Whenever those periodic questions about "who would beat whom?" come up in the superhero community, I always pick one of two possible champions: Bugs Bunny or Herbie Popnecker. They've never, ever been defeated, whether fighting Hitler or Yosemite Sam. But Herbie has a slight edge over the wabbit in at least one area. Bugs may have his attention diverted by a beautiful lady rabbit (or, indeed, a robot or witch dressed as a lady rabbit), but Herbie is the perfect asexual creature. We can only hope one day that he reproduces using mitosis.
That's why it's always surprising to see girls go gaga over the Uncanny Herbie. Why, even Jughead pretty much has only Ethel chasing after him. But it's what happens when the cruel, cruel Mr. Popnecker drags the reluctant Herbie to the movies just to see Frank and Dino. Ni, not Frank Flinstone and Dino the Dinosaur, as A Man Called Flintstone would not be released to the silver screen until 1966. Also: his name isn't Frank, no matter what Wilma says.
Panels from "Herbie, Boy 'Beetle!'" in Herbie #5 (American Comics Group, October-November 1964), script by Richard E. Hughes as Shane O'Shea, pencils and inks by Ogden Whitney, letters by Ed Hamilton
Okay, in between those panels and these next ones a whole lotta weird stuff happens (as it does in Herbie comics) involving a theatre saboteur with a big red clown nose doping up movie popcorn to make you whistle through your ears, and that's not just because of the size of a "large" popcorn being even to feed a family of four over a period of six days. No, let's just skip to Herbie trying to escape a ramaging mob by putting a mop on his head while meanwhile the "Beetles" play their hit song that has all the gals swooning in the aisles and peeing their 1960s capri pants.
Now, even though Ogden Whitney has delivered a near photo-perfect depiction of the actual Beatles, I'm not counting them as today's celebrity of the day as they are clearly a parody named "The Beetles." Over in England, Brian Epstein curses and waves his fist at American Comics Group because he cannot sue them, as they have cunningly disguised their target of tomfoolery so well by changing a vowel.
Oh, and teens come runnin' for the great taste of Herbie Popnecker.
Tracking down the Man with the Red Nose (oh yeah! I already forgot about him!) pop sensation Herbie, now calling himself Eibreh Rekcenpop, crashes (literally! look, it's right there in the sound effects) into the dressing room of Dean Martin and Frank Sinatra, who you can tell are today's guest celebrities because I've put their names in bold. I challenge the idea of Dino and Frankie sharing. a dressing room, as no one single dressing room could possibly contain Frank's mafia connections and Dean's drinks, but comics are sometimes forced to take a storytelling shortcut, so let's give it an official TV Tropes-style handwave and get on with the story.
Frank and Dean immediately snap into action and do what they do best: attacking Herbie. Ouch! That's gotta hurt...well, you know, it looks like invincible Herbie wasn't thrown off by that at all. As Robert Evans might say, the kid stays in the picture ARHGHHH (gets dragged off stage by giant hook)
Herbie has Martin and Sinatra (Marnatra?) lead him to the Man with the Red Nose (oh yeah! That guy!) but they're too intimidated to face off against him themselves. Chickens! Frank Sinatra is a big chicken! Dean Martin goes cluck-cluck-cluck-cluck! Buck buck buck buck buck! (is ushered offtage by a pair of burly goons telling me Mr. Sinatra would like to have a few words with me)
Then Herbie tosses the Man with the Red Nose (oh, don't tell me you've forgotten about him already) into a giant movie theater corn-popper, where he is then sold in giant buckets to the Alt-Right (aka Nazis) protesting Rogue One by buying tickets, entering the theater, buying popcorn, throwing away the popcorn, not going into the movie and going home. That'll show those precious snowflakes! (Precious Snowflakes Figurines™ is actually a registered copyright of Hallmark).
So all's well that ends with a guy being smothered to death in a popcorn popper, and without the moptop wig, Herbie's sexual attractiveness to the opposite sex is transferred back over to Dean and Frank, who spend the next six months in traction after being trampled by teens. Then, Herbie's dad adds yet another folder full of information to the case of Child Services v. Popnecker. Seriously, that guy is so emotionally abusive to his son, Bruce Banner's father looks up at him as a role model.
Look, Mr. Popnecker is just a jerk, that's what I'm saying.
Panels from "Pincus Popnecker, Private Eye!" in Herbie #12 (September 1965), plot by Richard Roesberg, script by Shane O'Shea, pencils and inks by Ogden Whitney, letters by Ed Hamilton
Okay, so yesterday I was telling you all about Queen Elizabeth II's appearances in the DC Universe, and how she usually wound up getting saved (as have us all) by Batman. Yes, I know yesterday I also covered some of her appearances in Marvel's Captain Britain comic, but hey: that's Marvel UK, so it doesn't count. There will now be a slight pause for me to be pelted with bricks by fine folks such as Dez Skinn, Steve Dillon, Brian Hitch, Dave Gibbons, Alan Davis, Alan "My Name Is Also Alan" Moore, and Neil Tennant out of Pet Shop Boys. So I think maybe I'd better stick to what I know: 1) comic books and 2) wearing elegant hats...
Speaking of Marvel now, some comic book history sites will tell you that this comic is the first appearance of Queen Elizabeth II in comic books:
Cover of Marvel Mystery Comics #47 (September 1943), pencils and inks by Alex Schomburg
But they are wrong with a capital WHIR. Well, at least partway: this is actually King George and his wife Elizabeth Bowes-Lyon...we know her a Britain's beloved late Queen Mother and the...well, Queen's mother. And she can go get her own comic book. She didn't even have the good grace to appear in a story with Namor or the Torch...instead, she's teamed up with Timely's Angel, who not even Stan Lee remembers anymore. Then again, the story did feature a villain named Count Lust, so Frederick Wertham was all over that thing.
Panel from "The Unwilling Corpse" in Marvel Mystery Comics #47 (September 1943), pencils and inks by Gustav Schrotter
No, to find what I think might be the first appearance of Queen Elizabeth II in a proper comic book(y-type of periodical), you have to stretch waaaaaay across the newsstand to grab that copy of MAD without your mom seeing. It's only 1956 so it's still costs one thin quarter (cheap!):
Cover of MAD #27 (April 1956), pencils and inks by Jack Davis
Can't find Her Majesty? Well, just find the sparkling bare bottom of baby New Year '56 and look to the immediate right:
MAD skewered every real life personality during its glorious heyday (i.e., when you were reading it at the age of ten), and our pal the Queen was no exception. Here's a beautifully illustrated comic strip by grandmaster Wally Wood which addresses a problem Prince Charles still probably has today:
from "Comic Strip Heroes (Taken From Real Life)" in MAD #48 (July 1959), script by Frank Jacobs, pencils and inks by Wally Wood
I'm assuming the resemblance in the second panel between Charles and a certain "What—Me worry?" mascot of said magazine was purely coincidental.
Here's another caricature of Elizabeth in the very next issue:
from "Family Magazines" in MAD #49 (September 1959), script by Arnie Kogen, pencils by George Woodbridge
But if you think MAD doesn't count as a comic book once it passed ish #23, then, as far as I can find, Queen Elizabeth II's first comic book appearance was one of the greatest comics of all time, and it's quite a doozy!
Panels from "Herbie and the Loch Ness Monster" in Herbie #3 (August 1964), script by Richard E. Hughes as Shane O'Shea, pencils and inks by Ogden Whitney, letters by Ed Hamilton
The Queen was a frequent and frequently amorous guest-star in Herbie...but then again, who didn't love Herbie? Communists, I tell you. Rotten dirty red commies.
Panel from "Clear the Road for Skinny!" in Herbie #18 (June-July 1966), script by Richard E. Hughes as Shane O'Shea, pencils and inks by Ogden Whitney, letters by Ed Hamilton
Which is not to say that QE2 was always portrayed the same within Earth-Herbie's internal canon:
Panel from "Almost a King!" in Herbie #22 (December 1966), script by Richard E. Hughes as Shane O'Shea, pencils and inks by Ogden Whitney, letters by Ed Hamilton
I'm not quite certain what's up with the Queen's diction there. Perhaps she was just trying to tell him he was only supposed to blow the bloody doors off. Whatever: we salute you, Herbie and American Comics Group, for giving us the world's most accurate and authentic portrayal of Queen Elizabeth II!
Oh yeah, I promised you some stuff about Marvel Comics, didn't I? Ehhhhhh, here's Deadpool.
Panels from Deadpool v.4 #43 (November 2011), script by Daniel Way, pencils by Carlo Barberi,
inks by Walden Wong, colors by Jorge Gonzalez, letters by Joe Sabino
Deadpool is in London for some reason or another (c'mon, you don't read Deadpool for internal logic, do you?) and he's stolen and is driving a Peel P50, the world's smallest production car. You (or at least I and all right-thinking people) may recognize it as the car that Top Gear's Jeremy Clarkson drove through the BBC Television Centre building:
I promised you the Queen and Deadpool and here they are...well, the Queen is slightly off camera and she's not talkin' crazy like Deadpool always is, but take my word for it.
Deadpool has taken the Queen hostage, and as usual he really doesn't have a plan worked out in advance:
But he's good at pulling out an idea from his sleeve, or wherever it is he keeps his plans:
As Deadpool is captured, the Queen runs for freedom...but wait: there's been a switcharoo! Ya gotta love those things.
Of course it turns out that's Deadpool dressed in the Queen's frock and the Imperial margarine crown, and he's left the Queen tied up in civilian clothing. Now, here I'm thinking that he missed the very slapstick opportunity to put Queen Elizabeth in the Deadpool suit and have her head-bashed by the security guards. And then we could have a short entry in the next edition of The Official Handbook of the Marvel Universe for DEADPOOL II (Queen Elizabeth II)
Now you think an appearance where she's undressed and tied up by Deadpool would be Queen Elizabeth's weirdest Marvel Comics appearance. And you'd be wrong. Let me introduce you to X-Men: True Friends, aka "The One Where Kitty Vows to Kill All the Nazis."
Here's the pitch: Shadowcat and Phoenix (Rachel, not Jean) have been castaway in time, winding up in Scotland in 1936, where they team up with bone-clawed Logan to fight against Baron Strucker and the Shadow King. What, you couldn't fit the Red Skull in this one, Claremont?
Panels from X-Men: True Friends #1 (September 1999), script by Chris Claremont, pencils by Rick Leonardi, inks by Al Williamson and Sam de la Rosa, colors by Shannon Blanchard, letters by Tom Orzechowski
Any time you're in a pub quiz and you get asked about the great loves of Kitty Pryde's life, be sure to pinch yourself, because you're clearly dreaming. But if it really is happening, after you manage to answer "Peter Rasputin" and "Pete Wisdom," don't forget the other great lost love of Shadowcat's life, Alasdhair "Not Peter" Kinross. Oh, and of course Lisabet is the young Princess Elizabeth. Who else could it be? Gosh, isn't she relentless cute? Don't ya just wanna punch her in the face?
Check it out:the future Queen is swearing!
Why, that can't be right! The Queen would no more swear than would Betty Cooper!
Of course, meanwhile, enter...NAZIS!
Panes from X-Men: True Friends #2 (October 1999), script by Chris Claremont, pencils by Rick Leonardi, inks by Al Williamson and Jimmy Palmiotti, colors by Shannon Blanchard, letters by Tom Orzechowski
Well, of course, Wolverine etc. etc. etc. yadda yadda yadda too early for Captain America etc. etc. etc. big fight back to the future. And of course, then Kitty finds out just who "Lilabet" was:
Panes from X-Men: True Friends #3 (November 1999), script by Chris Claremont, pencils by Rick Leonardi, inks by Al Williamson, colors by Shannon Blanchard, letters by Tom Orzechowski
Of course, it wouldn't be Claremontean High Drama without dueling speech balloons on the penultimate page...
Duck, Liz! Those speech balloons are crowding up on you! They're gonna getcha! Oh yeah, and that symbolic final "The End" panel. Man, the X-Men was soapy in those days, weren't it?
So, in summary: Queen Elizabeth II in comic books! May you reign sixty more years, Your Majesty! (Sentiment not necessarily valid if your name is Charles.)
Hey, it's one of America's most popular Presidents of all time, right? Herbert Hoover, inventor of the vacuum cleaner! I'm bettin' he's in lots of comic books, huh?
Panel from Herbie #7 (February 1965), script by Shane O'Shea, art by Ogden Whitney, letters by Ed Hamilton
A reference to Herbert Hoover in a panel from Batman: Scar of the Bat one-shot (1996), script by Max Allan Collins, art by Eduardo Barreto, letters by Todd Klein
Uh...yep. An' that's all I got for Herbert Hoover.
Yay! Hooray! Whoooo! Spongebob Squarepants, everyone, with a musical tribute to Gob Bluth and also to one of the most eagerly awaited comics of 2008! Let's get him back up on stage again, folks...let's hear it for Spongeb...oh, he's being used to clean up Mickey Rourke's dressing room. We'll catch up with him a little later.
We're back only fifty-eight hours after we kicked off the proceedings. And even then we're still running faster than the Oscars hosted by Jon Stewart! But after a few dozen more commercials, we'll be ready to kick off with the...ahem...Final Fun Countdown! Last time, you may remember, Green Lantern was in a tough pickle as Sinestro was dangling him upside down over a vat of creamy corn chowder...oh wait, that's the wrong "last time." Last time we counted down from 20 to 11...that leaves only numbers 5, 2, 7, 4, 10, 1, 3, 6, 9 and 8 to cover...and just to make things more exciting, I'm not even gonna do 'em in that order! Who sez this isn't the Mighty Bully Age of Shock and Surprise?!? Let's roar around the final curve and into the home stretch, Stig-style, with...
#10: FINAL CRISIS DC's flagship cross-over event of 2008 is the big kahuna, all right: every single comic they've been publishing since, oh, let's say 1954, has been tied into and leads up to this event. I was no big fan of Identity Crisis, right-out loathed Infinite Crisis, enjoyed 52, but have given Countdown and Trinity a miss to preserve my piggy-bank-sized budget. Why, then, does Final Crisis work where most of the big crossovers of 2007-2008 don't? Simple answer: Grant Morrison. I'd pretty much follow Grant Morrison to a Witchblade comic book and beyond, and his meta-hyper super-entwined event of The Day Evil Won in the DCU has me on the edge of my seat. It's not an easy read...but I don't believe that superhero comics need spell everything out in big bold captions for you. It's a big, all-encompassing company-wide event, but unlike so many of 'em in the past, it's not messy. Bring the skills you use reading fiction and non-fiction (you are reading more than just comic books, ain't ya? Good!) to FC and you'll find that Morrison's simply bringing the superhero comic tropes up to the same narrative level as you'll get in a book with an actual spine and a dust jacket. While this isn't great art by any means, it's both a quantum step forward for the usual by-the-numbers crossover event. (It's okay to need a guide to the galaxy of players, though: I highly recommend Gary Greenwood's lovingly thorough Annotated Final Crisis, and Benjamin Birdie's solid analysis at CBR, which prompted me to read with a more critical little button eye. But side from taking the crossover event, in the words of Suggs, one step beyond!, Final Crisis is chock-full o' heroes and villains in the kind of DCU-spanning, high adventure, derring-do, and—by issue #6, especially—do or die voyage that provides a sense of wonder and (oh yes) fun that I haven't felt since the original Crisis on Infinite Earths. You can tell a book by its covers: designed by Chip Kidd and realized gorgeously by cover artist J. G. Jones, FC's covers have taken the usual "comic book" look and brought it up to the twenty-first century with a design that can proudly stand alongside...excuse the expression, please..."real" books. Quibblers may quibble, but hey: I'm thinking Final Crisis is pretty darn fun. And if you think Batman ain't coming back from his big bug-zapping...well then, boy howdy, you ain't read many comic books, have ya? (Or at least you shoulda read this one.)
#9: THE AGE OF THE SENTRY Almost missed out on this one, and that woulda been a shame. I passed over the Age of the Sentry miniseries based solely on my dislike for Marvel's Thor-Lite/Miracleman-wannabe/deus-ex-prankia in the pages of The New Avengers and World War Hulk, but I read enough rave reviews (like this one) about how crazy-wild-cool the book was. I should have known it: it's written by Jeff Parker and Paul Tobin, two of my fave creators at The Big M these days, and instead of mirroring the sobby-angst-stuffed modern-day crazy-ass Sentry (boo hoo hoo), this is the 1960s Marvel Pop Art-era Sentry, in the let's-get-retro 1963, Fantastic Four: The World's Greatest Comic Magazine, and those wonderfully goofball Supreme issues by Alan Moore. Sentry faces off against over-the-top monsters like Ursus the Ultra-Bear, Warloo the Galactic Gigolo, The Mountain Man, and Truman Capote. Yes. Truman Capote. The art is gorgeous: bright, colorful, and frantic in the style of (but not slavishly imitating) the 1960s Marvels, and there's a cornucopia of great illustrators at work here: Nick Dragotta, Ramon Rosanas, Michael Cho and, in a story guest-starring Millie the Model, Colleen Coover (I loves her artwork to pieces!). Every time you weep tears for the lost innocence of Marvel, for every Janet van Dyne squashed by a hammer or eaten for dinner, there's still one romping around in one of the little but lovely fun corners of Marvel that produces books like The Age of the Sentry. This might not be the real history of the Earth-616 Sentry, but whatever Earth this is set on...I call it Earth-Fun.
#8: BOOSTER GOLD (In 2007: #1) My #1 Fun Choice of 2007 drops a few notches (but still remains firmly in the Top Ten) following the departure of both initial series writers Geoff Johns (the man who knows more DC history than anybody since Rascally Roy Thomas) and Jeff Katz, and of Booster's sidekick, best friend, and cannon fodder Blue Beetle (Ted Kord model). An entertaining two-parter focusing on the Batgirl history by Chuck Dixon wasn't bad (whodathunkit?), but in issues by new writer Rick Remender and then regular scripter Dan Jurgens, the series seems to be circling already-used concepts. In a series that hasn't even reached Year Two yet, that's troubling. A couple special issues (#s 0 and 1,000,000) that only peripherally tie into the crossovers and context of the original Zero Hour and DC One Million series are fun, but Goldstar is no Blue Beetle. Still, removed from the dark and doom-filled regular DC Universe timeline, Booster Gold maintains a sense of fun and adventure. I'd like to see the series get back to re-visiting, from Booster's POV, famous events in DC Universe history. How about Booster in the Haunted Tank fighting alongside Sgt. Rock and teaming up with the Viking Commando! Now that's history!
#7: KING-SIZE SPIDER-MAN SUMMER SPECIALWarning! The following stories did not really happen! warns the introduction page to King-Size Spider-Man, winding up with Unless you want to read a few fun stories. Then these count. And holy cow, do they count! This is the single most fun-packed Spidey comic in years, and that counts the classic Fun-Size Spider-Man Goes to Fun Town and Teams Up With The Funtastic Four. A retcon or reimagining of Spidey's first meeting with the Falcon, a Chris Giarrusso Mini-Marvels Spidey versus Venom strip are worth the price of admission all by themselves. And remember that iconic eight-word recap of Superman's origin in the first issue of All Star Superman? Well, it's beaten by two words in the intro page's Spider-Man origin, which just happens to be The Most Fun Panel of 2008:
But the webbed icing on the Spider-Cake is "Un-Enchanted Evening" by Paul Tobin and Colleen Coover, my admiration for both of whom runneth over even before this glorious team-up of Clea, Marvel Girl, She-Hulk, Scarlet Witch, Patsy Walker (Hellcat), Millie the Model and...Mary Jane Watson?!? Versus The Enchantress? And they don't need Spidey or Thor to bail them out? Verily, sisters art doing it for themselves! Coover's bright and expressive cartooning and Tobin's funny and brisk dialogue make them a heckuva team (in real life as well as on the page: they're married!) Even better, this tale has spawned, like Happy Days, a heck of a spin-off: Tobin's upcoming Models Inc. miniseries, to be published in 2009. Can't wait for it, and if it's half as good as this story, expect to see it this time next year on my Fun Fifty of 2009!
#6: THE IMMORTAL IRON FIST (In 2007: #2) Another Top Five favorite in 2007 slips a handful of rungs down the ladder but still delivers a face-kickin' adventure and a time-spanning saga. I miss original series writers Ed Brubaker and Matt Fraction, but new scripter Duane (inhale) Swierczynski is admirably carrying the torch of Marvel's immortalist hero Danny Rand...and his entire family from wife Iron Lady to Iron Dog. What, that's not the Iron Fist dynasty? No, it's even better: for the first time in this series we learn that the Iron Fist is not merely one twentieth-century hero but a legacy of champions spanning into the distant past (and future). DC Comics has done this for years with its "legacy" titles like Flash and Justice Society, giving a fuller sense of history to its superhuman worlds, but aside from extending the careers of Captain America and a handful of its heroes from WWII to today, Marvel has eschewed (thank you, Word of the Day Calendar!) the legacy character before this. Fraction, Brubaker, and now Swierczynski have done the concept proud, however: the best of the Immortal issues remind me of Starman, my favorite legacy hero series. Flashbacks and flashforwards fill in the storyline on past and future Iron Fists, and its not simply history-building: as a great man once opined, future events such as these will affect you in the future. In the main title and and one-shot specials like the title-stretchin' The Immortal Iron Fist: Orson Randall and the Death Queen of California,Danny gradually learns the history of the Iron Fists. He uses it in one of the extended arcs of 2008 in which he finds out that no Iron Fist has lived past the age of 33 (and guess which birthday Danny's celebrating this year!) and to plot his assault on the Mystical Eighth City we're gonna be seein' in 2009. The history and plotting shows there's a grand plan behind the story and even tho' the driver has changed, it's a heckuva ride. Immortal Iron Fist is more than my favorite Marvel comic series of 2008; it's shaped up to be, so far, one of my favorite series of all time.
#5: ALL STAR SUPERMAN (In 2007: #10) Oh noes! An iconic DC Universe superhero...dead! Sacrificed himself to save us all from terror and destruction! Leaving behind his mourning comrades and friends and millions of grieving fans! What will we do...what will we do? Well, if you're anything like me...declare it the fifth most fun comic of the year! It took us a while to get here, but Messers Grant Morrison and Frank Quitely have, in the space of twelve slim but elegant issues, brought us one of the finest deconstructions and reconstructions of the Supes story since...um, I'd say since Christopher Reeve, but your mileage may vary. Shorn of its DC Universe constraints in the All Star continuity, this Superman faces familiar friends and foes in the classic Morrison way: with quantum physics and solar shifting...and Lex Luthor. Issue #12 is the big finale of the final three issues (all three came out in 2008), featuring the culmination of Lex's deadly plan to destroy Supes which actually looks like it's gonna work. Thankfully, as he did in all those great Silver Age stories, Superman defeats his arch-enemy using the knowledge and power of science!! (Do you know how massive gravity affects the passage of time? Superman does.) For me, the stand-out of this series has been re-reading for subtlety: the wonderful little stage business Morrison plots and Quitely displays of Clark stumbling to prevent an off-stage auto accident, or a bag of oranges tumbling out of Lois's arms when she realizes, hey, maybe if you take off Clark's glasses and give him a spit curl, he looks a little like holy cow could he really be Superm..., and, in the final issue, Quitely's literally portrayal of the old Archimedes saw Give me a lever long enough and a fulcrum on which to place it, and I shall move the world. And us, as well. All Star Superman joins the ranks of Alan Moore's "Whatever Happened to the Man of Tomorrow?" as another of the greatest final grand adventures of our greatest hero.
#4: HARVEST IS WHEN I NEED YOU THE MOSTThe Force is what gives a Jedi his power, says Obi-Wan Kenobi (old Academy Award-winning actor version). It's an energy field created by all living things. It surrounds us, penetrates us, and binds the galaxy together. Also, there are little tiny little microscopic beings inside us that affect our ability to use the Force and which if you don't have 'em, you'll probably be...no, wait, forget that last part. It's pretty silly. And who are we to disagree with Obi-Wan? Like the Force, Star Wars fandom surrounds us and pulls us all together (how's that for a segue, folks?), and while I've been a pretty big little stuffed fan from way back, I've been (Clone Wars excepted), pretty disappointed by the licensed Expanded Universe adventures, novels, comics and sagas that have filled in every vacant corner of the Georgeiverse. The authorized Star Wars comics especially seem to be lacking the fun, joy, and occasional hysterical giggles that I got from the original first trio of movies. (Where have you gone, Star Wars Tales?) Notice I say "authorized," because like doing the Kessel Run in less than twelve parsecs...sometimes it takes a pirate to deliver.
(Okay, okay, I'll stop it with the Star Wars metaphors now.)
Harvest is When I Need You the Most, a gorgeously-designed minicomic (it's got a glossy tip-in right on the cover) that is most definitely not an official Lucasfilms tie-in, but there's more of delight here than in a truckload of Phantom Menaces. A squadron of noted and talented comics artists have contributed nine tales set in the original SWU: quirky and funny and colorful and sad stories of Luke's friendship with Biggs, Artoo and Wicket's adventures, the Cloud City dinner with Vader after the doors closed behind Han, Leia, and Chewie, and my two favorites, Box Brown's "Obi the Lonely" is Ben Kenobi's quiet desert reflection on what drove Anakin to betray the Jedi, and Shelli Paroline's strikingly gorgeously illustrated (and beautifully spot-colored) "Rancorous Love," in which The Tentacled Go-Go Dancer Tossed to the Monster in Jabba's Pit. For those of you who pay close attention to G-Canon, that's Oola the Twi'lek and the Rancor, but honestly, all you need to know is it's a heartbreaking love story. Between a girl with tentacles on her head and a monster. Cool. You too can buy this bundle of Star Wars joy online: believe me, it's an absolutely fun Star Wars comic and a true celebration of what makes the saga still so alive for me: the joy and delight it is capable of bringing to its fans.
#3: HERBIE ARCHIVES I've read about Herbie Popnecker for years but never actually read him: the classic cult 1960s comics which, I kept reading in criticism, history, and commentary, still remained among the pantheon of the industry's most enjoyable and charming comic books. One flip through the first volume of the hardcover Herbie Archives in 2008, however, and I was instantly hooked: Shane O'Shea and Ogden Whitney's tubby hero is a hoot and a half, the most unflappable and powerful hero of them all, able to face down the devil, the sun, and alien monsters with a firm stare and a lick of one of his magic lollipops. Dark Horse has digitally restored the original stories without overcoloring them with bright modern techniques: they're clear, sharp and crisp reprints that at the same time look the way they should: like old comics books. Many of the stories are similar, and you're best served by reading only a few at a time, but the brilliance of each one shines through with Herbie's deadpan reaction to everyone and everything, and glorious period metacommentary: UN head U Thant desperately hires him, screaming girls ditch the Beatles for his favor...even Jackie Kennedy swoons for Herbie! That's my cue to say, you will too!
#2: BATMAN: THE BRAVE AND THE BOLD A smiling, swashbuckling Batman? Heresy! Or...to put it another way...fun! Warner Brothers premiered their new Batman cartoon in 2008, and it's a most rollicking and entertaining celebration of Batman (no dark-tinged The definite article needed here). Patterned after the long running Batman team-up comic series (also the source of the title) and featuring a Dick Sprang-influenced beefy, broad Batman, Brave and the Bold preserves Justice League Unlimited's exploration of the DC Universe through its galaxy of guest-star heroes and villains while providing a lighter, less-angst-filled, more swashbuckling approach to the Caped Crusader than any of the previous Batman series. Most of the stories are high on action and light on soap opera: Bruce Wayne so far hasn't appeared once; neither have the supporting Bat-cast. Instead, each episode kicks off mid-stream with a action sequence reminiscent of the James Bond pre-credit sequences and guest-starring a different hero than the main portion of the story. The series shows a great affection for all corners of the DC Universe: hey look, it's Kamandi! And Guy Gardner! And Plastic Man! And...good golly, is that B'wana Beast? (Yes. Yes, it is.) From its energetic jazz score theme song and its always-in-exclamation-point titles to the final gentle lesson learned, this is grand stuff, fit for an audience of kids, adults, Batman fans and newscomers, and most certainly little stuffed bulls. Sure, purists might quibble with some minor liberties taken with characters for the sake of the story (glory-loving Aquaman, teen Black Lightning), but there's many wonderful touches that outweigh this: Batman's voice-over narrative and his role as a senior but approachable mentor to many of the superheroes is a great counterpart to the gruff loner of recent DC animated series. And is it just a rumor, or will we really see Bat-Mite pop up in a future episode? Every TV show...even the best TV show...can only be improved by a guest-starring Bat-Mite. Remember that episode of Friends where Bat-Mite helped Rachel get a job in the fashion industry the same night he impersonated Joey on a double date with two supermodels? Now that...just like The Brave and the Bold...is must see TV.
#1: BATMAN (In 2007: #21) And, if you prefer your Batman of a different tenor...
insert sound effect: record scratching across LP
Hold on!Batman, R.I.P....the most fun comic of 2008?!? Why yes, Bully boosters! As you can tell by numbers 10 and 5 above, I'm a big Grant-groupie, and I've much enjoyed the quantum twists that Morrison's been bringing to DC's big guns over the past couple years. His Batman storylines have been a great delight to me, especially last year's "Club of Heroes" trilogy, and even the disjointed parts of the line-wide "Resurrection of Ra's Al Ghul" were solid Bat-fun in this household. Little did I realize that not only was every story building up to 2008, now forever to be known in comicdom as the year Morrison's Bruce Wayne went totally bat-crap-crazy with the introduction of (say!) Bat-Mite and the Batman of Zur-En-Arrh. It was a storyline that at times made me think Batman (and Morrison) were in over their heads, but hey, as the final chapter of R.I.P. reminds us, "That's the thing about Batman Batman thinks of everything." The over-the-top rampage of a red raging Batman leads a betrayal by someone dangerously close to Bruce, and the usual "entire Bat-cast to the rescue" last act fight-fest, but there's very little else that's by the book in R.I.P....like he's doing in Final Crisis, like he's done in All Star Superman, Morrison's work makes us read carefully, makes us read harder, filling in the obvious stuff between the lines and between the scenes in order to keep the action moving, presenting us with unreliable points of view and...
But that stuff, which I'm lovin', is all part of the complaints that I've read about R.I.P.: it's too complicated, it's not linear, it's not connected, it's too disjointed. I respectfully gotta disagree, although I won't argue with you if you didn't care for Batman: R.I.P. Let me put it this way. Another bit of entertainment I loved this year...and it shoulda been somewhere in my Top Fun Fifty if I hadn't forgotten to count it in...is Quantum of Solace, the newest James Bond installment that breaks a lot of the rules of 007 films. Like Morrison's Batman, Quantum challenges us: it's fast-moving (at 106 minutes, Bond #22 is shorter than any other Bond film) but is filled with so many great set pieces and characters that it seems fuller than say, [pick your least favorite Moore or Brosnan film]. It picks up in media res, but neither has a recap at the top of the film nor initial talking head sequences recapping Casino Royale. You can have done your homework and know the business behind the story, or you can leap in and enjoy the ride: either way of experiencing it acceptable and fun, and it's a solid streamlined way to present a story in the same way that contemporary fiction does: not everything is spelled out for you. Sure, the pieces fall into place faster if you realize that Vesper Lynd did such and such or that Batman "actually" went to a planet named Zur-En-Arrh in 1958's Batman #113—or you could just ride along with the story of Batman, a man who has a contingency plan for everything, forming a secondary (and kick-ass) identity that will emerge if under psychological torture, turning the tables on the bad guys.
Enough of that. If you didn't like it, that's cool. But Batman during this year was the comic book in which I couldn't wait to see what happened next: what I wanted from Hush and was still starved for, a roller coaster Bat-Ride that combines Morrison's love of 1950s Bat-tales and the contemporary unflappable, unstoppable, undefeatable "The" Batman. I've mentioned before that although it's a subtle change rather than a big-event reboot, the post-Infinite Crisis Batman is the best improvement on the character since Morrison's JLA #1. After a long period of Batman being a jerk...post-Infinite Crisis Batman is still the greatest strategist and warrior in the DC Universe, but now gives full props, support, and attention to his impressive cast of characters. If Tony Daniel's workmanlike art wasn't entirely to my tastes, the layouts were always crisp and frequently inventive. The true "death" of the storyline may have occurred in Final Crisis, but oh, like Batman hasn't planned for that eventuality. After all, practice makes perfect:
So there you have it, folks. Please join me in a toast and salute to my favorite fun comic of the year, and to the only man who can make dying into 2008's most fun story: Batman.
There ya go, numbers fifty, down to one. That's merely fifty of many, many fun things that came out of 2008, a year in which you might be hard-pressed to find a lot of joy or hope indeed. We live, as the Chinese proverb goes, in interesting times, but, as they also woulda added: Look! Up in the sky! Because there's fireworks everywhere if you look in the right place.
I thank you all who've stuck with this feature despite several installments having day-gaps between them: sometimes real life gets in the way of blogging, as those of you waiting for the next installment of "A Wodehouse a Week" will have discovered. (It resumes next week, promise! Cross my little stuffed heart and hope to cry if I'm wrong!) But this blog absolutely, positively, continues. Of everything fun in 2008, most of all I've found it fun writing this blog and getting your comments and questions, not because I'm an attention-seeking little stuffed animal (well, okay, not completely because) but because I really, truly enjoy celebrating my favorite manta: Comics Oughta Be Fun. They were in 2008...they will be in 2009. And beyond.
Whenever those periodic questions about "who would beat whom?" come up in the superhero community, I always pick one of two possible champions: Bugs Bunny or Herbie Popnecker. They've never, ever been defeated, whether fighting Hitler or Yosemite Sam. But Herbie has a slight edge over the wabbit in at least one area. Bugs may have his attention diverted by a beautiful lady rabbit (or, indeed, a robot or witch dressed as a lady rabbit), but Herbie is the perfect asexual creature. We can only hope one day that he reproduces using mitosis.
#9: THE AGE OF THE SENTRY Almost missed out on this one, and that woulda been a shame. I passed over the Age of the Sentry miniseries based solely on my dislike for Marvel's Thor-Lite/Miracleman-wannabe/deus-ex-prankia in the pages of The New Avengers and World War Hulk, but I read enough rave reviews (
#7: KING-SIZE SPIDER-MAN SUMMER SPECIAL Warning! The following stories did not really happen! warns the introduction page to King-Size Spider-Man, winding up with Unless you want to read a few fun stories. Then these count. And holy cow, do they count! This is the single most fun-packed Spidey comic in years, and that counts the classic Fun-Size Spider-Man Goes to Fun Town and Teams Up With The Funtastic Four. A retcon or reimagining of Spidey's first meeting with the Falcon, a Chris Giarrusso Mini-Marvels Spidey versus Venom strip are worth the price of admission all by themselves. And remember that iconic eight-word recap of Superman's origin in the first issue of All Star Superman? Well, it's beaten by two words in the intro page's Spider-Man origin, which just happens to be The Most Fun Panel of 2008:
#4: HARVEST IS WHEN I NEED YOU THE MOST The Force is what gives a Jedi his power, says Obi-Wan Kenobi (old Academy Award-winning actor version). It's an energy field created by all living things. It surrounds us, penetrates us, and binds the galaxy together. Also, there are little tiny little microscopic beings inside us that affect our ability to use the Force and which if you don't have 'em, you'll probably be...no, wait, forget that last part. It's pretty silly. And who are we to disagree with Obi-Wan? Like the Force, Star Wars fandom surrounds us and pulls us all together (how's that for a segue, folks?), and while I've been a pretty big little stuffed fan from way back, I've been (Clone Wars excepted), pretty disappointed by the licensed Expanded Universe adventures, novels, comics and sagas that have filled in every vacant corner of the Georgeiverse. The authorized Star Wars comics especially seem to be lacking the fun, joy, and occasional hysterical giggles that I got from the original first trio of movies. (Where have you gone, Star Wars Tales?) Notice I say "authorized," because like doing the Kessel Run in less than twelve parsecs...sometimes it takes a pirate to deliver.
#2: BATMAN: THE BRAVE AND THE BOLD A smiling, swashbuckling Batman? Heresy! Or...to put it another way...fun! Warner Brothers premiered their new Batman cartoon in 2008, and it's a most rollicking and entertaining celebration of Batman (no dark-tinged The definite article needed here). Patterned after the long running Batman team-up comic series (also the source of the title) and featuring a Dick Sprang-influenced beefy, broad Batman, Brave and the Bold preserves Justice League Unlimited's exploration of the DC Universe through its galaxy of guest-star heroes and villains while providing a lighter, less-angst-filled, more swashbuckling approach to the Caped Crusader than any of the previous Batman series. Most of the stories are high on action and light on soap opera: Bruce Wayne so far hasn't appeared once; neither have the supporting Bat-cast. Instead, each episode kicks off mid-stream with a action sequence reminiscent of the James Bond pre-credit sequences and guest-starring a different hero than the main portion of the story. The series shows a great affection for all corners of the DC Universe: hey look, it's Kamandi! And Guy Gardner! And Plastic Man! And...good golly, is that B'wana Beast? (Yes. Yes, it is.) From its energetic jazz score theme song and its always-in-exclamation-point titles to the final gentle lesson learned, this is grand stuff, fit for an audience of kids, adults, Batman fans and newscomers, and most certainly little stuffed bulls. Sure, purists might quibble with some minor liberties taken with characters for the sake of the story (glory-loving Aquaman, teen Black Lightning), but there's many wonderful touches that outweigh this: Batman's voice-over narrative and his role as a senior but approachable mentor to many of the superheroes is a great counterpart to the gruff loner of recent DC animated series. And is it just a rumor, or will we really see Bat-Mite pop up in a future episode? Every TV show...even the best TV show...can only be improved by a guest-starring Bat-Mite. Remember that episode of Friends where Bat-Mite helped Rachel get a job in the fashion industry the same night he impersonated Joey on a double date with two supermodels? Now that...just like The Brave and the Bold...is must see TV.
