Page 1 of 1

The PZ Comic Museum

PostPosted: Tue Jun 13, 2006 8:34 am
by doglips
It's time to start digging out your old comics and graphic novels, comic memories and oddities. Got a favourite comic that you think others should read? Tell us about it here.

One of my favourite Graphic Novels as a teenager was Doctor Strange and Doctor Doom: Triumph and Torment by Roger Stern and Mike Mignola. I have been thinking about a thread like this for a while, so I dug my copy out and read it again for the first time in about five years. I had totally forgotten what a fantastic story it was - Strange and Doom have to forge an uncomfortable alliance in order to travel to hell to free the soul of Doom's mother from the clutches of Mephisto . It's a classic 80's comic book yarn but what sets it apart is Mignola's art - this book is fucking beautiful. The battle scenes with Mephisto are superb and one full panel in particular of Strange in front of a fiery Mephisto, brings a tear to my eye just thinking about it. I highly recommend this to anyone who likes Mignola's art or if you just need a good read of an afternoon!


The imagery online from this book is sparse, but I found this small pic of the two 'heroes'


Next is The Inhumanoids:


I suspect that the US zoners will be more familiar with this than us in the UK. I only know these stories from comics serialised in the back of Transformers UK in the late 80's ( having just done a search, I now know that they originated from a toy collection and cartoon in the states - I will have to order the DVD ). I loved this series and after seeing some of the preview art for Carey's run on Ultimate FF, it popped back into my mind - the huge behemoths rising from the ground, only to be defeated by a gang of four! - I reckon it would make a cool updated new 6 parter for Marvel!

My last titbit for now is an oddity that I just have a real soft spot for, as far as I know it was only a one shot for Images launch and then possibly continued in the pages of Youngblood, another Image title launched at the same time but Dennis may be able to shed some more light on that.

I give you Troll!


Real name Bartholomew J. Troll, looks like a 2 foot high Wolverine and has Indiana Jones adventuring tendencies. It was created & written by Rob Liefield and penciled by Jeff Matsuda, so naturally Troll meets some voluptuous ladies and battles a gargantuan ( and pretty cool ) demon. I loved this comic, and read it many times but never got to follow any more of his can pick it up for a dollar on many US websites - a bargain!

Anyone else care to share some comic relics?

PostPosted: Tue Jun 13, 2006 9:16 am
by Adam Balm
Holy crap! I thought Doom going to hell to free his mom's soul was from Waid's run just recently. Guess there really aren't any new ideas anymore.

PostPosted: Tue Jun 13, 2006 12:03 pm
by ZombieZoneSolutions
Probably my favorite comic of all time is this out-of-print reprint of several
LOVE AND ROCKETS issues from the late 80s. This reprint features the
monumental DEATH OF SPEEDY and JERUSALEM CRICKETS stories... its
pretty much the only comic i've ever read that effectively captured the true
spririt of the DIY punk/art/underground music scene of the 80s (before it
was co-opted, watered down, and sold to the EmpteeVee masses as
product); readng the comic is like taking a time machine back to my
teenage years as a wacked out arty punk rocker; even today it stands the
test of time as a must read snapshot of an era long gone... ah, the good
olde daze...


These same comics are available from Fantagraphics in different forms
now, but this was the original collection I cherished...

PostPosted: Thu Jun 15, 2006 10:34 am
by ThisIsTheGirl
Marshal Law used to rock my world when I was a teen. Highly recommend it to anybody who hasn't read it!


PostPosted: Thu Jun 15, 2006 11:29 am
by magicmonkey
WOw, Marshal LAw was the mutts nuts. I thoroughly enjoyed reading that. It got me back into comics when I read it. Great sense of subversive humour, do I remember correctly that the make-up moisturiser brand was called "spunk"? HAHahahaha. That Mr.Mills. I met him once, he's a tall fucker.

PostPosted: Thu Jun 15, 2006 1:10 pm
by Al Shut
I inherited a lot of old comics (all of them older than me), none of them are really oddities since their all constantly reprinted and still for sale.

Mostly their from the three classical French/Belgian series



Lucky Luke




Both Asterix and Lucky Luke are clearly at their best when written by Goscinny and none of them seems as dated as some of the old American superhero comics I have read (like 50 year old issues of Batman or Superman)

PostPosted: Thu Jun 15, 2006 2:24 pm
by DennisMM
Marshal Law was fantastic through the first few stories. After that it became a by-the-numbers project, I thought.

Is it okay if I post a 20+ year-old essay on a comic I thought was and is one of the absolute lost treasures? I'll illustrate it to make it more interesting (thank the gods for scanners).

PostPosted: Thu Jun 15, 2006 2:41 pm
by Keepcoolbutcare
DennisMM wrote:Is it okay if I post a 20+ year-old essay on a comic I thought was and is one of the absolute lost treasures? I'll illustrate it to make it more interesting (thank the gods for scanners).

yes please.

PostPosted: Thu Jun 15, 2006 6:46 pm
by doglips
Keepcoolbutcare wrote:
DennisMM wrote:Is it okay if I post a 20+ year-old essay on a comic I thought was and is one of the absolute lost treasures? I'll illustrate it to make it more interesting (thank the gods for scanners).

yes please.


PostPosted: Fri Jun 16, 2006 3:20 pm
by ThisIsTheGirl
DennisMM wrote:Marshal Law was fantastic through the first few stories. After that it became a by-the-numbers project, I thought.

Is it okay if I post a 20+ year-old essay on a comic I thought was and is one of the absolute lost treasures? I'll illustrate it to make it more interesting (thank the gods for scanners).


PS - I never read Marshal Law beyond its opening run Dennis - I defer to your no doubt better knowledge on the subject!

PostPosted: Mon Jun 19, 2006 3:06 am
by Adam Balm
Still waiting, Dennis....


PostPosted: Mon Jun 19, 2006 12:46 pm
by DennisMM
I'm workin' on it, I'm workin' on it! (Middle-aged Man)

It was not a good weekend. Hell, it wasn't a good week. I lost my wallet, spent 2 1/2 hours on a medical appointment that went poorly, and the breathing problems I thought were clearing up have returned.

I'll get to it soon.

PostPosted: Wed Jun 21, 2006 12:36 am
by The Garbage Man

Superman: The Man of Steel Annual #3

A great little Elseworlds story by Priest and Bright with the premise that - well, I'll just leave it to Jor-El's narration:

The fact is, we had no choice. Krypton was doomed. As a result of certain biological tactics used in the Clone Wars, we were all dying - infected with a deadly microbe. Our own planet was killing us. I brought my findings to the Council of Elders. They, of course, believed me. It was, however, too late to save our people. A mere 100,000 - selected by university scores - were able to flee the doomed planet - heading for the single planet in the known galaxy whose chemical composition would enable us to arrest the deadly plague growing within us. None of the fetuses developing within the gestation banks were selected for the Great Landing. However, in a terrible and selfish act, I journeyed to the banks to retrieve you, my son. As a result of my studies, I had some time before I reengineered your genetic pattern to remove the deadly microbe. Had I not taken you with us, you would have been born to a planet of ghosts - the lone survivor of a dead species.

As the book opens, the Kryptonians have been on Earth for 23 years, have eliminated crime, disease, famine, and plague, and have held the planet in the grip of their totalitarian rule for nearly as long.

Among the few fighting against this rule is a 50-something Batman who follows the near-endless cycle of being beaten almost to death by Lex Luthor and his "peace-keeping" operatives, put back together with Kryptonian science, and imprisoned before breaking out and returning to the trouble-making. Kal-El is fascinated with Batman, and eventually becomes a freedom fighter himself.

Other niftiness includes Batman giving young Kal-El a costume (if you ever wanted to see what a Batman-designed Supes costume would look like, here you go) and giving him the Superman name, Lex Luthor with a beard and full head of (long) hair, Jor-El going apeshit in Gotham, and Superman having to decide if setting the world free is worth killing every last Kryptonian and truly making him The Last Son.

Anyone else read this one?

PostPosted: Wed Jun 21, 2006 12:42 am
by Leckomaniac

I am so going to try to find this. I wonder if it will be at my local comic book store? Was this ever collected into a trade?

PostPosted: Wed Jun 21, 2006 1:47 am
by The Garbage Man
It was actually a single issue, albeit an annual with more pages than your regular comic. It would've been interesting to see an expansion of it, though.

At Mile High that issue's going for $ 0.75 in good condition.

PostPosted: Wed Jun 21, 2006 2:02 am
by DennisMM
For a while, the DC annuals each year shared a theme. In 1994 it was Elseworlds, DC's version of What If?, or what they used to call Imaginary Stories. Lots of those annuals weren't very good.

PostPosted: Wed Jun 21, 2006 6:13 am
by Keepcoolbutcare
The Garbage Man wrote:Anyone else read this one?

not yet, but it sounds pretty darn nifty.

lovin' the new sig.

PostPosted: Wed Jun 21, 2006 2:43 pm
by The Garbage Man
Thanks, thought you might.

PostPosted: Wed Jun 21, 2006 6:39 pm
by Theta
DennisMM wrote:For a while, the DC annuals each year shared a theme. In 1994 it was Elseworlds, DC's version of What If?, or what they used to call Imaginary Stories. Lots of those annuals weren't very good.

Elseworlds is always hit or miss; what's annoying to me is that they focus exclusively on Superman and Batman now. A little variety might be nice.

PostPosted: Sun Jun 25, 2006 8:58 pm
by DennisMM
I wrote this for a small but well-respected comics zine, It’s a Fanzine, published out of Des Moines, Iowa, from 1980 to 1995. Writing for the zine was always enjoyable, even when I was pounding through a third draft at 2 a.m., days after we were supposed to go to press. A note on style: In my early twenties my enthusiasm eclipsed my writing skills and sometimes my good judgment, but that’s youth and untreated Bipolar Disorder for you. I’ve cleaned up more than a few things to make the piece smoother and more coherent. Hope you enjoy this.


Seven Seconds and Counting

As I recall, it began with a DC coming releases sheet. There, hidden in shadow, was a character with bulky legs who looked to me as if he might be a cyborg or something. The caption said it was a Trevor von Eeden illo from the coming deluxe-format series, Thriller. I didn’t know it then, but the “cyborg” was a man called Salvo. We would become fast friends over the course of the first eight issues, then I’d watch him fall apart in agonies of bad characterization. But that was all to come much later. At the start all I saw was an enigmatic, riveting shadow. So I waited.

Soon it was out, that first issue with the beguiling cover ... rough, crude even, but entrancing: a man standing high atop a bridge, whipped by the wind, and above him a beautiful woman’s face filling the night sky. Robert Loren Fleming? Never heard of him. I read the book. What was going on?

In the 2030s, TV news photographer Daniel Grove was working with his twin brother Ken, a reporter. They were captured by the Molluskan terrorist Scabbard (who sheathed his sword in his back). As Dan continued to send a live video feed, Scabbard decapitated Ken on national television. Back in the USA, alone for the first time in his life, Dan stood atop the bridge from the bridge. “Ken!” he cried. “I don’t know how to stay behind.” A voice called to him. “Daniel?” “Huh?” he replied. “Oh my God!” Above the bridge, formed from the mists and smoke of New York City, a beautiful woman’s face filled the sky.


“My name is Thriller,” she said. “I see pieces of the future. You, Daniel, are part of my future. There will be no time for tantrums or for cowardly acts of self-destruction. A car is on the way for you. It’s time you grew up.”

A Rolls-Royce limousine pulled to the curb. Dan was yanked inside by Data, Thriller’s Information Specialist, and hijacked across the city, tumbling through a series of encounters with other operatives: White Satin, who disabled men with a touch; Beaker Parish, a nine-foot tall, chopper-flying product of genetic engineering gone awry and a Catholic priest;
and Salvo. Image

His “bulky” legs, like the rest of him, were covered with holstered guns. Provoked by Dan, Salvo blew Dan’s jacket off him without drawing a drop of blood. “Only flesh wounds!” he barked. “Only out-patients! I won’t kill a fly.” “So don’t ask me,” he finished, quietly. At the Trinity building, Dan would meet the remaining "seconds": Proxy (who welcomed Dan to the Six Seconds), Crackerjack, and Edward Thriller himself, the husband -- and the living embodiment -- of the mysterious energy being named Angie Thriller.

I didn't know what was happening, but I loved every page of it; I hadn't had to read this carefully or think this hard about a comic since ... hell, since never. There had never been a story like this in mainstream comics. This was almost a dream on paper. The art -- choppy, crazy, bold colors, raw lines, everything drawn in the starkest, meanest possible terms. No slickness to the people, the city, the action. The blades of Beaker Parish's helicopter slicing the page into shreds.

It wasn't a dream, it was a nightmare -- Dan Grove's nightmare. And it worked. The first issue closed with a group of falling leaves appearing to coalesce into a man with white hair -- except at the temples, where it was black -- who stepped forward, offered his hand in greeting, and introduced himself as Edward Thriller. "Welcome to our family," he said.

Some of this was explained in #2.

Angie's body had been destroyed (as had Edward's) in a laboratory accident. When Edward's body returned to normal, Angie's life force was inside him. He could discorporate at will, leaving Angie present in her energy state. While they shared a form, they could not speak to one another. "I'm just the body," Edward told Dan. "She's my soul." Angie could manipulate inorganic matter, sometimes creating faces with which to communicate with others.

Tony Salvotini, following a military tragedy, had trained to be the ultimate marksman, one who could always disable without killing. Angie, his twin, could manipulate Salvo’s body to a limited extent, such as growing an eye in his palm to let him see around a corner.

Data, or Freddie, directed his limousine mentally via a brain implant, and lived there. “I have all the comforts -- open access to all information retrieval systems and the storage capacity of several 647 K-byte computers ... in my head1. So ask me a question ... [b]any[/i] question.” [Remember, it was 1983.]

Proxy, Robert Furillo, was believed dead. He’d burned himself horribly while freebasing cocaine and covered his wounds with an experimental synthetic skin. Until it fell apart he could be anyone. (This was 1983, years before Darkman

Crackerjack, or Jack, was a Honduran pre-teen -- Edward’s ward, Freddie’s close friend and a self-taught safecracker.

Beaker Parish was just what he presented -- a priest, honest and open, regardless of his origins.

White Satin's mysterious touch was a form of prana bindu. Lots of things remained unexplained, and I liked it. I read both issues several times over and waited anxiously for the next.

Other plot points remained obscure. Dans's reliving, in #3, of the circumstances that led to his father's death -- was it a dream, or reality? How did Dan get to the train station on the last page? Where did he fit into the newly constituted Seven Seconds who, as the ad copy told us, had to save the world? By the end of #3, the story was only less clear.

It would become clearer as time passed, but not clear enough for most readers; sales were down already. I worried for Thriller. Sure, i was willing to put a little intellectual and creative effort into reading a comic, but what of the masses who weren't? And what of the art? von Eeden continued in his raw style, inked on #6 by Dick Girodano, who often smoothed out the lines a bit while adding nothing to the impact of the work. They even used a different cover artist for #7. People won't buy this, I thought. It's too different from anything else that's out there. Hell, this is weirder than Ronin.

I was right; the editor revealed a lack of mail on the book and begged for letters. People weren't reading Thriller. Why? It was too mysterious and too familiar. Good wasn't all good, bad wasn't all bad. Salvo was plainly crazy, but he wouldn't kill, even in self-defense. No one knew how trustworthy Edward was, or could fully divine Angie's motivations. Adventure, while important, was secondary to the personal lives of the ensemble.

At heart, the book was a story about a group of damaged people constructing a family from the wreckage of their lives (Fleming described Angie as a cross between his mom and Jesus). This soon meant more than the Seven Seconds and the Thriller/Salvotini family. Who was this Elvis Presley guy running around robbing banks? Or the older guy who looked like Elvis? He turned out to be the younger man's "father," except that both were clones of the original "Kane Creole," who clearly was meant to be Elvis.

I was still having fun. Fleming and von Eeden clearly were having some fun. Why wasn't the rest of the audience having fun? I stuck out the storm, hoping it would pass.

Then, disaster. Fleming was leaving the book after #7. Creative differences with the editors and with von Eeden, he said, and he wanted to work on a mini-series he'd been developing. Was it the low sales that bothered him, the slow death of his child? What of "Down Time," the 12-issue story he had only half completed? What of his plans, sketched out in an interview, for the first 25 issues? And what would the book be like under Bill Dubay? He'd done a workmanlike job as an editor/writer for the Warren horror and sf titles, and some passable superhero work for Red Circle/Archie, but he'd never shown a flair for the sort of character work that defined Thriller.

Issue #8 wasn't awful. Not good, but not awful. The script lacked the humor and atmosphere Fleming brought to the book. But, I thought, Dubay was new to the characters. He deserved a few issues to settle in. Then von Eeden announced he was leaving after #8. DC brought in Alex Niño, one of the many Filipino artists who'd worked on mystery and horror titles through the '70s. The quick descent began.

Dubay used captions -- scrupulously avoided by Fleming except for first-person narration -- long, wordy, superfluous, overbearing captions. He ended most declarative sentences with exclamation points, an old comics practice Fleming had abandoned. Humor came from naming characters "Glorioski" and lines like, "And if you believe, that, I've got a nifty little bridge in Brooklyn I'd like to show you!" -- spoken in English to a band of Russian-speaking soldiers. Speaking of the Russians, suddenly they were the root of all evil, except for Fleming's mysterious START corporation, which now seemed to want to blow up the entire world, Russians and all. Where were the Creoles, whom Fleming had established as new members of the Trinity family? Where were the Mollusks, the bank robbers from #2 who had seemed so important and possibly tied to Scabbard? Where were the characters I had grown to love? It was all gone.

I couldn't recognize the characters as Dubay wrote them. His plots were filled with immense science fiction and metaphysical schemes in which the characters were more like machine parts than people. (In #10 he obliterated a city of 20 million people with a nuclear weapon so that two enigmatic, cosmic characters, Faith and Quo, "The Balancer," could revive them with their memories of having died -- creating a short-lived enlightenment, we were told.) Dubay mostly ignored the family stories central to Fleming's book. I couldn't recognize the characters' faces, either; Niño drew like a drunken Milton Caniff. Technically he was proficient, but his art lacked emotion. von Eeden had infused his art with the passion of a creator and designer proudly displaying his work. Nino made it clear he was drawing the book because he was paid to.

(Typical Niño art, from #12.)

Thriller had become just another ugly comic on good paper, just another Omega Men. The end was near. Niño and Dubay cranked out a misbegotten ending to "Down Time," and DC cancelled Thriller with its twelfth issue.

When the end came it was something of a relief, as if a once vibrant but now sick and confused friend was at peace. I hadn't expected Thriller to last six issues, but it had. I hadn't thought I could care so much about a comic. I did. In its first seven issues, Thriller raised my hopes for the cinematic comics style Rich Buckler and Neal Adams had started developing in the seventies. But it was over, at least for DC.

What killed Thriller? Personal conflicts among the creative team, for certain, but I think there was more. Had the sales remained strong, editor Alan Gold might have been able to moderate the differences between Fleming and von Eeden. Readers killed the book, and I think prejudice drove away the readers. They'd bought other von Eeden material that was nearly as raw, including a Batman Annual that blew critics away. It might have been the layouts, tied as they were to Fleming’s less-than-linear storytelling. Still, I can’t help but feel the failure was more conceptual.

DC readers were not ready, in 1983, for a comic that required as much attention as Thriller. They were unwilling to give as much time to a DC “hero” comic as they would to Howard Chaykin’s American Flagg! And Thriller required that reading time, that thought. The two books really were much alike. Both used humor at odds moments and in strange ways. Both created confusing, dense worlds that were only slowly explained -- closed realities into which other comics conventions could not intrude without causing harm. Both were unable to exist or function properly without their creators at the helm. But only one of the two died: the poor relation, stuck at the “mainstream” publisher.

Forget that Thriller was the only comic on the stands that even attempted to deal with current politics and international relations, even in a sideways fashion. Forget that Fleming created some of the most realistic and idiosyncratic characters of the day, characters who were easy to dislike because of their flaws but easy to love for their virtues. Forget that it tried to create a family unit in comics that acted like a real family. Forget the humor. Forget the action. Forget von Eeden’s stunning covers.

Remember that Fleming and von Eeden had guts enough to try something like Thriller at DC, when all of the truly unusual work was coming out of the “independent publishers.” Remember the noble experiment. Remember the art, because you’ll never quite see its like again. And remember the Seven Seconds, unmourned except by those few who cared. Goodbye, kids. I loved you people. I tried to keep the dream alive. I really did.

I just couldn’t read you fast enough.

Image Image Image
Image Image Image Image

Following Thriller’s cancellation, Bob Fleming continued to work for DC, frequently with Keith Giffen. Their most popular work was the first Ambush Bug miniseries. There was talk of a Thriller limited series, but nothing came of it. At that point, Giffen had started drawing in a style heavily influenced by Argentinian artist F. Solano Lopez. The stark compositions and shadowy figures, as evidenced in the Fleming/Giffen graphic novel Hell on Earth, would have served a new Thriller well. Fleming has written very few comics since the early 1990s.

Trevor von Eeden also worked for DC. Through the ‘80s and ‘90s he penciled The Outsiders, Black Canary and other DC Universe titles, though sometimes under heavy inks that disguised his jagged style. His fate was the same at a number of other publishers, and at times he was relegated to layouts, with heavy finishes over his page designs.

DC's "Deluxe" format comics were part of the change in printing comics, beginning in the early 1980s. At that point, most comics were on a cheap, newsprint-type paper, printed directly from metal plates. DC introduced "Mando" books, printed on a higher-grade paper called Mando, and Deluxe books, with offset printing on a whiter, sturdier paper than Mando. Unfortunately, they continued to color the comics as if they were to be printed on the old, cheap paper, Before they learned how to adjust the separations, many comics were ugly and garish. Thriller's colors were not the most subtle, but the book benefited from the involvement of Tom Ziuko, one of the more talented colorists of the day.

PostPosted: Sun Jun 25, 2006 9:56 pm
by Flumm
Worth the waitiest, wait. Evar!

No that doesn't make sense... uh, thanks for sharing what it meant to you, Dennis.

I love the idea that there's some worth to we do, or what we profess to do, that when it's all said and done, all this scavaging of culture, whatever it may reflect about how we hold ourselves in relation to society, beyond all the self referential geek talk, it's all actually about the love of it. I think you catching something like Thriller, before it fell through the cracks, something that deserved to be caught, from the talented hands of artists who never really lived on to greater things, is a beautiful testement to that.

Oh, and I understand how you could have been intrigued, hooked before an issue was released even. How could that banner...

DennisMM wrote:Image

... not inspire that in someone?

Great post, Dennis.

PostPosted: Sun Jun 25, 2006 10:02 pm
by Keepcoolbutcare
Flumm wrote:Worth the waitiest, wait. Evar!

isn't that the History of the Flash, p. II? Maybe not, 'cuz he hasn't done it yet, so we can't really judge, but still, I've been waiting on that FOREVER!

can't wait to read this later, got some stuff I gotta get off my chest now lest I forget...

PostPosted: Sun Jun 25, 2006 10:44 pm
by DennisMM
Flumm wrote:Oh, and I understand how you could have been intrigued, hooked before an issue was released even. How could that banner...

DennisMM wrote:Image

... not inspire that in someone?

Great post, Dennis.


The "banner" is actually part of the full promo poster, which wouldn't have shown up well reduced. Above the bridge is the rest of the #1 splash page. So overlap them in your mind.

The silhouettes, left to right: Salvo, White Satin, Proxy, Data (in car), Crackerjack (on the hood), Beaker, and Dan. Incredible stuff, ennit? I would kill to have the original art for a couple good pages from Thriller.

My apologies for the poor focus. That poster and my camera did not want to cooperate, maybe because of my cheap lamination job on the poster, way back when.

kc, the Wally West thing fell by the way side because I've been so tired these past months. Writing is no longer easy for me. The original Thriller piece was knocked out in a couple of evenings. It took me much longer than that to edit and update it, and a good deal of additional time to decide on appropriate art. I'm sorry.

PostPosted: Mon Jun 26, 2006 1:23 am
by Keepcoolbutcare
DennisMM wrote:kc, the Wally West thing fell by the way side because I've been so tired these past months. Writing is no longer easy for me. The original Thriller piece was knocked out in a couple of evenings. It took me much longer than that to edit and update it, and a good deal of additional time to decide on appropriate art. I'm sorry.

no need to apologize Dennis, none at all.

I'm sorry writing is "no longer easy" for you; it's certainly easy (and informative, witty etc.) for me to read.

PostPosted: Mon Jun 26, 2006 6:53 pm
by doglips
DennisMM wrote: The original Thriller piece was knocked out in a couple of evenings. It took me much longer than that to edit and update it, and a good deal of additional time to decide on appropriate art.

Thanks for taking the time to update and post your essay Dennis, it really is great writing. Reading your impassioned passages is a treat, so I hope we get more in the future.

I actually remember the adverts for Thriller in Batman and Detective comics ( I think, I was 9 at the time ), that banner is very distinctive and seeing it again was a real memory jolt.

So I got a box of old comics out to try and see if I could find some DC stuff from around the 1983/4 period containing the adverts - unfortunately my Batman & Detective comics now form part of my Brothers collection ( he's Bat-Mad ) and my misc comics are really random issues from Valiant publications & First Comics to PC stuff - just oddities I used to pick up as a kid and teen.

Anyway 2 issues of a PC comic catch my eye. To my amazement I am holding 2 issues of Jack Kirby's Captain Victory and the Galactic Rangers!, both in pretty good condition ( which I had completly forgotten about! ) This is so cool because Kirby's daughter has just based the Galactic Bounty Hunters comic coming out in July on characters from these old comics!



I've got Issues 4&6 as above and after a bit of searching have found this graphic novel edition which was split into the 12 original issues for release. "All proceeds from this 52-page book go toward the huge task of scanning and preserving the 4000+ page Kirby pencil xerox archives!" - WICKED!

So all in all I have had a great comic discovery day and a good trip down memory lane - so thanks a lot for a great post Dennis, much appreciated!

( Adam, I also found issue 1 of Fantastic Four - Unplugged by Mike Lackey and Heitor Oliviera ( 1995 ), it's yours if you want it! )

PostPosted: Tue Jun 27, 2006 9:16 pm
by DennisMM
Cool, doglips! Does either of them feature Paranex the Fighting Fetus?

Does any of you realize how old I feel when I read something like

thedoglippedone wrote:I actually remember the adverts for Thriller in Batman and Detective comics ( I think, I was 9 at the time).

And you're one of the older fellas here.

I turned 21 the year Thriller came out. Oy.

PostPosted: Tue Jun 27, 2006 9:44 pm
by Adam Balm
Dennis, I swear man...

You could review a condom wrapper and make it sound fascinating.

Good work, my friend.

PostPosted: Tue Jun 27, 2006 10:25 pm
by DennisMM
Do not store in wallet or glove compartment of car.

It was a strong opening, but the "squeeze the air from the tip for a snug fit" lost me.

Thanks, AB.

Thriller was fascinating, at least for seven issues. Wish I could share it with y'all, but that would violate copyright and involve a lot of scanning.

PostPosted: Tue Jun 27, 2006 11:08 pm
by SilentBobX
One comic series I can highly recommend, is All Star Squadron. Yes, you can snicker at the acronym, but it's a great comic featuring dozens of cool DC heroes from the bygone days of early comics(1940s). Has some very cool artwork, and a great origin appearance of Dr. Fate early on. Enjoy

PostPosted: Tue Jun 27, 2006 11:18 pm
by DennisMM
Wonderful stuff, SBX. A bit silly at times, but written with great passion by Roy Thomas and with some wonderful Jerry Ordway art.

PostPosted: Wed Jun 28, 2006 2:46 am
by buster00
Used to love All-Star Squadron; I still have almost every ish. I'd like to see what some of today's writers, like Millar, could do with that concept. I'd be happy to keep Ordway on the art, though.

Ever read Dean Motter's Mister X? It wasn't what you'd call available on the drug store's comic rack in the early 80's, so thank god for the TPBs. Another good concept that was maybe just a bit ahead of its time, and a striking visual style that holds up really well.

PostPosted: Wed Jun 28, 2006 5:30 am
by mister six
I know it wasn't very popular at the time, but I was a big fan of Marvel's New Universe - especially Justice.

The Keith Gifen artwork and Peter David's reworking of the charater as a sociopath seemed fairly unique to me in a monthly comic at the time.

David resurrected the character in the 2099 line, but it wasn't as good as the original...


PostPosted: Sun Nov 26, 2006 12:45 am
by Fievel
mister six wrote:I know it wasn't very popular at the time, but I was a big fan of Marvel's New Universe - especially Justice.

Thanks to Dennis' sig, here I am (am I the only one to click on it!? It SAYS to click on it!!!).


I remember collecting as much as I could of all the New Universe titles when they hit, and then around the third issues, I realize I couldn't stand any of the titles and gave up on all of them. For some reason Strikeforce Mortuai (sp?) is the only title I remember by name. They're in "the stash" somewhere.

PostPosted: Sun Nov 26, 2006 1:45 am
by DennisMM
Warren Ellis is "reimagining" the New Universe as a single title, New Universal, out early next year. We'll see, we'll see.

PostPosted: Mon Feb 12, 2007 3:27 pm
by so sorry
So the Comic Book Theme week inspired me to dig out my meager/crappy comic book collection yesterday.

The bulk of my collecting was in the 90's, and was very limited, but i do still have a few older comics from my youth (early 80s).

So my question is this: is there an online resource that you guys know of where I could get a feel for what my comics are worth?

It seems so subjective in terms of how I would determine what is "very good" as opposed to "good" ex-cetera.

I screwed around on the Certified Guaranty Company's website (the 'official' place to go, right?), but I was taken aback by how much they charged to get a comic book "certified" thru them. It only seems worth it if I have a VERY valuable comic to go this route (which I probably don't).

Am I doomed to go to a comic book store and rely on someone else to tell me what my stuff is worth? OR should I just put these back in the attic and ignore them for another few decades?