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Movie Review: The Avengers

Okay, okay, I posted my Avengers review. Get off my back already, geez.

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Showing posts with label Gerry Conway. Show all posts
Showing posts with label Gerry Conway. Show all posts

Friday, November 6, 2009

A Second Look: Gerry Conway

Recently it’s come to my attention that legendary Marvel writer and former EIC Gerry Conway has been the target of some online vitriol. For instance, one writer said that seeing Conway’s name in the credits “makes me want to burn my whole comic collection”. Then, this same person commented that another story “makes so little sense I suspect it was written by Gerry Conway.” Well, enough is enough. I decided to find out just who this online assassin is so I could confront him about these unwarranted attacks.

Now, at last, this person’s identity can be revealed: okay, it was me.

In the spirit of fairness, however, I’ve decided it’s only right to come to Mr. Conway’s defense and present a list of detailed reasons showing that Conway not only was a good writer but that I actually have been a fan of his all along and just didn’t know it. Who knows, maybe you’re a Conway fan too and didn’t know it either.

Before we get into the reasons behind Conway’s recent resurgence (that is, in my own mind) we should probably examine the reasons why I thought I disliked Conway to begin with, because upon closer inspection they don’t necessarily make sense, a common criticism of my thought process to be sure. And most of it has to do with the mighty Avengers.

Now, I’m not the biggest Steve Englehart fan in the world (I know plenty of people that think he’s like a cross between Jesus and Elvis) but I respect his work on Avengers. He gave us classic stuff like the Avengers-Defenders War, the Celestial Madonna saga and the Serpent Crown affair. All great stories. And then he was unceremoniously dumped from the book; the way I always heard it told, Englehart was removed because Conway thought the EIC should write a flagship book so he kicked Englehart off to give Avengers to himself. Which sounds just a wee bit douchey, especially since he left the book less than a year later without having the time to really justify the move from a story perspective.

Recently, though, I’ve heard that this change was in fact prompted in large part due to production delays and missed deadlines. Now, I don’t know the truth, but you know, what difference does it make. That’s their business. The only effect it’s really had on me is that those Conway issues (which I was never a huge fan of) and the apocryphal story behind them became the sole basis for my opinion of Conway. And that pretty much guaranteed it was a low opinion.

Here’s the crazy thing, though: some of my favorite comics growing up were by Conway, only I never realized it. Recently when going through my back issues, I realized again and again that Conway, who I had been unfairly maligning, was actually responsible for a lot of really cool stuff. And while it doesn’t all float my boat – anyone that was writing as many titles as Conway was is sure to have some misses – I’ve certainly developed a better appreciation of him. And then there’s this fact: a lot of the stuff that I don’t like from Conway was written before his 21st birthday. I mean, I popped open an issue of Astonishing Tales the other day and there was a Conway Ka-Zar story that he wrote when he was 17. 17! I think that that age I was still doodling the Human Torch on my notebook in math class. Hell, he was only 20 when he wrote the classic Death of Gwen Stacy storyline in Amazing Spider-man.

So while I’m still not quite ready to join the Official Conway Fan Club, I’m now at least willing to admit that such an organization would be justified in existing. I have to admit, the guy had chops. Plus, I recently added him on facebook and he looks like your neighbor’s dad, the one who paid you ten bucks to rake his yard so you could save up for that Huffy. And how can you hate on that guy?

And so, without further ado, here are my Three Reasons to Appreciate Gerry Conway:

3) Thor. Recently I’ve been putting together a collection of Thor back issues and I’ve learned that, while Thor has had several solid runs it has also had very few truly classic eras after Lee and Kirby. Because of this, the series sometimes tends to get overlooked, which means that entertaining, fun work from people like Conway gets forgotten. During his tenure on the book, Thor had a few truly memorable moments, such as the introduction of Firelord during a nice Galactus story. More importantly, Conway did a lot of work on and with Thor’s supporting cast to the point where it almost seemed like a team book. Whether it was the Warriors Three, Recorder, Tana Nile or Hercules, someone was always around to play off Thor and help him out in a pinch. The buddy book feel of the Hercules era was particularly memorable, basically saving the character from obscurity, and it’s interesting that much of the later DeFalco run (prior to the introduction of Thunderstrike) is almost an homage to the Gerry Conway era. Conway also did some interesting stuff with Sif (merging her with Jane Foster) and Odin (having him renounce his godhood to learn about humanity). The only downside really is that some stories that should have been all-time classics, such as Loki invading Earth with an army of Asgardians, fell a little flat. But overall it was a very nice and sadly underappreciated run.

2) Atari Force. Speaking of underappreciated, Atari Force is a fantastic sci-fi series that never seems to have gotten its due. Yes, the main bad guy, Baron Garza – er, I mean Dark Destroyer – sometimes had a bit of a resemblance to Darth Vader (like seemingly all sci-fi villains for the two decades following Star Wars). But the cast and character work in Atari Force is fantastic. This is a series that I loved as a kid, yet somehow I never realized until a recent re-read that it was Gerry Conway who was providing all the joy. Oh, to think of the years of anti-Conway misunderstanding that could have been avoided if only I had known this at the time.

1) Foom. You know, sometimes I’m not sure just what they were doing in Foom. Despite the fact that they were advertising the fan club to all comers, it really seemed to be aimed at a more mature sub-section of the reading public than to the masses of kids buying comics at that time. For instance, in Foom #6 there’s a cartoon showing a superhero leaving a whorehouse, while in Foom #7 there’s a long discussion about whether Vision has functioning junk, which seems to be some sort of obsession with some people (*cough *John Byrne *cough*); this article even includes a suggestion that Ultron had secretly stolen sperm from Jarvis and stocked Vision with it. Um… WTF?

Taking the cake, though, is a brilliant article in Foom #8 where, in place of the usual coming attractions, the staff of Foom went around and interviewed members of the Marvel bullpen asking them what they had in store. It’s one of the coolest glimpses into the world of Marvel I’ve ever read and a brilliant snapshot on the personalities of the era (which I will explore in more detail in an upcoming post). All of the other interviews pale in comparison to the brief encounter with Gerry Conway, however. In the space of just a few short lines Conway manages to trash both Foom and his own bosses (who are standing right there) as well as by implication Stan Lee himself. It’s an all time classic. Take a look:





And there you have it, three great reasons to appreciate Gerry Conway. And after all this, if you still don’t like him, well, I think Mr. Conway said it best: “you can (expletive deleted).”


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Monday, November 2, 2009

Tales From the Vault: AMAZING ADVENTURES #10

It's another gray, dreary Monday in late autumn. The leaves are dead on the ground, frost is on your window and its dark when you leave for work and dark when you return. There's only one thing that can perk you up on a day like this: reading a vintage comic. And since you may not be able to drag your collection with you down to the office, we've taken the time to help you out by reading the comics for you and reporting what we see in this, another edition of... Tales From the Vault!

Today's offering: Amazing Adventures #10, featuring Black Bolt and the Inhumans. So what are we waiting for/ Let's get right to it!


Details: January of 1972 brings us this timeless epic from Gerry Conway with art from Mike Sekowsky and Frank Giacoia. What a perfect creative team this is. For, you know, a 1963 issue of Justice League of America. Sorry, I should wait to actually read the issue before trashing it I guess.

Synopsis: Well, I’m not really sure why this comic is in my possession, but since it is I might as well do something with it. The issue begins right in the middle of the action, no doubt continued from last issue: Magneto has defeated the Inhumans and captured the royal family. Execute them, Magneto!!! But, I guess not. No, Magneto has other plans: he uses some sort of machine to turn one of his minions into a giant ape monster with a huge brain, and then the monster uses its newly developed psychic powers to mentally control Black Bolt.

Well, sure. Why the hell not.

With Black Bolt now enslaved, Magneto scoops him up and flies to... San Francisco. Must be a Big Brother and the Holding Company show they need to get to fast. While this is going on, the rest of the royal family (minus the only cool character in the entire group, Triton) remain behind and mope around in their cage, lamenting their total lack of personalities. Medusa, though, has a cunning plan. Or so she says.

We cut away from this engrossing scene to a subplot where a supporting character from previous issues, a human, gets sucked into space by something called the Trikon. This seems to be setting up a future storyline, but since this is the last issue... hmm (more on this later).

Meanwhile, Magneto has apparently decided to skip San Fran and has instead gone to an underground base in Washington state, where he and his minions (who, by the way, are all twisted little monster people -- mutates, apparently, that he altered with his weird machine) attack in order to get "a new source of cosmic energy". Black Bolt uses his shouts to knock out the defenses, then twists a dial and voila, Magneto has "the power of the UNIVERSE". And that’s the end of Marvel.

Or, no, wait. No it isn’t. Back with the others, Medusa has sprung her cunning plan, though what exactly it entailed I don't know, because by the time they go back to her, she's basically gotten the guard wrapped up in her hair. I guess she used her feminine wiles to distract the guard while her hair went to town. Sound like a crappy plan, but, okay. It works, of course, and they free themselves, then start fighting the guards. They defeat them just in time to see Magneto's plane returning, so they hide in ambush.

Magneto, though, sees them in waiting and he orders Black Bolt to strike. Bolt does so -- by punching Magneto in the head. Wait, what? Doesn't Magneto have a personal magnetic force field? In fact, isn't he wearing a metal helmet that would pretty much protect him from some guy just punching him? Yet for some reason the plane crashes and we get the explanation that Black Bolt was faking all along because he didn't want to risk the safety of his family, but since they are free, he can attack.

"You pretended you were what you weren't -- just as you pretended to destroy those government men" and just as this plot pretended to make sense. Black Bolt didn't pretend to destroy those government men at the mountain base -- he did. He smashed the whole place and trashed all the guards and allowed Magneto to get the power source. None of that was pretense. The fact that he did all this on purpose while “pretending” to be in Magneto’s thrall actually makes it worse than if he really had been in Magneto’s thrall. Seriously, rationalize much, bro?

Anyway, Magneto's apeman attacks, and Black Bolt zaps him with a word. Magento tries to run off with his power supply, but Karnak clocks him with a couple karate moves and knocks him out. Not once does Magneto even attempt to use any of his magnetic powers. In fact, in this entire issue, the only thing he's done with them is levitate his plane, and I'm not entirely sure he was doing that either, it might just have been a regular plane. So much for having the power of the Universe; he apparently didn’t even have the power of Magneto.

Um. Yeah, so Black Bolt is still fighting the ape monster for some reason, and again he says something and blows up the room. Karnak goes to town on Magento's machine, wrecking it, but Magneto still can escape by... running out the door. Again, no powers. But his energy source suddenly blows up for no apparent reason, obliterating the room.

And then... that's it. Magneto is mysteriously gone and the royal family gathers themselves up to head back to Inhumanland so Black Bolt can regain the throne from Maximus. And that story... is in Avengers #95. Oh yeah, that's why I bought these issues. I had blissfully forgotten.

THE END!


Extras: On the list of other details about this issue I had forgotten: just how absolutely terrible the story is. Holy cow. The rest of this issue is a reprint of the origin of the Inhumans. I'm not sure where it's from, but any material from Stan and Jack should be ashamed to appear in the same magazine as this crap. In fairness, though, I should say that this was pretty early in Conway's career -- he was only 19 when this was published -- and he went on to much better things. He's admitted in interviews that he often wasn't sure what he was doing on some of these early efforts, and it shows here; I'm literally not sure he knew what Magneto's powers were, based on the story. Of course, I guess it's possible Magneto really didn't have powers during this story, but it's not mentioned anywhere and I'm pretty sure he has powers when he appears next in Avengers #110. So... yeah.

That dangling plotline about the Trikon, by the way, was left dangling for almost 20 years before a mini-series and a Quasar story in 1991 finally revealed what happened. I'm guessing that Mark Gruenwald was about the only person on Earth who cared, based on how awful this issue was, but that’s what made Gru so awesome.

It's interesting to note how successful/unsuccessful this series was. Black Widow was dumped after #8, however that same month she began co-starring in Daredevil, getting her name in the logo and everything, where she lasted for... I dunno, like 25 issues. The Inhumans, meanwhile, got their own series which lasted all of two issues before they were put on ice for the duration.

Bullpen Bulletins, in fact, announces this issue that they are turning the book over to the Inhumans, which is a little odd considering the lettercolumn and the story itself both tell the reader that the series is canceled, continued in Avengers and being replaced next issue. Another interesting note in BB is that Iron Man has "returned to a bi-monthly schedule" and that "rumors of its cancellation were greatly exaggerated". I hadn't heard that Iron Man was in danger of being canceled at this time, but it doesn't surprise me; the storyline in those issues (#45 came out at the same time as this) are some of the crappiest things I've ever read, and I’m a guy who just read Amazing Adventures #10, so I know my crappy.

The BB also mentions that they had planned (and announced) a price increase from 15 cents to 25 cents, with the issues being double sized, but changed their minds due to unexpected changes in the financial situation. Yeah, they realized that DC was doing the same thing and that they could crush them by dropping the price to 20 cents. Hence there was only one month when all the Marvel books were double sized 25 cent issues -- the November, 1971 issue, which also featured the first frame cover design, all of which was in celebration of Marvel's 10th anniversary. And sure enough, Marvel's 20 cent books ran roughshod over DC's 25 cent comics in one of the biggest missteps in DC's long publishing history.


My grade: B+ for the Gil Kane frame cover with the cool Black Bolt logo, D- for being one of the worst Marvels of the era and the single lamest Magneto appearance ever. Sorry, Gerry!



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Wednesday, September 16, 2009

Tales From the Vault: CHAMBER OF CHILLS #1

Do you dare descend into the... Chamber of Chills?! No, this isn't about that episode of Brady Bunch where they locked themselves in the meat freezer; it's actually an early 70's Marvel horror comic. Let's check it out!


Details: This is from November, 1972, right when Marvel was really putting out a lot of (short-lived) horror titles. The credits vary from one story to the next, as does the quality and, you can be quite sure, my level of interest.

Synopsis one: The first story is credited to a writer named George Alec Effinger. Effinger? I hardly know her! Of more interest is the art, which is by "Craig Russell and Dan Adkins". This must be pretty early in P. Craig Russell's career if he hadn't adopted the P. yet; it also bears little resemblance to his later, more distinct style. Little known fact: the P. in P. Craig Russell stands for “Puffy”.

"Moon of Madness, Moon of Fear" begins with a shirtless guy being chased by wolves. Then we cut to a group of young tourists, heading off into the Bavarian wilderness for a camping trip. They are suddenly interrupted by a withered crone who...

OMG, you have to be kidding. Yes, a withered crone shows up out of nowhere are says "Perhaps the fraulein can sense it, eh? It is the frachtdorf EVIL!" She then warns them that werewolves are around and that it's a full moon and that they best heed her warning and you really, really have to be kidding me with this.

But no. Anyway, they go into the woods, and suddenly the shirtless man shows up, being attacked by wolves. The youths, being red blooded American men, jump in and save him by smacking the wolves with tree branches, then bring him back to the fire. The wolves circle the camp and the guys fend them off all night long with torches. Finally the sun comes up...

... and the guy turns into a werewolf. See, he's actually a werehuman -- the full moon turns him into a human, but the rest of the time he's a wolf. That's why the wolves were attacking him, because he turned into a person. Then, to punctuate his story, he eats them all. And finally, there's an epilogue later where the same thing happens again, only to some old people in an RV. RIP, John Madden.

THE END!


Synopsis two: Up next is... a dirty reprint!!! ARRRGH! But, wait. This is actually interesting -- it's a reprint of a pre-code horror story by Stan Lee with art from Russ Heath. Called "They Wait in Their Dungeon", it originally appeared in the first issue of an Atlas comic called Menace in 1953. So, I'm going to read it even though it's a dirty reprint.

Oh, and it's a doozy. It's written from the perspective of a warden in a maximum security prison like Alcatraz. This warden is a sadistic monster, whipping inmates with his bullwhip and reveling in their execution. In one sequence he puts a guy in the gas chamber and we get this bit from Lee:

"Your heart beats faster as the doomed prisoner is led into the little gas chamber! You would prefer to watch the guillotine, but execution by gas is better than nothing! As the jets are turned on, you rush to your specially built window to watch the doomed man squirm in terror... His movements become slower as the gas begins to enter his lungs... Finally he starts to slip to his knees... the life ebbing from him... until at last he lays still... dead! You feel cheated! The last one remained alive for 4 minutes, struggling and... screaming! It was wonderful to watch!"

Anyway, at dinner, he eats some soup that he doesn't like, so he forces the cook to drink dishwater then has his guards drag the guy off to the torture chamber. However, he makes a critical mistake here: the rest of the guards have been overwhelmed, so this leaves him alone. The inmates close in and chase him through the building until his only choice is whether to hide in the gas chamber or face them outside it.

"The choice is yours, Warden Drury! Do you go thru the door and die... or do you wait and die? Think fast, Warden Drury... your time has run out!!" This final panel has a closeup of the red and sweaty face of the warden with a look of terror on his face as the convicts aproack "hands outstretched... fingers reaching, clawing, each fighting to be the first to choke you..."

THE END!


Synopsis three: The third story is called "Delusion for a Dragon Slayer" and it is credited to Gerry Conway "adapted from an original story by Harlan Ellison". Oh, Christ, great. Seeing that byline makes me want to burn my whole comic collection. But, anyway, I guess I’ll go ahead and read the story. You better appreciate this.

A dude is walking along when a wrecking ball flattens him. He wakes up to find himself on a sailing ship, in the body of... Ka.-Zar by the looks... holding a magic sword that spouts expositional dialogue at him. The sword says he's in heaven, but he has to earn it. He can do this by sailing through some rough seas and saving a maiden from a demon. The thing is, he has to do this in a manner which is in keeping with his ethics. Man, Smax would totally tell this sword to shove it.

This guy takes it seriously though, so he sails the ship through the straits. Unfortunately, he manages to wreck it, killing the entire crew:

"And his men -- who trusted him not to gamble them away so cheaply -- wail till their screams become water-logged -- and, choking -- ARE GONE!" This accompanied by an eerie drawing by Syd Shores of the drowned men floating under the surface of the ocean.

The main character's reaction to this: "Well, I certainly messed that up."

You think?!

Anyway, he comes to a clearing and sees the maiden and the deamon, which looks like Sasquatch, and is horrified when they start totally making out. So, he runs up and stabs the demon in the back and pitches him into a river. Then he grabs the maiden and basically is about to rape her when a giant dragon appears and eats the holy hell out of him.

Then we get the moral: he killed the men with his vanity, he murdered the demon through cowardice, he revealed himself filled with lust, therefore he didn't earn heaven. Instead, he is sent back to the present, where he is crushed to death by the wrecking ball. Because being eaten by a dragon sometimes just isn’t enough.

THE END!


Extras: Um. Actually, this comic wasn't all that bad. Better than a lot of the DC horror at the time, anyway. The dirty reprint was actually the best part, and even the Conway/Ellison mash-up didn’t quite put me under for good. This whole “let’s adapt all of Harlan Ellison’s short stories into issues of Patsy Walker and Ringo Kid” phase is one of the more annoying chapters in Marvel history, right up there with “Halloween in Rutland, Vermont”. But in that context, this story could have been a lot more offensive. And I also have to admit that the first story about the werehuman was.... actually, that one was stupid.


My grades: I'm going to give this a B overall. That's a C- for the opener, an A- for the glimpse at Sadistic Stan, and a C for the Ellison adaptation. I’m giving bonus points because there’s a cool in-house ad for Tomb of Dracula, the comic that the readers wish they had bought instead of this one. Plus it features a nice Gil Kane cover (as almost every Marvel from this period also did -- a good choice by Marvel).



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