And now Wein has left too, leaving David Michelinie to clean up the mess.

The mess in question is Wein’s swamp monsters. It turns out they aren’t because of Alec Holland’s serum, rather because of a strange batch of toxic waste dumped in the swamp, which somehow interacted with the Holland formula.

While Redondo’s art just keeps getter better, the writing takes a hit. Even when Wein was at his most talky, nothing compares to Michelinie’s endless narration. He also doesn’t bring much intelligence to Swamp Thing’s thoughts—he doesn’t seem like a brilliant scientist, more like an average joe. Though I guess it’s funny to see Swamp Thing kick somebody in a fight.

Because the story’s about the selfless sacrifice of maligned children, the issue turns out to be somewhat affecting. But Swampy doesn’t come off well. He comes off a little like a selfish jerk.

Still, nice art.

CREDITS

The Tomorrow Children; writer, David Michelinie; artist, Nestor Redondo; letterer, Marcos; editors, Paul Levitz and Joe Orlando; publisher, DC Comics.

I’m not even sure where to start.

About half the comic deals with the Living Pharaoh’s origin and his escape from prison. It’s a strange origin; he seems a lot like an Egyptian Peter Parker for a bunch of it (you know, if Peter weren’t a college dropout or whatever). Michelinie does everything he can, for a while, to making the character sympathetic and tragic. Then the Living Pharaoh kills his daughter and the sympathy is out the window.

He’s got a cult of followers and she’s, unbeknownst to him, now one of them. The whole Egyptian cult thing–there are terrorist comments a plenty–makes it seem like Marvel could publish the thing today (if only Frank Miller worked at Marvel these days). But what Michelinie fails to realize is how bad a plot choice making the character utterly unsympathetic halfway through does to the comic. It makes the second half barely tolerable.

The second half, according to Michelinie’s introduction, is where the actual story idea comes to fruition. A giant monster attacking New York, only it’s the Living Pharaoh jumbo-sized off the Fantastic Four’s powers.

Michelinie writes a good Captain America and Fantastic Four. Everyone else–particularly Spider-Man and She-Hulk (though she’s technically an FF member at this time)–is spotty.

The art is sometimes good, sometimes bad, it depends one of the seven inkers. It opens well though. The colors are very nice at times.

It’s pointless, but I guess it could be worse.

CREDITS

Writers, Christopher Priest and David Michelinie; penciller, Marc Silvestri; inkers, Geof Isherwood, Mike Witherby, Brad Joyce, Phil Lord, Keith Williams, Tom Morgan and Jerry Acerno; colorists, Bob Sharen, Christie Scheele, Steve Oliff, Mark Bright, Michael Davis, Charles Vess, Paul Becton, Janet Jackson, Petra Scotese and Paty Cockrum; letterers, Joe Rosen, Rick Parker, Janice Chiang, John Morelli and Phil Felix; editors, Keith Williams and Christopher Priest; publisher, Marvel Comics.

Michelinie being a competent writer aside, I really loathe nonsensical inter dimensional stories. Spidey and Starfox have to go into another dimension to figure out why Captain Marvel is all messed up.

So the two mismatched heroes (we know they’re mismatched because of Spidey’s constant thought balloons on the subject) meet these two warring tribes, one female, one male, and have to defeat the bad guys (the male tribe) to save Captain Marvel. Whew, long sentence.

But the journey doesn’t have any weight or wonderment–Spidey’s totally nonplussed at the strange alien world surrounding him… not to mention all the human inhabitants.

LaRocque’s art is better here than last issue, as there are nice panels and nice movement on Spidey, not to mention during the big fight scene. But it all feels a little too contrived and a little too dumb. Michelinie sells it, but only at cover price, no more.

CREDITS

Shifts and Planes; writer, Dave Michelinie; penciller, Greg LaRocque; inker, Mike Esposito; colorist, Christie Scheele; letterer, Diana Albers; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

Michelinie writes a good issue here. Ten pages in and he’s had two action sequences, one for Spidey, one for Captain Marvel; it feels like you’re spending the day with the characters. Not in some fun sense, rather as though Michelinie is approximating real time in summary. It’s impressive pacing and it makes up for some of the weaker expository moments.

The only real problem is the artwork–LaRocque’s Peter Parker is some kind of awful, though it’s hard to dislike the scene too much… since it’s got a nice mention of Milt Caniff. It’s the kind of reference I don’t remember ever seeing in a Marvel comic.

The real strength of the comic is Captain Marvel. From what I’ve seen of her appearances in this era, the character always manages to rise above bad writing. So with a solid script, like here, she’s fantastic.

It’s a good, readable superhero outing.

CREDITS

Foiled!; writer, Dave Michelinie; pencillers, Greg LaRocque and Mike Esposito; inker, Esposito; colorist, Bob Sharen; letterer, Diana Albers; editors, Bob DeNatale and Danny Fingeroth; publisher, Marvel Comics.

So in the last few years when the Iron Man movie made him into a top tier character, I knew some stuff about Tony Stark. I knew he was on the Avengers. I knew he was on the government’s side in the Marvel Civil War when they “killed” Captain America. And I knew he had a drinking problem.

The other day I spotted the Demon In A Bottle trade paperback on the shelf at our branch. “Aha! Those are the comics where we learn of Tony Stark’s alcoholism. I shall read them!”

I’m really glad I wasn’t reading comics in the 70s.

I’m not saying that Demon In a Bottle is bad, but it definitely suffers from the limitations of its times. Everything is so simplified and ridiculous. He has to tell the audience in narration that his plexiglas shields slid over his eye and mouth holes when Sub-Mariner drags the fight underwater. The dialogue is inane and there are pages of him beating things up in his testing facility and on Justin Hammer’s manor-boat for no reason other than to give him something to fight.

I recognize that things were different then and that even today not everything in comics is going to be Shakespeare, but yeah. It’s not tremendously enlightening stuff to read.

David Michelinie (writer), Bret Blevins (artist)
The Bozz Chronicles #1 (1985)
Published by Epic Comics (Marvel)

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David Michelinie (writer), Bret Blevins (artist)
The Bozz Chronicles #2 (1986)
Published by Epic Comics (Marvel)

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David Michelinie (writer), Todd McFarlane (artist)
The Amazing Spider-Man Vol. 1 #299 (1988)
Published by Marvel Comics

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David Michelinie (writer), John Romita Jr. (artist)
The Invincible Iron Man Vol. 1 #127 (1979)
Published by Marvel Comics

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David Michelinie (writer), John Romita Jr. (artist)
The Invincible Iron Man Vol. 1 #126 (1979)
Published by Marvel Comics

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Guión: David Michelinie
Dibujo: Alex Maleev
Tinta: Alex Maleev
Color: Matt Hollingsworth

Formato: Libro cartoné, 144 págs. Color.

Se abre la veda… Cuando los Laboratorios STAR descubren una nave extraterrestre en el corazón del continente americano, Superman les acompaña en su investigación para determinar si la presencia de la nave representa una amenaza o no para la humanidad. Sin embargo, el Hombre de Acero nota que al acercarse a la aeronave, sus poderes empiezan a disminuir. Por si fuera poco, capturan a los investigadores y una extraña raza alienígena hace acto de presencia con un único objetivo: ¡cazar presas!
David Michelinie y Alex Maleev presentan el enfrentamiento más brutal que ha presenciado el universo en Superman vs Depredador. A continuación del lanzamiento de Batman vs Depredador, este mes el Hombre de Acero sigue la estela emprendida por el Caballero Oscuro, solo como antesala a la llegada de los Aliens el mes que viene…

Precio: 12,95 €

Superman vs Depredador: vale, son dos seres extraterrestres que llegan a la Tierra, uno para ayudar a los humanos, otro para divertirse cazándoles… El problema es que uno de ellos es bastante más poderoso que el otro y claro… hay que caparlo. Como una lucha entre ambos, estando uno de ellos sin poderes, tampoco daría para mucho hay que añadir otra trama para “hacerlo interesante”. ¿Y qué mejor trama que un grupo criminal que quiere realizar un atentado a nivel mundial para “mejorar” la población? Pues… no sé. Ahora mismo no se me ocurre nada mejor que eso… por algo no soy guionista. Ahh sí, también hay que situar la historia en una selva, para pelear en una ciudad ya estaba Batman. Quizás por eso cómic de Batman no termina de funcionar este, vale que sean ambos alienos, pero… no pegan demasiado. Las diferencias, a pesar de las similitudes, son tan grandes y su tipo de historia están tan alejadas que… no funcionan ni intentándolo (y tampoco es que parezca que le pongan muchas ganas).

David Michelinie… bueno, ¿qué ha hecho como guionista? La crisis alcohólica de Tony Stark, la creación de Jim Rhodes y de Venom… O sea, las etapas de Layton en Iron Man y de McFarlane en Spider-Man. Bueno, la primera no me disgustó – incluso diría que me gustó bastante, sobre todo si la caída de Tony del Helitransporte fue cosa suya -, la segunda… no tanto, aunque tenía cosas aceptables. Pero no estoy aquí para hablar del pasado, si no de esta miniserie… Mi problema principal es que… Michelinie ya había trabajado con el personaje y aquí no… termino de verlo. Igual es que la idea tampoco daba para mucho y claro… de donde no hay no se puede sacar.

Y Alex Maleev al dibujo… vaya, este Maleev no es el actual. Tiene un dibujo mucho más claro que ahora, aunque en algunas páginas ya muestra sus tendencias… El dibujo no es malo, pero tampoco luce demasiado.
Supongo que… joer, ninguno de los autores se luce demasiado, la mezcla de alienos no funciona… y el resultado es más que evidente: una pérdida de tiempo y de dinero.
Creo que desde el Superman – Tarzán es el peor crossover que he leído con Superman de por medio.

Showcase Presents: The Unknown Soldier Vol. 1

Availability: Amazon.com
Cover price: $16.99
Format: Soft cover, black & white, standard-size
ISBN 1401210902

Synopsis from publisher:

Assuming a wide variety of disguises to battle the Nazis, the Unknown Soldier plunges deep behind enemy lines in this 560-page black-and-white SHOWCASE trade, collecting stories from his first appearance in STAR-SPANGLED WAR STORIES #151 to issue #190.

Notes:

This publication reprints the “Unknown Soldier” stories from the comic book anthology series Star-Spangled War Stories. The comic was a horror-themed anthology, and so used a variety of creators. Joe Kubert was the primary writer and artist, although others contributed. The cover was illustrated by Joe Kubert, and was originally published as the cover of Star-Spangled War Stories #172.

The first 150 issues of the series have yet to be reprinted or collected. Following the issues reprinted in this publication, the series continued until issue #204 in 1977, at which point the series was re-titled Unknown Soldier, which ran until issue #268 in 1982. Those issues have yet to be reprinted or collected.

Reprints:

1. Star-Spangled War Stories #151 (1970)
2. Star-Spangled War Stories #152 (1970)
3. Star-Spangled War Stories #153 (1970)
4. Star-Spangled War Stories #154 (1970/1971)
5. Star-Spangled War Stories #155 (1971)
6. Star-Spangled War Stories #156 (1971)
7. Star-Spangled War Stories #157 (1971)
8. Star-Spangled War Stories #158 (1971)
9. Star-Spangled War Stories #159 (1971)
10. Star-Spangled War Stories #160 (1971/1972)
11. Star-Spangled War Stories #161 (1972)
12. Star-Spangled War Stories #162 (1972)
13. Star-Spangled War Stories #163 (1972)
14. Star-Spangled War Stories #164 (1972)
15. Star-Spangled War Stories #165 (1972)
16. Star-Spangled War Stories #166 (1972/1973)
17. Star-Spangled War Stories #167 (1973)
18. Star-Spangled War Stories #168 (1973)
19. Star-Spangled War Stories #169 (1973)
20. Star-Spangled War Stories #170 (1973)
21. Star-Spangled War Stories #171 (1973)
22. Star-Spangled War Stories #172 (1973)
23. Star-Spangled War Stories #173 (1973)
24. Star-Spangled War Stories #174 (1973)
25. Star-Spangled War Stories #175 (1973)
26. Star-Spangled War Stories #176 (1973)
27. Star-Spangled War Stories #177 (1974)
28. Star-Spangled War Stories #178 (1974)
29. Star-Spangled War Stories #179 (1974)
30. Star-Spangled War Stories #180 (1974)
31. Star-Spangled War Stories #181 (1974)
32. Star-Spangled War Stories #182 (1974)
33. Star-Spangled War Stories #183 (1974)
34. Star-Spangled War Stories #184 (1975)
35. Star-Spangled War Stories #185 (1975)
36. Star-Spangled War Stories #186 (1975)
37. Star-Spangled War Stories #187 (1975)
38. Star-Spangled War Stories #188 (1975)
39. Star-Spangled War Stories #189 (1975)
40. Star-Spangled War Stories #190 (1975)

Guión: Bob Layton, David Michelinie, Jo Duffy, Ron Frenz
Dibujo: Bob Layton, Gene Day, Kerry Gammill, Klaus Janson, Luke Mcdonnell, Tom Mandrake, Tom Palmer
Color: Glynis Wein

Formato: Libro cartoné, 384 págs.

Un nuevo volumen recopilando la etapa Marvel de Star Wars, con historias que tienen lugar después de los acontecimientos narrados en El Imperio contraataca, y que presenta nuevas aventuras protagonizadas por Luke Skywalker, la princesa Leia y los androides C3PO y R2-D2, a los que ahora se une Lando Calrsissian. En esta ocasión, la aparición del temible cazarrecompensas Bobba Fett pondrá las vidas de los héroes de las galaxias en peligro.

Precio: 25 €

Clásicos Star Wars – Hace mucho tiempo… 5 – El cazarrecompensas: los miembros de la resistencia comienzan la búsqueda de Han Solo… ¿y qué mejor forma de hacerlo que intentar encontrar a su captor, Boba Fett? La búsqueda lleva a Leia y C3PO a encontrar a dos Mandalorianos que, al igual que Fett, habían sobrevivido a las Guerras Clon; Lando, Luke, R2-D2 y Chewie van en busca de Bosske e IG-88, los cazarrecompensas compañeros de Fett y acaban compartiendo aventuras con unos contrabandistas conocidos de Han Solo; una de ellas se encapricha de Luke y les acompaña en su siguiente misión… la recuperación de un disco con información sobre el Imperio – que se convertirá en una de las subtramas de todo el tomo -, su competitividad con Leia provoca que arriesguen su vida para conseguir el disco…; después un viaje a un planeta acuático y un semi-encontronazo con Darth Vader; la búsqueda de Han se mezcla con la de los rebeldes desaparecidos que consiguieron robar el disco… hasta una especie de cabaret estelar; en otra historia Luke y Leia van en busca del desaparecido amigo del primero, Wedge Antilles; en un anual vemos como la elección equivocada – y la búsqueda de poder – puede convertir a un joven en un héroe o en un villano según la elección que tome y…; de nuevo la búsqueda de Han con Lando y Chewie intentado engañar a unos contrabandistas; finalmente consiguen el ansiado disco de datos, pero descubren que ambos rebeldes han fallecido; y, de pronto, en el último número… ¿Han libre y en Endor con todos los demás?
Pero, pero, pero… ¿Y la adaptación de El Retorno del Jedi? Una de dos, o han metido este número en plan relleno porque no les cogía todo El Retorno o… se lo han saltado. Si lo primero me parecería muy lamentable, no quiero ni contaros lo que me parecería lo segundo…
El guión… nada del otro jueves. Simplemente rellenan los números hasta el estreno de El Retorno intentando no meter mucho la pata… que si una historia del pasado aquí, que si buscando a Han por allá, que si ahora aparece Vader… pero no mucho, no vayamos a cagarla. Vamos, lo justo para cumplir.
El dibujo de Ron Frenz… según el momento, en general cumple bastante bien, pero hay páginas que… deberían haber hecho desaparecer (y eso siendo amables); Klaus Janson cumple en el anual, Vader parece mejorar con su dibujo… pero sólo Vader.
En general… cumplen con su misión, seguramente ha sido el más flojo de los cinco que han aparecido hasta el momento. Una lástima.

There are four types of female villains. One, the hot: these are the ones that you don’t care whether they are good or bad, they are just fun to look at. They can be anywhere from a genius mastermind to a simple minion, but you don’t care as long as they stay on the page. A current example is Sin in Captain America. Two, the cool: these may not be eye candy (in fact they may be quite unattractive at times), but their characters are interesting and/or they have extremely cool powers. A current example is Paper Doll in Spider-Man. Three, the lame: they are neither attractive nor unattractive, in fact they are not much of anything at all and are quite forgettable, example: Screwball from ASM. Fourth, the ugly: not only are these villainesses repulsive to look at, they don’t have any redeeming qualities to fit into the “cool” category, in fact, you wish their characters would disappear altogether. Most unfortunately, this issue of Amazing Spider-Man has not just one female villain from the fourth category, it has a team of four from the fourth category. But I’m getting ahead of myself, I’ll touch back on these villains in a second.

The opening actually looks promising (if you ignore the hideous cover) as Spider-Man is stopping a department store robbery (and boy do the villains’ clothes and hairstyles make it obvious what time period this is!), and we get some classic Spidey humor as he takes them down. As Peter comes home, we get a horrible reminder of what late 80s/early 90s Spidey was like: fun stories, horrible art. (Well, in my opinion anyway. As a side note, I ‘spose I should mention now that I have read all of ASM, and they will likely be the only stories that I have already read in my Flashback column.) Erik Larson (the penciler) comes out of the same mold as Todd MacFarlane, and both of their art was waaaaay to cartoony. (Not to mention that MacFarlane introduced the BIG hair MJ that haunted those pages for over half a decade.) As Pete, MJ, and May share a scene together, we see that Pete has a square head with the face of a five year old, Aunt May’s face looks like an old wrinkly dog, and MJ just has the aforementioned impossibly BIG hair.

After we get more fun supporting cast dynamics, Peter meets a scientist who wants to research Spider-Man’s powers and Pete, worried about how some gas he had inhaled during the earlier robbery might be affecting him, decides to visit him. During their experiments, Spidey is subjecting to some rays that seem to very temporarily rob him of his powers. He jumps out of the way, and asks the scientist to destroy the machine, and he agrees he will once he determines what went wrong. Of course, the scientist turn out to be a dodgy guy, and we see that he arranges an attack on an incoming international delegate to draw out Spider-Man. This attack brings us back to the Femme Fatales (the name of hideous quartet). A large part of what makes them so ugly is their costumes. Given, quirky costumes are a part of this genre that just have to be accepted, but these costumes are just plain badly designed. These women were already unattractive, but these costumes try sexualize them (especially in the *erh-herm* “bosom” area), so what we get are ugly women in sexualized clothing. Not a good mix. Anyway, horrible art aside (and that’s a big aside), the fight scene is pretty action packed, though unfortunately lacking in witty humor (or any humor for that matter).

After Spidey saves the day (as always), he can’t stop thinking about the scientist’s machine and, worried about Aunt May and her recent loss of Nathan Lubensky as well as what any foul-turned superheroics may mean for her or MJ, decides to have the scientist remove his powers once and for all. (*Duhn-duhn-duuuhhhhhn!*) And that’s the big cliffhanger for the issue. If I remember correctly, the machine does successfully take his powers away, but somehow or other, he gets pulled into another fight with Femme Fatales, and Black Cat comes in to save his butt, and just as it looks as they are about to be defeated, he regains his powers (it was apparently only a temporary loss) and saves the day (again). Though I could be wrong, I’m too lazy to read the next two or three issues to remember exactly what happens. (Wow, I just used all three forms of “to/too/two” in a sentence. Sorry, done marveling at strange grammatical occurrences.) So anyway, if you feel like reading this issue for some reason, read only the first half (fun), but skip over the second half (not so fun).

As a final note, I thought I’d mention that the reason I list next week’s issue for Flashback the week before is so that if anyone is crazy enough to want to read the issue too, they can follow the review better, and/or completely agree or argue vehemently with me. That said, the way I pick out the issues is orderly, yet random. I go in the order of Fantastic Four, Amazing Spider-Man, Avengers, Uncanny X-Men, but I use a random number generator to pick out exactly what issue to read.

Next week: Avengers 248

-LOTRKing

Touted as the story that defined Tony Stark, Iron Man: Demon In A Bottle beautifully reprints Iron Man #120-#128. First printed in the late 1970s, this story of drug abuse isn’t pioneering by any means, nor does it try to preach to its readers. Instead, it starts off as something casual before almost morphing into a running gag. But before you know it, the joke becomes something more serious and when tragedy hits Tony he hits the bottle… and hard.

Most of the issues collected within this hardcover have nothing to do with Tony’s alcoholism. Iron Man fights an evil oil corporation (which showed up in many other Marvel books of the time period), gets his origin story re-told, and deals with Justin Hammer – a man who’s found a way to control the circuitry in Tony’s armor. As we go through these stories, there’s a panel here and there strewn about showing Tony casually drinking. Eventually, the drinking affects him during a fight and this is where things become a tad more noticeable.

Now, if you think about it, this whole drinking problem slowly built up over nine issues. Imagine reading this month to month back in the late 1970s. How long would it have taken before the drinking became noticeable? I say this because when reading it in collected form you know what to look for, but back then, it must have hit readers maybe five or six issues in that there was a problem brewing. A lot of this credit has to go to David Michelinie, who cleverly crafted this story. John Romita Jr. also deserves a ton of credit for making the scenes work. But Bob Layton is ultimately the one who has his fingerprints all over this. His finished art over Romita’s pencils is highly distinguishable and his contributions to the story, undeniable.

The actual “Demon in a Bottle” story is saved for last, and when you finally get to it, the whole world seems to collapse around Stark. It’s incredibly easy to see why this issue is lauded. It’s not just the overpowering effects of alcoholism that propel this story, but it’s also Tony’s fallibility that makes this issue so engaging. And yes, it’s a bit silly to see him recover from it all over the course of one issue, but there’s no mistaking the losses and struggles he deals with. Iron Man was never known for having engaging stories, but in this one rare case it happened and that is why we treasure it. (Grade: B)

- J. Montes

Guión: Chris Claremont, Walter Simonson, Michael Fleisher, David Michelinie, Louise Jones
Dibujo: Frank Miller, Ron Frenz, Carmine Infantino, Tom Palmer, Walt Simonson, Joe Brozowski
Tinta: Vince Colletta, Frank Giacoia, Al Milgrom, Tom Palmer, Rudi Nebres
Color: Glynis Oliver, George Roussos, Don Warfield, Tom Palmer

Formato: Libro cartoné, 376 págs.

Los grandes autores de cómic de todos los tiempos rinden homenaje a los personajes de la saga cinematográfica de George Lucas en esta recopilación de la clásica serie de Star Wars de Marvel. Chris Claremont, Carmine Infantino y muchos más continúan la historia en el punto donde acababa El Imperio contraataca… Han Solo ha sido capturado por la traición de Lando Calrissian, y Luke y Leia deben emprender una misión arriesgada para rescatarle.

Precio: 25 €

Otro tomo entre películas (concretamente entre El Imperio Contraataca y El retorno del jedi) y claro… los autores no pueden hacer avanzar a los personajes, al menos no a los principales – ni tampoco pueden utilizar a Han Solo, claro -, por lo que se sacan de la manga a un personaje secundario como Shira Brie, una piloto de Alas-X con la que desarrollan un amago de triángulo amoroso entre ella, Luke y Leia… (Estaba clarísimo que Lucas lo tenía todo planeado… XD)
Pero Shira acaba siendo… bueno, igual alguien quiere leerlo… así que no diré lo que acaba siendo Shira, pero se podrían utilizar las palabras “traidora”, “Darth Vader”, “conspiración”, “matar a…” para definirla… pero no lo diré porque prefiero no revelar nada importante.
La cosa es que hay números realmente buenos y una saga sobre todo más que entretenida… concretamente, los números que guionizan conjuntamente David Michelinie y Louise Jones… Otra cosa destacable es el dibujo de Walter Simonson, un dibujo que, sin llegar a ser el grandísimo creador en el que se convertirá luego, empieza a tener sus señales de identidad – los aparatos mecánicos comienzan a tener ese toque suyo personal que tanto me gusta -, la narración ha mejorado bastante y hace un esfuerzo para que las caras de los personajes se parezcan a las de los actores que les dan vida en la pantalla…
En fin… ahora que hemos superado la mitad… ni nos lo planteamos, ¿no?

Clearly released as a companion to both the Iron Man film and Bendis’ recent homage to the story in Mighty Avengers, Doomquest collects four issues of Iron Man in which he travels through time with Doctor Doom. That’s more pages than it sounds, by the way, because two of the issues are double-sized.

The initial story, from Iron Man #149 and #150, sees the two sent back in time by one of Doom’s rebellious servants during a fight in castle Doom. Something about the idea of Doom and Iron Man in Camelot has intrigued me ever since I first found out about it. Certainly, the idea of Tony Stark, man of science, thrust into a world of magic is an appealing idea – as is pitting Doom against Stark, two sides of the same (armoured) coin. The result is something brilliant, even by today’s standards. Layton’s writing contains some great moments of humour, drama and adventure – I laughed every time Doom addressed Iron Man, who he believes to be Stark’s bodyguard, as “lackey”. The solution, where Doom and Iron Man team up is a brilliant moment that shows just how pragmatic Doom and Iron Man can be. Romita’s artwork is almost unrecognisable compared to his modern style, but nonetheless, the greatness is still there, if slightly less developed.

The second half of the collection contains the sequel to that story, originally from Iron Man #249 and #250, in which the two again travel in time, this time to the future, where they meet Merlin and a reborn King Arthur, and have to save the world from their own futures – the evil, armoured offpring of Stark’s bloodline, and the still-living, mostly cybernetic Doom. Again, it’s fantastic. A classic story that’s held up well by modern standards.

The issues are collected in Marvel’s excellent premiere hardback format. They have some classy-looking covers that make me want to buy them all, but I’ve managed to hold out until now. The collection could do with a little extra material – the Camelot issues end with Lady Morgana escaping, and no resolution to that plot, so if possible it would’ve been nice to see that thread followed up somehow.

As a comics fan you dream of witnessing character-defining stories like this as they happen, but in lieu of that, why not go and read the ones that already exist? Doomquest might be old, but it’s barely showing its age. It’s a fun story, and a genuinely deserved classic.

This issue of Spider-Man Family is a loving tribute to Mike Wieringo. Many of the writers he’s worked with in the past have come back for this special issue to craft a story that very much centers around Wieringo’s kindred spirit. So, don’t expect something emotional and heavy – this story is completely light-hearted.

The title of the story says it all – “Looter’s Quest” is a 30-page globe trotting adventure featuring about one of Spidey’s most ridiculous foes. The Looter is completely obsessed with finding the “twin” meteorite that matches the one that gave him his powers. Why? Because he wants to be smarter (and probably a more intelligent villain). Spider-Man catches on to his plot and follows him from place to place, yet the Looter somehow manages to outwit him time and again!

Giving nods  Mike Wieringo, we’re treated to many of the characters he worked on such as Spider-Man (duh), Doctor Strange, and the Fantastic Four. As you can imagine, it’s silly and full of cheese. While this story may not win any awards, but its sentiment is heartfelt.

As for the other stories, well, they’re nothing too special. We have a reprinting of Venom #1 by David Michelinie and Mark Bagley, Spider-Man: Death & Destiny #1, and another installment of Spider-Man J – the manga version of Spider-Man. Priced at $4.99, Spider-Man Family weighs in at a hefty 104 pages, which if you think about it, is a bargain. (Grade: B-)

-J. Montes

Superman Aventuras: El último hijo de Krypton

Guión: Mark Millar, David Michelinie
Dibujo: Mike Manley, Terry Austin, Aluir Amancio, Neil Vokes, Ron Boyd
Tinta: Terry Austin, Mike Manley
Color: Marie Severin

Edición original: Superman Adventures Vol. 3: Last Son of Krypton USA

Formato: 112 págs.

Precio: 5’50 euros

“El último hijo de Krypton afronta su mayor crisis enfrentándose a los supervivientes de su perdida tierra natal, incluyendo a sus propios padres, Jor-El y Lara. Además, alguien sabe que Clark Kent es Superman y quiere revelarle el secreto a Lex Luthor y al Mundo. ¿Significará un encuentro con el Dr. Fate el final de Superman?”

Sabiendo como sé lo que se está publicando en la “serie regular” del personaje (digo que lo sé porque no la compro, yo lo tengo en V.O.), siento mucha pena por aquellos que no estén comprando esta serie por ser “infantil” y se estén tragando la bazofia de Azarello y Lee… Aunque bueno, este tomo tampoco es tan bueno como lo eran los anteriores. Entre otras cosas, porque hay un número no guionizado por Mark Millar y otro coprotagonizado por el Dr. Fate y este personaje… hay que ser muy buen guionista para que funcione. Y hay que ser increiblemente buen guionista para que funcione en un único número (aunque claro, hay una referencia en este número que indica que no es el primer número en el que aparece, pero… ¿qué importa eso? ¿Para qué se va a molestar Planeta en publicar bien si se compra igual?).
Bueno, hay que ser muy bueno o quizás es que no me guste el personaje… ;D. Por otro lado, la historia de la realidad alternativa está bastatne bien y la del hombre que descubre la identidad secreta de Superman es cojonuda. Una pena que tuviesemos que tragarnos la historia de Sullivan (esto me hace pensar en qué tipo de selección hace – ¿la hará realmente? – Planeta para confeccionar los tomos). Espero que no tarde mucho tiempo en aparecer un nuevo número, si no…lo mismo que sucede con el 8º recopilatorio de Zits.

Nada más.

Aaaaaaaaaadios