Pick of the Brown Bag
July 10, 2019
by
Ray Tate
It's time for another manifestation of the Pick of the Brown Bag. This meaty installment takes a gander at Black Cat, Black Hammer and the Justice League, Batman, Bitter Root, Ghosted in L.A, Gogor, James Bond Origin, Red Hood, Red Sonja Birth of a She-Devil, the Six Million Dollar Man, Supergirl, Unearth. Should you lack the time for a full repast, check me out on Twitter: #PickoftheBrownBag
Unearth is a modern combination of Jules Verne's Voyage to the Center of the Earth and H.G. Welles' First Men In The Moon. With a little Black Scorpion thrown into the mix. Er, the superb Willis O'Brien stop-animation movie.
Not the Joan Severance superhero film, which is awesome by the way. Just an aside. Stay away from Black Scorpion II at all costs.
The frame of the story is predictable. A group of scientists and military investigate a malady borne from Mexico.
Not the Joan Severance superhero film, which is awesome by the way. Just an aside. Stay away from Black Scorpion II at all costs.
The frame of the story is predictable. A group of scientists and military investigate a malady borne from Mexico.
The team conducts an expedition of the newly formed cave Site 17. For the sake of modern times, they run into some guerrillas using the caves as a hide out. Though the giant Ray Harryhausen inspired monster interrupting the encounter is timeless.
So, why am I singling Unearth out? Maybe because Cullen Bunn and/or co-writer Kyle Strahm saw Prometheus, and said no.
Yeah. There's no bullshit about a scientist stupidly exposing himself/herself to an alien contagion. Maybe military guy shouldn't have killed the dragonfly-like creature, but the scientist should have been using common sense. I give her the benefit that she used a probe, but she was still too close for comfort.
The art by Baldemar Rivas is stunningly grotesque. The creature when it catapults onto the stage impresses, as does the tumorous ramifications of the disease, if that's what it is. Furthermore, I really liked Bunn's work at Marvel Comics. I haven't been overly thrilled with his indie projects. Unearth on the other hand is technically flawless and appeals to several of my interests.
The Domus are a group of marauding insect-riders that a Big Bad organized into a black-kevlar army. The Domus invaded Armano's school. His master entrusted a scroll with Armano as he escaped. Armano met non-human ally Wexil who translated the scroll.
Upon reading the words, Armano freed Gogor, an earthy golem/Gargantua who made short work of the Domus that stupidly followed.
At the end of last issue, Gogor led Armano to a powerful sorceress dubbed Master Hedron.
Writer Ken Garing also produces the vividly colorful artwork. I like a number of things about Master Hedron. First, she's black. Second, she's a woman yet referred to as Master, and third, she's powerful and sensual at the same time. The sensuality is implicit in presentation. Gogor is a more or less all-ages read.
Master Hedron imparts knowledge to Armano and his role in Gogor's life. You cannot help but be reminded of Gremlins.
Familiarity however does not breed contempt. The rules will come into play later in the book. So, perhaps you can criticize Garing for some obvious foreshadowing. It didn't bother me.
Hedron allows Armano to bathe and partake tea. That's kind of expected in these kind of fantasy respites. A stronger herb gives him a vision and a destination.
Hedron allows Armano to bathe and partake tea. That's kind of expected in these kind of fantasy respites. A stronger herb gives him a vision and a destination.
Despite the trip, Gogor maintains a science-fiction solidness. Hedron tells Armano that he will experience a psychedelic moment. She's not out to expand his mind with anything but a factual understanding of the natural world. Gogor in a sense is a secular science fantasy.
Master Hedron also gives Armano a wicked ride.
I know. I wish some hot organically magical babe slapped a floating sapphire skiff on me. Maybe I've just become so cynical that I can't accept gifts being handed out in fairy tales, however sophisticated.
Anyhow, there's no catch, if that's what you're thinking. Herdon is just a good person interested in keeping the floating islands healthy and the Domus curtailed. So, Armano gets a skiff which comes in handy for transporting a giant moss creature through the landscape.
As Armano returns to Wexil and his role as Gogor's keeper, the Big Bad's Darth Vader makes his presence known. There's a lot in the bout that entertains.
First, the dialogue lacks the pronounced English or fake Shakespeare that plagues a lot of fantasy works. The serpentine fellow speaks like an educated thug. The scene where he attempts to eat Armano is a little Kipling. A little Mogli and Kaa the python. When Gogor attacks, we're back to Kaiju.
The Bitter Root special is an anthology that's got something for everybody, and everything for a Bitter Root fan. The setup is chronological. So, the first story takes place before the Civil War and introduces some cool beans old time Sangeryes. This includes title character and matron of the Sangereyes Ma Etta.
The Sangeryes are a family of monster fighters. Some of these monsters are Jinoo. The Jinoo are actually normal people transformed by hatred into creatures. At least that's the classical Bitter Root definition. As the series continued, the Sangereyes discovered the Jinoo weren't so cut and dried.
Each story details each past and sometimes each present. The next tale focuses on a very young Bergen who will grow up to be the stoutest of the group and the one with the most extensive vocabulary. He is the Johnny of the Sangereye kinfolk via Doc Savage.
Each story details each past and sometimes each present. The next tale focuses on a very young Bergen who will grow up to be the stoutest of the group and the one with the most extensive vocabulary. He is the Johnny of the Sangereye kinfolk via Doc Savage.
I'm struck by how antithetical this short story is to Excellence's premise. Berg has a highly supportive father. He doesn't ridicule the boy's nervousness nor does he feel the need to push him into the fight. He instead finds a purpose for Berg that fits his demeanor.
Next the creative team consolidate the historical Red Summer era into an exemplar that gets a Jinoo makeover. This episode shapes the Shaft-like Ford and occurs within the Bitter Root series. Ford with his former Klansman partner take a car from Mississippi to the main Sangereye action in Harlem. Ford reminisces about the story silently when the ex-Klansman asks about his family.
Next comes "Tulsa." Similar to "Red Summer" The difference here lies in the execution. Writer and artist disguise none of the unfolding horrors. Instead, they document the reality of a turning point in Black History bound to make any rational person of any color say what the f. The fantasy element comes in the form of the Bitter Root antagonists rather than the Sangeryes or any metaphorical content.
"Ladies Night" is the most upbeat of the Bitter Root shorts. It's everything you think it is. Josephine Baker fighting alongside of Mulan. Blink teams up with new character Wu in a celebration of girl power against Jinoo. While battling the bad, the ladies discuss the sexism of their kith. Despite being part of illustrious monster fighting families, Blink and Wu are expected to behave like traditional women. Both balk at the prospect.
Last but not least, "Barzakh" continues of the Bitter Root current series. Cullen got sucked up into a nether dimension at the end of the first volume. This story explains where he ended up and what's going down. For the most part it's science-fiction predictable, but because you've become invested in the fate of the Sangereyes, the explanation interests as does the artwork. A full list of the credits appears at the end of the blog.
Ghosted in L.A. presents a slice of life personal disaster story mixed with a passive ghost story. By passive I mean, these spirits are not the Japanese type of ghosts that are so powerful that you may as well get a sandwich, sit down, eat and wait to be killed. These ghosts are more Topper oriented.
The story begins with heroine Daphne, perhaps so-named in honor of the Scooby-Doo sleuth, about to pull roots and leave Montana. All because of the boy she's attached to. Her best friend is not happy.
Daphne doesn't take this criticism well and decides she will break up with Kristi Misti before she leaves.
L.A. proves to be a harsh place for Daphne. Number one her roommate at her school is likely a Satanist. She puts up a black cross and dresses in black. Bible study isn't what Daphne thinks it is. Regardless, she sets most of the rules due to Daphne's less than strong personality.
As to that boy, well, he's breaking up with her. What a total dick. True. Daphne shouldn't have hitched her wagon to a man with the such an extent, but hey, jerk, break up with her before she decides to follow.
The weights just keep piling up on Daphne. She storms off and not looking where she's going literally runs into a haunted mansion. With a pool. That she really needs right now.
Underwater, the first friendly ghost introduces herself, and as Daphne negotiates the poolside, she begins to understand what's going on.
At first Daphne believes the ghosts will do her in, or Deadman her. Instead, they're actually mostly civil, and Daphne seeking an upswing in her life makes a deal with the head ghost.
"Charming" is too often used, but I can't castigate. I'm guilty of the same crime. Let's just say, Ghosted in L.A. has got a really good Adventures in Babysitting vibe and features some inviting artwork.
The story begins with heroine Daphne, perhaps so-named in honor of the Scooby-Doo sleuth, about to pull roots and leave Montana. All because of the boy she's attached to. Her best friend is not happy.
Daphne doesn't take this criticism well and decides she will break up with Kristi Misti before she leaves.
L.A. proves to be a harsh place for Daphne. Number one her roommate at her school is likely a Satanist. She puts up a black cross and dresses in black. Bible study isn't what Daphne thinks it is. Regardless, she sets most of the rules due to Daphne's less than strong personality.
As to that boy, well, he's breaking up with her. What a total dick. True. Daphne shouldn't have hitched her wagon to a man with the such an extent, but hey, jerk, break up with her before she decides to follow.
The weights just keep piling up on Daphne. She storms off and not looking where she's going literally runs into a haunted mansion. With a pool. That she really needs right now.
Underwater, the first friendly ghost introduces herself, and as Daphne negotiates the poolside, she begins to understand what's going on.
At first Daphne believes the ghosts will do her in, or Deadman her. Instead, they're actually mostly civil, and Daphne seeking an upswing in her life makes a deal with the head ghost.
"Charming" is too often used, but I can't castigate. I'm guilty of the same crime. Let's just say, Ghosted in L.A. has got a really good Adventures in Babysitting vibe and features some inviting artwork.
Lot of liberties taken with the Six Million Dollar Man, yet writer Christopher Hastings still keeps the spirit of Lee Majors and the television series.
Though it doesn't look it now, the Six Million Dollar Man wasn't cheaply made, and Ted Cassidy's Bigfoot still ranks high on the ape-man costume list. This comic book however would have blown the budget sky-high as Steve and Japanese Agent Niko Abe take on the Big Bad who seeks revenge for Hiroshima. He turns out to be way beyond human.
As artist David Hahn demonstrates his reputation for excellent, high action artwork as well as monster design, Hastings introduces a number of clever and amusing twists to the plot. In the end, an appearance by a very Richard Anderson looking Oscar Goldman educes a warm, fuzzy feeling. Oscar naturally looks to make the world a better place, and he's easily one of the best spy directors in television.
Though it doesn't look it now, the Six Million Dollar Man wasn't cheaply made, and Ted Cassidy's Bigfoot still ranks high on the ape-man costume list. This comic book however would have blown the budget sky-high as Steve and Japanese Agent Niko Abe take on the Big Bad who seeks revenge for Hiroshima. He turns out to be way beyond human.
As artist David Hahn demonstrates his reputation for excellent, high action artwork as well as monster design, Hastings introduces a number of clever and amusing twists to the plot. In the end, an appearance by a very Richard Anderson looking Oscar Goldman educes a warm, fuzzy feeling. Oscar naturally looks to make the world a better place, and he's easily one of the best spy directors in television.
In the aftermath of the Crisis on Infinite Earths a single universe evolved. One Earth pieced together from multiple sister analogues. One Krypton where only one rocket landed in Smallville. An extended family of Flashes. The first Flash Jay Garrick fought Nazis in one occurrence of World War II. The second Flash Barry Allen sacrifices himself as Crisis Big Bad, the Anti-Monitor attacks.
Barry Allen however returns briefly in the concluding years of the post-Crisis. That Flash by preventing his mother’s death creates Flashpoint, a divergent reality.
The New 52 Flash, also Barry Allen, will go back in time and eliminate the event that spawned Flashpoint. This will in fact reset the multiverse as it always should have been.
The Thomas Wayne Batman is the Batman of Flashpoint.
That version of Batman meets our Batman during Tom King’s and Joshua Williamson’s highly recommended Button. That meeting occurs before Flashpoint’s obliteration. I have no idea how Thomas Wayne survived, but he did. Else, this is all a dream occurring at a turning point in Batman’s life.
Let’s pretend it’s not though. Batman fell to the machinations of an archenemy. Thomas Wayne rescued him. Thomas Wayne however is in cahoots with the enemy. His collusion and his rescue are all psychologically complicated. Suffice to say Thomas Wayne is nuts. A brilliant surgeon but nuts.
His goal is for Batman to die, and for they to become a family again. It is sort of heartwarming to see Batman and Son battle the forces of Ra’s Al Ghul.
Ironically, the League of Assassins aren’t the villains here. They exist to guard a special Lazarus Pit. They’re sort of like civilized Mummies. During this bout, Thomas recalls Bruce's love for a book of Russian fairy tales. Here's the thing. That book is real. I looked it up. The book holds significance in the life of Batman and Thomas Wayne, but the father misreads the son badly, and the phrase "I'm still here," a verbal motif running through Tom King's run of Batman gets yet another moving, connotation.
I know beans bout the Black Hammer universe, but writer Jeff Lemire gives me an informative crash course. Because heroes are iconic and usually based on the original 1940s characters, they're as easy to understand as any other group.
That said. There's enough personality within the dialogue that distinguishes them from generic wannabes.
Nevertheless, I'll be approaching this book from a position of strength. Namely, the Justice League. I bought Black Hammer and the Justice League because I miss reading the Justice League.
Try as I may, I do not understand the current incarnation of the group. I suspect the fault lies not with myself but with writers Scott Snyder and James Tynion. In any case, Lemire's Justice League is easy to comprehend.
Nothing says Justice League like Starro the Conqueror. He's invaded earth to christen every formation and era of the group.
The League's individual characterization stands out, and Lemire opts for tried and true. For example, nothing says Cyborg like White Noise.
Lemire also puts his own spin on the roster, but these additions make sense.
Batman determines that a mysterious traveler who causes all of their and Black Hammer's problems isn't human. Wonder Woman beats him to the punch. Cutting to the chase, the League soon find themselves in a trap while Black Hammer discovers they're needed once more.
That said. There's enough personality within the dialogue that distinguishes them from generic wannabes.
Nevertheless, I'll be approaching this book from a position of strength. Namely, the Justice League. I bought Black Hammer and the Justice League because I miss reading the Justice League.
Try as I may, I do not understand the current incarnation of the group. I suspect the fault lies not with myself but with writers Scott Snyder and James Tynion. In any case, Lemire's Justice League is easy to comprehend.
Nothing says Justice League like Starro the Conqueror. He's invaded earth to christen every formation and era of the group.
The League's individual characterization stands out, and Lemire opts for tried and true. For example, nothing says Cyborg like White Noise.
Lemire also puts his own spin on the roster, but these additions make sense.
Batman determines that a mysterious traveler who causes all of their and Black Hammer's problems isn't human. Wonder Woman beats him to the punch. Cutting to the chase, the League soon find themselves in a trap while Black Hammer discovers they're needed once more.
Supergirl acts as an afterthought and cleanup scenario that's bolstered by Kevin Maguire's and colorist Plascenscia's artwork. Writer Marc Andeyko brings cousinly dialogue to Supergirl and Jonathan Kent. He also shows that the cousins' and Krypto's tactical weakness is similar to Doctor Doom's.
Things that break, hard, science fiction engineering, no problem. Soft squishy multitude presents a challenge. The crystalline Big Bad of the piece Gandello really cannot kill any Kryptonian by her lonesome, but she does enjoy humiliating Supergirl. It's a forgone conclusion that she will lose, but you admire her cheek.
Things that break, hard, science fiction engineering, no problem. Soft squishy multitude presents a challenge. The crystalline Big Bad of the piece Gandello really cannot kill any Kryptonian by her lonesome, but she does enjoy humiliating Supergirl. It's a forgone conclusion that she will lose, but you admire her cheek.
Former Teen Titan Bunker has it in for the Red Hood because he kept Penguin locked up in the foul bird's own panic room.
Now free, the Penguin suffers from memory loss of just who Jason Todd is. This is convenient but plausible given that Jason put a bullet through his head. Until DC decided, they still needed the Penguin.
That said. Scott Lobdell makes the Penguin's survival even more reasonable. He pulls a fast one on the reader. Jason did shoot the Penguin at point-blank-range in the head, but Lobdell left out key pieces of information. Now, I don't buy all of this. I appreciate the effort. In addition to that Wingman gets a very good explanation, and this is probably the only Year of the Villain tie-in that makes any dramatic sense.
It seems the Jason went off the deep end, but all of his actions possessed an underlying rationale, and his narration indicates that he wasn't so so sure of himself. That said, he seems like the hero most likely to become a villain. With that in mind it makes sense that Lex Luthor would make his offer to Jason Todd. It is highly unlikely that Jason will actually become his ruse. He's too stable for that.
Now free, the Penguin suffers from memory loss of just who Jason Todd is. This is convenient but plausible given that Jason put a bullet through his head. Until DC decided, they still needed the Penguin.
That said. Scott Lobdell makes the Penguin's survival even more reasonable. He pulls a fast one on the reader. Jason did shoot the Penguin at point-blank-range in the head, but Lobdell left out key pieces of information. Now, I don't buy all of this. I appreciate the effort. In addition to that Wingman gets a very good explanation, and this is probably the only Year of the Villain tie-in that makes any dramatic sense.
It seems the Jason went off the deep end, but all of his actions possessed an underlying rationale, and his narration indicates that he wasn't so so sure of himself. That said, he seems like the hero most likely to become a villain. With that in mind it makes sense that Lex Luthor would make his offer to Jason Todd. It is highly unlikely that Jason will actually become his ruse. He's too stable for that.
Poker and craps defined gambling in the thirties and forties pulp novels and films. Gambling was illegal and seedy. Poker dealt in dimly-lit backrooms. Played by rough cigar-smoking men. Craps the game of grifters. Dice often loaded, rolled in grimy alleys.
Ian Fleming on the other hand depicted gambling as an elegant pastime of the rich and beautiful. Men and women in Europe disposed of their wealth frivolously on a spin of the roulette wheel. Because the glamorous were sometimes corrupt or evil, the casino became the habitat of the spy.
In first novel Casino Royale M assigns Bond to bankrupt SMERSH agent Le Chiffre in baccarat. Fleming characterizes Bond as an expert gambler. Jeff Parker’s latest James Bond Origin asks how he became such.
Origin is almost a self-contained short story similar to something Fleming might have written in a Bond anthology. Bond asks a former colleague, with whom he had bad blood, to help him enter a high stakes game of chance.
What happens next is a well-thought-out answer to the question, foreshadows Bond’s actions in Goldfinger and also highlights one of Bond’s more nobler characteristics.
The art by Ibrahim Moustafa and Michael Garland is outstanding. The team create memorable, realistic faces for close-up expressions. All of these characters could have been forgettable in comparison to Bond's more colorful opponents, but Moustafa makes them gel.
In many ways, the heist is antithetical to fantasy. A heist depends upon logical contingencies. The best heist works like clockwork with the thief anticipating each security movement. The heist furthermore often depends on science and technology. In fantasy the rules are made up.
In many ways, the heist is antithetical to fantasy. A heist depends upon logical contingencies. The best heist works like clockwork with the thief anticipating each security movement. The heist furthermore often depends on science and technology. In fantasy the rules are made up.
Black Fox, Black Cat and her crew Bruno and Dr. Corpse team up to steal a specific item from Dr. Stephen Strange’s collection. The item is a terrific piece of lost history, perfect for the story, revealed at the end with true bravado.
Oooo, good one.
But before we get there, the Black Cat must penetrate the houses magical defenses. Because of the special nature, she needs a specialist.
Jed McCay cleverly expands on underworld lingo adjusted for the superhero/fantasy. He integrates the Black Cat in the world of Marvel Comics even more so than her past adventures did with Spider-Man.
Upon entering the house, McCay in turn relates a risqué fairy tale, in which Black Cat meets a living caduceus.
She becomes Little Nemo at one point and encounters weird, Wolvertoon inspired creatures in increasingly amusing and outrageous encounters. Of course the kicker occurs at the cliffhanger where we discover that Xander the Merciless really is an old Dr. Strange foe.
Red Sonja in Marvel Comics was never originally a hero. Like Conan, she was a protagonist. She was a mercenary for hire. Her most heroic efforts occurred in the present when teaming up with the Amazing Spider-Man and taking on Kulan Gath. I'd wager that single comic book informed a lot of opinion on Red Sonja. Certainly Amy Chu's Sonja is a bona fide champion and protector of the innocent. She still may become that. Luke Lieberman however muddies her Dynamite history as a hero. Simultaneously, he explains the schism between Sonja and her foster dad Ozzyus.
The well written blood and guts begins with a presentation of foreshadowing.
Everything you need to know is in the imagery and narrative on the very first page. Raka eating an apple will turn into the Big Bad of Sonja's present. Shashana's friendship fuels her rage and violent actions.
As the story unfolds you get a very Robert E. Howard attitude. Howard seldom dealt with the stark differences between good and evil. Raka's actions are malevolent, yet he lets Sonja and Ozzyus live to see another day. Ozzyus misjudged Raka, and though is actions were larcenous, he aimed to survive. He furthermore feels guilt over the outcome.
The most noble character in this story is King Andol. He's a hands-on investigator trying to stop an evil plaguing the lands he defends.
That evil also happens to be the slaughterer Sonja seeks to slay. If all this high and mighty rumination on good and evil bores you. No matter. Sonja also attacks a giant octopus.
The well written blood and guts begins with a presentation of foreshadowing.
Everything you need to know is in the imagery and narrative on the very first page. Raka eating an apple will turn into the Big Bad of Sonja's present. Shashana's friendship fuels her rage and violent actions.
As the story unfolds you get a very Robert E. Howard attitude. Howard seldom dealt with the stark differences between good and evil. Raka's actions are malevolent, yet he lets Sonja and Ozzyus live to see another day. Ozzyus misjudged Raka, and though is actions were larcenous, he aimed to survive. He furthermore feels guilt over the outcome.
The most noble character in this story is King Andol. He's a hands-on investigator trying to stop an evil plaguing the lands he defends.
That evil also happens to be the slaughterer Sonja seeks to slay. If all this high and mighty rumination on good and evil bores you. No matter. Sonja also attacks a giant octopus.
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