Halo Corporation, Wax doesn't seem to be all that comfortable.

Next, we're off to the Florida Keys... where a Mr. Carver is escorted by a pair of heavily-armed guards to meet with a C.C. Rendozzo.  He hands over a disc with information regarding the missing FBI Agent... and claims his bounty for the gig.  Rendozzo then reveals that not only did she put the bounty out for the info... she's actually claiming the bounty on Carver's own head!  So, yeah... she blows his brains out... and keeps her cash!  Seems like she has personal reasons for seeking out this information.

We wrap up with a commercial for Halo-branded batteries... batteries that last forever!

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I like this... like it a lot, though I can definitely see why it might've been under-appreciated back in 2002.  Not so much that it was "ahead of its time", but it just defied expectations.  I mean, this is the same title that was part of the bombastic and "extreme" Image launch back in 1992.  Version 3.0 is a completely different animal... while (rather creatively) remaining true to its roots.

Thinking back to the turn of the century... this isn't nearly as "novel" as I recall.  Seemed like a lot of books (from WildStorm especially) were built upon corporate intrigue... and shadowy pseudo-government agencies.  This is really just more of that, but I will say, it's done exceptionally well.

The missing FBI Agent plot seems like it will be the focus of this first arc... and it's as good a plot as any.  I definitely appreciate how far-reaching it was depicted to be... seems there's a lotta folks with a vested interest in finding them.

There isn't much more to say... because, at the moment most of what we've got is breadcrumbs.  They're interesting, to be sure... and certainly more engaging than those we'd gotten in the first issue of the first series.  I'd say the only thing I was kinda "ehh" with was, Grifter leaving those poor children beating up old whatshisface.  I mean, what happens next?  Do they just... disperse?  Go back to work?  Get abducted?  Who knows?!

Everything else though?  I'm on board!  I dig Jack trying to use the Corporation to make the world a better place... even if he's not entirely altruistic with the gesture.  Of the few things I remember about this volume is that there are everlasting batteries.  I don't remember what happens with them, but that's stuck with me... and I'm looking forward to seeing what goes down.

Overall, I'd say this is definitely worth checking out.  Worth noting, the art is pretty fantastic... and even though Agent Wax and Grifter are both broad-shouldered dudes with blonde hair... I was able to tell them apart each time (I was initially afraid I'd get them mixed up).  This issue (and series) is available digitally... at only a buck-a-piece.

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Stormwatch #44 (1997)

Stormwatch #44 (January, 1997)
Writer - Warren Ellis
Pencils - Tom Raney
Inks - Randy Elliott
Colors - Gina Going
Computer Colors - Laura Depuy & WildStormFX
Letters & Edits - Mike Heisler
Cover Price: $2.50

I was struggling to come up with a preamble that wouldn't simply be a "hey, get a load of that cover... pretty cool, right?"... and, I probably would've mentioned that Stormwatch is one of those properties I was somehow able to sidestep during much of my comics collecting career... and how names like "Jenny Sparks" mean next to nothing to me.

But then... as I sit here, preparing to write... my coffeemaker explodes!  I'm just sitting here waiting for my coffee to finish brewing, when all of a sudden... there's this hiss... then a great big blue spark fires out its back end.

And I smirk at the coincidence between seeing a spark... and reading about a Sparks... before the reality sets in that I'm going to have to go shopping for a new coffeemaker at some point today.

Let's do this.

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We open with Jenny Sparks being chatted up by Battalion (not that Battalion) about her past.  She says she's both too tired, and too sober to get into it.  After a bit of prodding, however, she decides to give in and share her story... which begins in the 1919-1920.  Jenny was twenty, and at this point she appeared to have stopped aging.  She describes the 1920's as an age of "Scientific Romance"... it is also when the alternate Earth "Sliding Albion" was discovered.

Into the 1930's... where the art takes a decidedly Golden Age tone.  Jenny is fighting against corruption.  It's here that she meets reporter Clarence Cornwall.

Into the 1940's... things get pulpy.  Jenny looks to be modeled after Will Eisner's The Spirit here... and the art is all in black and white (or black and yellowed-white anyway).  It's here that she questions Clarence Cornwall about why he attempted to gas an orphanage... and his answer, isn't really fit to be print.  She shocks him silly.

The 1950's brought about the British Space Group, a secret organization involving things like extraterrestrials and inter-dimensional exploration.  This bit is rendered with Ben-Day dots to evoke the times.  Anyhoo, Sparks is questioned about a parallel-England... however, before she can answer an incursion alarm goes off.

Outside, Jenny is met with the news that Sliding Albion is about to enter its Parallel World War One.  The initial assault would be bacterial... the war was only expected to last a handful of hours.  Unfortunately for Earth, Sliding Albion vented the bacterial fallout there via a shiftdoor.

The sixties began with Jenny attempting to write a book about her life... a very, uh, Crumb-y book, it seems.

As the decade rolled on, several superheroes started popping up all over London... a result of the "gift" of the bacterial fallout from Sliding Albion.  Things become Marvel-ous here, and Jenny joins up with a super-team... with all of the trappings of a Silver-Age super-team (ie. costumes and secret identities).

Into the late-sixties, we stick with the super-team for a mission on the Isle of Wight.  Via radio, Jenny learns that there are some bikers about with syringes... and her teammate Abel (the macho caveman) decided to "sort it out".

Much to Jenny's surprise, Abel's idea of "sorting it out" was proving that he was macho enough to inject himself with all of the bikers' drugs!  While Sparks and the super-team see Abel as a foaming at the mouth goon... he sees himself as something of a Superman.

Out of control, he lashes out... and begins swiping at anything that moves, including members of his own super-team.  Jenny makes the executive decision to french-fry him.  Something she regrets to this day.  The (I believe, unnamed) super-team would break up in 1982.

Into the 80's... the art becomes a bit more, for lack of a better term, "grim 'n' gritty".  Since this is London-based, we get a lot of "it's Thatcher's fault"... sorta like we're reading something out of WARRIOR Magazine.  The news of the day is... babies have been disappearing... stolen from single mothers.  Jenny's got herself a new super-team as well.

Jenny looks into the matter, and chats up an Inspector Bulstrode.  Here she learns that one of "her people" was spotted in the area where the babies have gone missing... a fella called Firesign.  Jenny ain't buyin' it, and decides to check in on her teammate.

Upon arrival at his flat... er, apartment (Jenny actually "corrects" herself in the issue)...  she discovers that there might just be something shady afoot.  From the next room over, she hears a few familiar voices talking about being involved in something "Jenny doesn't like".

She stomps into the next room like she owns the joint... and asks for some clarification.  Firesign, Matt, comes clean right away... yes, he is stealing babies.  He orders some teammates to kill Jenny... and so, they open fire... right there in the apartment!  Matt freaks out a bit, because if the bullets go through the wall... they might hit somebody...

... somebody like his wife, and Frankenbaby.  Ya see, that Sliding Albion fallout might've given superpowers... but it also made the "supers" sterile.  Due to the nature of their work... and the damage it can do psychologically... they weren't really desired by adoption agencies either.  And so, with little other choice... and really, placing the wants and needs of a "super" over those of a "civvie"... Firesign decided to keep stealing babies, in order to "create" one.

We wrap up with Battalion telling Jenny "chin up"... after all, she can still see the stars.  Ooooookay.

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Up until that last panel... this was a fantastic issue!  It feels like they simply ran out of pages here, doesn't it?  So much awesome story (and Good God, that art)... then, much like my coffeemaker, it just hisses and goes kaput.

I guess if the worst thing I can say about an issue is "I wasn't ready for it to end"... it's a pretty dang good book, and lemme tell ya... this was a pretty dang good book.  In fact, it was pretty excellent.

I mentioned going into this issue... I couldn't pick a "Jenny Sparks" out of a lineup of blonde women with cigarettes hanging out of their mouths... but, the way this was written so just so engaging, I couldn't help but walk away from it actually caring about this character.  She doesn't seem like the nicest of characters, but the stories she tells here kinda illustrate why that might be.

I love that this is not only a look back on Jenny's long life... but also a look into the history of comics and pulp-storytelling conceits.  The way the writing and art were able to evoke the tone and tenor of the various "ages" of comics, without turning it into an exercise in navel gazing, or clobbering us over the head with "references"... just spectacularly done.

I love how "superheroes" as a concept (outside of "mystery men" and "pulp heroes") make their first appearance around the Marvel Age of Comics... and really, they're depicted as spending their first 20-30 years trying to figure things out.  You gotta figure, if heroes were to suddenly just appear... we civilians would be a bit wary, and distrusting.

Some of us, like those Syringe-Slingin' Bikers... might see fit to challenge them.  If you're a fan of professional wrestling, you've probably heard stories from "back in the day" where some tough guy would try and "challenge" the big tough wrestler while at the bar after a show.  I kinda see this the same way.

Moving into the grim 'n' gritty 1980's... the "supers" still haven't really "planted their feet" yet.  There doesn't seem to be much agreement as to their "place" in the world.  As we see with Firesign... he is so dismissive of human (that is, non-super) lives, that he sees no problem abducting their children... and using their parts to "create" a baby with his wife.

While that story is... very dark, it doesn't feel completely out of place... and also, it lends even more to the shaky and uncertain nature of the first couple of generations of superheroes.  It's a weird mix of ordinary and extraordinary... and I feel like it works incredibly well!

Warren Ellis is a writer I could normally go either way with.  I will say that I'm surprised this is the first time he's come up here at the blog (982 discussions in!).  I find that I grow tired of him launching new series' full of energy and awesome ideas, only to tire of them six or so issues later... usually leaving the book in the hands of a less uh, "sales friendly" writer... and so, the book/concept withers within a year.  There's also his cynicism which certainly has the ability to grate on me.

Tom Raney.  Ho-lee cow, what an absolute clinic he put on here!  Evoking all of these different styles... making them all work, and flow... I really can't say enough how much I appreciated that.  Really... the art alone would be reason enough to track this one down.  The fact that the story is also pretty great... I mean, I can't think of a reason not to seek this one out.  Though... I will warn you, in case you were just skimming the images... the N-word does make an appearance (censored panel above).  It's here to depict how gross the person saying it is... but, better safe than sorry.

This issue has been collected (in what I assume is the long out-of-print - though, still rather inexpensive) Stormwatch, Volume 2: Lightning Strikes trade paperback.  It has not been made available digitally... which, doesn't really surprise me.  Though, I am curious as to whether or not they would censor that panel should they ever decide to upload it.

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Superboy (vol.2) #1 (1994)

Superboy (vol.2) #1 (February, 1994)
"Trouble in Paradise"
Writer - Karl Kesel
Pencils - Tom Grummett
Inks - Doug Hazlewood
Colors - Tom McCraw
Letters - Richard Starkings
Editor - Frank Pittarese
Cover Price: $1.50

Have you heard the news?  Just in case you missed everyone on social media positively tripping over one another to be the first one to "break" the news, it looks as though Kon-El is making a comeback next year in the pages of an all-new Young Justice!

Haven't the foggiest idea if/how it will fit in continuity (Oh, listen to me... talking about "continuity"), but... never let not having all (or any) of the facts stop us from "reporting" news!  Whatever the case, I gotta say... I'm tentatively looking forward to it.  So far, I've been kind of impressed by Brian Michael Bendis' take on Superman... I wonder what he can do with the young heroes.

Anyhoo, and all joking aside... let's take a look at the first issue of his ongoing series from back in the long ago!

But first, to assuage my volume-neuroticism... here's what I wrote the last time we covered an issue from this series:

From our discussion of Superboy #4 (August 27, 2017)

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We open with Superboy flying high above Hawaii... promising to, ahem, "Pump up the Volume".  He plunges back down to the islands where Roxy Leech is being held in the arms of the villainous... Sidearm.  Upon arrival, Kon is backhanded by the baddie.

Amid the distraction, Roxy breaks free.  Sidearm attempts to nab her with one of his spike-claw thingies... but Superboy manages to get between them (getting his MC jacket torn a little bit in the process).  He makes a "sacrificing virgins" comment that I'm sure was considered a little bit edgy back in ye old '94.

He explains to Sidearm that he has tactile telekinesis... if you're a fan of the original Young Justice, you'll know that this becomes something of a running joke... Conner always brags about his tactile telekinesis.

Sidearm starts blasting away when one of his... sidearms becomes a gatling-gun of sorts.  Of course, Superboy is bulletproof, so this isn't much of a problem.  As Conner saunters up all cocky-like, Sidearm's... other side-arm begins choking him.  Superboy grabs him and flies straight up into the sky with him.

Then... the police arrive, and we meet Special Federal Agent Sam Makoa.  He's not terribly pleased to see Metahumans on Hawaii... and heads over to Dubbilex and the Leech's for some answers... just as they're about to be arrested!  He orders them be let go.

It's pretty clear that Makoa trusts Dubbilex... but, maybe not so much for the Leech's.  He asks for the quick 'n dirty on how they come to arrive in Hawaii.  Rex explains that he is taking Superboy on his "Supertour" of the United States.  Dubbilex is Superboy's Cadmus-assigned "chaperone".

As Rex goes on, another officer reports in that Superboy and Sidearm are falling out of the sky somewhere near Pearl Harbor.  Makoa loads the crew into his paddy wagon so they can continue their tale.

Turns out, Rex is kinduva carny.  He has Dubbilex playing a different role in every city... and sets it up so his daughter, Roxy falls out of a helicopter... just so Superboy can "save" her in the nick of time.  He's kind of a scuzz... and looks a little bit like old-school Paul E. Dangerously.

Anyhoo, after they performed the act in Hawaii... Sidearm showed up and started causing trouble... which pretty much brings us to where the issue opened.  Over by Pearl Harbor, Superboy and Sidearm land with a THOOM.  The way they're bantering, I'd almost swear Rex hired Sidearm to be Superboy's "first" baddie... like Maxwell Lord-style.  That doesn't seem to be the case though.

They continue to battle their way through Waikiki, and Superboy finally decides to "dis-arm" Sidearm... by, well, tearing his cyborgian arms off.

Just then, Makoa and Co arrive to tie up all the loose ends.  The Special Agent calls off the military police, informing them that Sidearm is a "Federal" headache.  Superboy sarcastically thanks Dubbilex for not using any of his "brain-blastin'" powers on the baddie as well.

We shift scenes deep underground Pearl Harbor's Naval Base... where there's an explosion!

Then, we're off to a bar in Honolulu's Chinatown... where we meet a brassy redhead.  She's watching the news of Superboy's arrival... and refers to him as "cute, in a jail-bait sort of way"... which was probably edgy in 1994... but hasn't aged all that well.  She tosses her bag at a sailor, and reveals that it's full of weights.

Back at Police Headquarters, Special Agent Makoa finds that he's been delivered an emerald cube.  From it erupts a projection of a dragon... and a message, from the Silicon Dragons gang.  They ain't pleased in the slightest that Superboy has shown up on their turf.

We wrap up back on the beach, where Superboy is about to be interviewed by KONA-TV's newest reporter... Tana Moon!

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Not a bad first issue!  Lots of fun... setting up Kon's locale... and his cast of characters.  Several subplots bubbling away on the side to build up his first few threats.  Feels like there was a real effort made to make this Superboy actually feel like a kid of the 90's.

Some of the chatter (and attempts at "edge") hasn't aged all that well, but I do appreciate it being here.  Heck, we see today how writers attempt to evoke "teen speak", which is to say make a lot of references to smart phone dating apps... regardless as to whether or not they make sense.  I swear, if I see another reference to "swiping" one direction or another, I'm gonna vomit.

The banter was pretty cool... and definitely sets Superboy apart from the rest of the Super-Family.  My only sorta-kinda irk about it is, the way Superboy and Sidearm were talking after arriving in Pearl Harbor... it almost seemed like they were working together... putting on "a show".

I wanna mention Tom Grummett's art.  Feels like every time we chat him up here, I dig his work even more.  I've said it before... he brings all of the "excitement" of a 90's artist... without all of the "extreme" trappings usually associated with 90's artists.  Just some wonderful work here.

Overall... really, the "right way" to kick off an ongoing series.  Whereas today, we'd more than likely be getting a "Chapter 1 of 6", here we get a standalone story, during which our hero gets to flex his muscles and show off his powers.  We also get to meet his cast, and get a look at his environment... while seeing what (and who) might be lurking around the next corner.  Very well done!  If you can get past some definite 90sisms, this issue is certainly worth a look.  This issue is available digitally.

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