Manga Review: Monster Collection: The Girl Who Can Deal with Magic Monsters, Volume 5 by Sei Itoh
Kasche was an apprentice summoner, gifted at bringing magical monsters from where they are to the place she needs them, and controlling them using name magic. But her recklessness made Kasche less than popular with most of her teachers. When Lord Duran stole the Encyclopedia Verum, a living book that contains all the knowledge of past summoners, it just so happened that Kasche was the only summoner capable of going after him!
Monster Collection was originally a collectible card game, much like Magic: the Gathering, in which the players are summoners who use monsters to battle for them, each having special powers and weaknesses. It spawned this manga, a video game (which merged it with a board game mechanic) and an anime adaptation, Mon Colle Knights. None of these share any continuity.
In this volume, Kasche and her team: human warrior Cuervo, who Kasche has a crush on, lamia sorceress Vanessa, and “spirit animal” Kiki finish up their battle with the fallen angel that had been summoned against them. It’s at this point that Shin, a lizard man ally of theirs who might or might not be he Lizard King, reappears.
Turns out the only reason they had enough time to finish that grueling battle is because Shin was distracting the other monster in the area, a high dragon. None of them feel up to the task of fighting such a powerful creature.
Until, that is, Shin reminds Kasche that she in fact knows the true name of this dragon, as that being had previously sent her a dream asking for help. If Kasche can free the dragon from Lord Duran’s control, it will be a powerful ally. So Kasche goes into the spiritual realm to battle Lord Duran’s magical sealing, while the others protect her from a swarm of giant ants summoned by Lord Duran’s servant. Shin turns out to be able to summon himself, but only other lizard folk.
Kasche is at a severe disadvantage until she realizes there is one category of monster she can summon in the spiritual realm. But will this demon be her trump card or her doom?
There’s some nice detailed monster and battle art, but the writing is only so-so and the volume is essentially wall-to-wall fights. There’s relatively little gore; the “mature readers” label comes because Kasche is usually naked on the spiritual plane, complete with nipples. (There’s also some male nudity on display, particularly in the humorous bonus chapter.)
This one may be hard to find. CMX was DC Comics’ attempt at creating a manga line, which was mismanaged and quickly folded. Some of their titles were “rescued” for printing elsewhere, but not this one.
And now, the opening video of Mon Colle Knights, so you can see just how different a treatment it is.
Comic Book Review: Essential Defenders Vol. 6 written (mostly) by J.M. DeMatteis, Pencils by Don Perlin
The Defenders are one of Marvel Comics’ more oddball teams, beginning with a line-up of Doctor Strange, Hulk, Silver Surfer and the Sub-Mariner, four of Marvel’s most powerful characters who did not belong to other teams. After a couple of pilot stories, the “non-team” first assembled in Marvel Feature #1 in 1971 to battle the alien Scientist Supreme Yandroth, and shortly thereafter got their own continuing series.
With four such volatile personalities, it was difficult to justify them staying together very long, and the warrior woman Valkyrie was added to the group to give them “texture” and a reason to cooperate. Other members soon followed, either long-term or temporarily, and the Defenders got a reputation for being whoever happened to show up when danger struck, with Dr. Strange being the linchpin of the group.
This volume covers Defenders issues #107-125, and a couple of extras from 1982-83. We open in the aftermath of a major plotline involving a group of self-proclaimed super-patriots trying to take over America with a group of powerful telepaths. These telepaths and Kyle “Nighthawk” Richmond combined their mental powers to blow up the bad guys’ base, apparently dying in the process. As the assembled heroes reel in shock during the aftermath, a stray minion of the super-patriots manages to get the drop on Valkyrie, killing her.
SPOILERS AHOY FROM THIS POINT!
It turns out that due to her convoluted backstory, involving the Asgardian goddess Amora the Enchantress, Valkyrie isn’t quite dead yet. The heroes split into two groups when Amora offers a deal to restore Valkyrie to full life. This plotline ends with Valkyrie restored to her true form of Brunnhilda, and no longer with the curse of being unable to fight women. (She also loses some of her disdain of men in the process.)
Several members of the Defenders are lost in transit back from Asgard, but before that plotline bears fruit, there are solo issues focusing on Eric Simon “Devil-Slayer” Payne and Patsy “Hellcat” Walker. Then there’s Avengers Annual #11. which features the return of perennial Defenders villain Nebulon. He and his wife Supernalia clash, pitting the Avengers and Defenders against each other.
This is followed by Marvel Team-Up #119, which features Spider-Man and Isaac “Gargoyle” Christians in a story about aging and the acceptance of same. Isaac has some insight into these matters as he was already a senior citizen when he made the Faustian bargain that made him a living gargoyle.
The missing Defenders turn out to have been transported to Earth-S, a parallel universe where the main hero group is the Squadron Supreme, a parody of/homage to the Justice League. On their earth, Kyle Richmond is President of the United States. Which would be great if he weren’t under the mental control of the alien known as Overmind. As is most of the Squadron, saving only Hyperion (their version of Superman), who is suffering from lethal radiation poisoning.
And Nighthawk, “our” Kyle Richmond, is helping him out, having been transported to this Earth by the group mind that were once human telepaths. He brought in the missing Defenders, who now summon the rest of the team for a moon mission to keep the Overmind from conquering the rest of the universe.
Except it turns out that “our” Kyle Richmond is actually “their” Kyle Richmond, given Nighthawk’s memories by the group mind. But wait, then who’s the President? It’s actually Null the Living Darkness, which has been puppeteering the Overmind to draw attention away from its protective shell. The climax is kind of disappointing as it’s the group mind’s show, co-opting everyone else for a battle of wills with the ultimate darkness, only to have Null destroy itself with its own inner light.
So in the aftermath, “our” Kyle Richmond is as really dead as a Marvel superhero gets (not coming back from the dead until 1998!); Earth-S’ Kyle Richmond regains his true memories and reunites with his old teammates (who would go on to the Squadron Supreme miniseries, one of the best superhero stories ever); the group mind inhabits the currently vacant body of the Overmind; and the Defenders return to their own Earth. (With a slight detour for some of them in a Dr. Seuss-inspired adventure.)
The next few issues weave together the resolution of the Patsy Walker/Daimon “Son of Satan” Hellstrom romance, Hank “Beast” McCoy’s growing irritation with the Defender’s “non-team” ethos… and the return of the Elf with a Gun. This last had been a subplot during the Steve Gerber run, involving an elf with a gun popping up and seemingly murdering random people. It was abandoned when Gerber left the book with the apparent death of the elf in an accident.
Mr. DeMatteis wanted to change the direction of the book, so revived the elf (now revealed to be multiple identical beings) as the agent of a time tribunal that was attempting to prevent the destruction of Earth. Removing random Earthlings had not done the trick, so the tribunal had to convince the four original Defenders that they must never all be in the same room together again. Unfortunately, the elf took over the narration for a couple of issues, and he was written as a very annoying character.
The resignation of the four founders gave Beast the opportunity to reconfigure the group as the New Defenders (complete with title change as of #125). He roped in his old X-Men teammates Iceman and Angel, holdovers Valkyrie and Gargoyle, and new member Heather “Moondragon” Douglas. A powerful telepath who had a revolving door hero/villain history, she had been released into the custody of the Valkyrie to re-learn human values. (The Overmind simply disappeared between issues; this would become a plot point later.)
This began a period in which the New Defenders were an official team, with rules and such. But that’s for Volume Seven.
Overall, a decent run with consistent art, and some good character focus stories. Some of the writing is a bit heavy-handed with the morals; there’s a consistent theme of learning to have hope even in a world full of loss and pain. The Dr. Seuss inspired story will either be laugh out loud funny or a total miss depending on your tastes.
Recommended to fans of the characters or 1970s Marvel storytelling.
Comic Book Review: Essential Daredevil Vol. 4 edited by Stan Lee and Roy Thomas
Created in 1964 by Stan Lee and Bill Everett, Daredevil is Matt Murdock, a blind lawyer. He was struck in the face with radioactive material as a teen while shoving a blind man out of danger, which both blinded Matthew and gave him extraordinary senses. When his father “Battlin’ Jack” Murdock was murdered for refusing to throw a boxing match, Matt donned a bizarre devil-themed costume to avenge him. He then continued to use the Daredevil identity to fight crime and help people.
This volume contains Daredevil #75-101, plus an important issue of the Avengers, #111. Gerry Conway wrote most of these issues with Gene Colan on pencils. (As usual, Colan’s work looks great in black and white.)
We open with Matt having mostly broken up with his long-time romantic interest, Karen Page, who is pursuing an acting career. They’re both having second thoughts, so it’s several issues before they move on and Daredevil can devote his full attention to Natasha Romanova, the Black Widow (who got to share the cover title for a while.)
#75 seems to be a filler issue, with Matt and his law partner and best friend Foggy Nelson visiting South America. Daredevil battles a revolutionary calling himself “El Condor” after a local hero. It’s an interesting story because it’s clear that El Condor’s identity was supposed to be a last-page reveal (always wears a mask, the one person who sees his face reacts with shock, and there’s a character who the story logic says it had to be) but El Condor simply dies (crushed by a statue of the original!) and then Matt leaves the country without El Condor’s true identity even being mentioned.
Then begins a long sequence with the mysterious “Mr. Kline” acting against Daredevil and Matt Murdock in various ways. First he sponsors a mad scientist’s experiments that wind up turning a man named William “Bull” Taurus into the Man-Bull. A nice touch in this story is that Bull has his own mini-gang and a character named “Freakface” explains why he’s personally loyal to Bull. At the same time, Kline begins to blackmail Foggy, who at this point is New York City’s district attorney.
Then Kline frees the Owl from prison and provides the gliding financier advanced technology to attack Daredevil. At the same time, he manipulates the Black Widow into meeting Daredevil as part of a long-term backup plan. As well, the reader learns that “Mr. Kline” is not as we might have thought one of Daredevil’s old enemies, but an android (MK-9) controlled by an even more mysterious master which codenames it “Assassin.”
Kline’s next maneuver is sending out the Scorpion, who acts somewhat out of character (actually an android), and is apparently killed by the Black Widow. The Assassin then has Foggy insist on prosecuting Natasha for murder (her background as a Communist spy prejudices people against her.) The trial is rigged further by Mr. Hyde (another android) murdering the coroner and replacing him with a duplicate.
The trial ends when all the evidence is destroyed by an explosion, but Black Widow is still under suspicion. She heads to Switzerland, where the Assassin springs the backup plan of having her convince Matt Murdock to undergo an operation to restore his eyesight.
The secret boss is finally revealed to be…no one we could have reasonably guessed. Baal, a computer from the far future, is trying to avert a disaster in the past that Daredevil (and Iron Man of all people) will eventually cause. Trying to kill him has failed, though they have managed to prevent Foggy Nelson from eventually becoming the president of the United States. But restoring Matt’s eyesight will also eliminate Daredevil.
The plan doesn’t work because too obvious, and a deus ex machina prevents Baal from reverting to the “kill Daredevil” idea.
After a couple of transitional issues which resolve the Karen Page subplot, Matt Murdock moves to San Francisco with Black Widow and her chauffeur Ivan, taking a set of rooms in her house there. At this point in time, the Comics Code prevented unmarried characters from sleeping together.
The local police are less than enthused about their new vigilantes, especially Commissioner “Ironguts” O’Hara. It takes him a long time to warm up to the colored longjohns set, even though they’re a big help against powered criminals like Electro and the Purple Man. (The latter has a flashback sequence to explain how he escaped from jail–which is missing a crucial panel.)
Another lengthy plotline involves Project Four, the very first case Natasha ever worked on as a spy, and the return of her first partner, Danny French. Danny is ethically bankrupt (he’s now a private detective introduced working both sides of a blackmail case) but winds up having some redeeming qualities. A new Mister Fear also shows up, but is a red herring.
Gerry Conway wraps up his run with the return of the Man-Bull, and Steve Gerber takes up the writing chores as of issue #97. He introduces another mysterious mastermind who is empowering seemingly random people for unknown purposes, starting with Mordecai Jones, the Dark Messiah.
This plotline is interrupted by a guest appearance of Hawkeye, Black Widow’s former love interest, who wants to see if he can rekindle the relationship. No, but it does lead into an Avengers crossover. They need DD and BW’s help against Magneto, who has managed to mind control the X-Men and most of the Avengers, and is trying to seize the United States’ nuclear arsenal. (This includes a really skeevy scene of Magneto compelling the Scarlet Witch to dance for his pleasure, which would get even skeevier in hindsight once she was retconned into being his daughter.)
Daredevil turns down an Avengers membership (at this point his supersenses are not sufficiently tuned to allow him to work in a large team) but Natasha accepts. He thinks that means she’s leaving him.
Issue #100 has Daredevil being interviewed by Rolling Stone and recapping his origin for the readers, in between bouts of mass hallucination. The latter turns out to be the work of Angar the Screamer, an aging hippie being controlled by the mysterious mastermind previously mentioned. Black Widow returns (she plans to commute to Avengers meetings) and they manage to drive Angar off…for now.
The good: Gene Colan art, some nifty villain appearances, Black Widow getting to be competent most of the time, random civilians getting the gumption to fight back against criminals on their own.
Less good: Matt Murdock’s internal monologues tend to the verbose at best, Daredevil too often feeling he needs to protect Black Widow from danger even though she’s repeatedly shown her competence, gratuitous scenes of Natasha dressing/undressing/showering in a way we don’t see Matt doing, Marvel’s writers just not “getting” the counterculture or feminism despite theoretically catering to them, and the Marvel soap opera formula meaning that Matt can never just be happy for an entire freaking issue without finding something to angst about, often completely unnecessarily.
That said, this is a decent run on the title (though nowhere near the quality of Frank Miller’s first run) and worth checking out at the library.
Most Star Wars fans are aware that director George Lucas based much of the look and feel of the first movie on classic Hollywood films and especially the thrilling chapter serials. But have you ever considered what A New Hope would sound like if it were a big-budget film made in Hollywood’s Golden Age?
Someone certainly did, and put together a version that might have appeared on old time radio as part of Lux Radio Theater. LRT was a weekly broadcast hosted by famed movie director Cecil B. DeMille that adapted recent movies for the radio, often with the actual stars of the movie reprising their roles. You should be able to find episodes downloadable or streaming at various sites on the internet.
For this performance, there is a star-studded cast (provided by voice impersonators): Mickey Rooney as Luke, Humphrey Bogart as Han Solo, Katherine Hepburn as Princess Leia, Bela Lugosi as Darth Vader, and so on. (Rin Tin Tin as Chewbacca!) It was recorded live; there’s some obvious microphone feedback towards the beginning and some of the cues are a teensy off. Much of the story is carried by the narrator, who fills in what we’re supposed to be seeing. (Saves on special effects!)
The story follows the familiar film, plus or minus a scene or two. The dialogue has been altered at a few points to allow in-jokes for the “actors.’ (Bela doing the Dracula “bleh!” for example.) Some of the impersonations are better than others; in fairness, some voices are easier to imitate. As a purist when it comes to historical fiction, I was jarred by a couple of words being used that hadn’t been coined by the 1940s, even in science fiction.
It’s a lot of fun, and recommended to both Star Wars and old time radio fans. On the down side, this recording had a limited number of copies made, and is now out of print, so may be difficult to track down.
It is the close of the Twentieth Century, and the United Nations has achieved two major goals. There is now a permanent scientific base on the moon, and a way has been found to safely and humanely contain Earth’s giant monsters on a remote island dubbed Kaijuland (Monsterland in the dub.) World peace also seems to have been achieved but no one directly says so.
Of course, it would be a pretty dull monster movie if the status quo remained that way, so shortly after a UFO is seen lurking near the moon base, a mysterious gas cuts off all contact with Kaijuland. Soon, the monsters that should be on the island are spotted in capital cities around the world, destroying property and causing death…except in Tokyo. That arouses suspicion since Japan is the closest large land mass near Kaijuland, and all the monsters normally gravitate there.
Captain Katsuo Yamabe and the crew of the spaceship Moonlight SY-3 are assigned to investigate. They are shocked to discover that the staff of Monsterland (including Captain Yamabe’s sweetheart Kyoko Manabe) are now cheerfully directing the monsters to attack using previously unknown technology. It turns out that aliens called Kilaaks are responsible. The Kilaak have decided to colonize Earth and they’re not keen on human civilization.
Most of the movie is Captain Yamabe and his allies investigating the Kilaak threat and attempting to find some way of breaking their mind control over humans and monsters, with sporadic monster attacks to spice things up. But in the final reel, we are treated to the kaiju battle action we’ve been waiting for, as Godzilla and the other Earth monsters go up against the Kilaak and space monster King Ghidorah.
This 1968 film is considered one of the weaker entries in the Godzilla franchise, as the writers had largely run out of good ideas, and the monsters weren’t really scary anymore. The plot is thin and the acting minimal. But it’s got that cool monster battle at the end, with Minilla actually being useful for a moment. I also appreciate the optimistic future in which humanity lives and lets live with its giant monsters.
As of this writing, both subbed and dubbed versions are up on Crunchyroll, and recommended to kaiju fans as a pleasant popcorn movie.
Comic Book Review: Joe Kubert Presents by Joe Kubert and others
Joe Kubert (1926-2012) was one of the all-time great comic book artists. The bulk of his work was done for DC Comics, including many Hawkman and Sergeant Rock stories. Joe Kubert Presents was his final series, a tribute to him by the company he’d done so much for. Mr. Kubert was given free rein to choose which stories to do, and which other creators he wanted to share the spotlight with. Rather than risk an announcement of the series ahead of time only to not be able to deliver (this had happened to him before), Mr. Kubert insisted on having several issues “in the can” before it was put on order forms for retailers. The sixth issue was nearly complete when he died.
The first issue leads off with “Hawkman”; this iteration is closest to the science fiction-inspired Silver Age version, but not in continuity with any previous story. Katar Hol and his partner Shayera (Hawkgirl) are sent from the utopian planet Thanagar to observe Earth up close and determine what steps should be taken in the future. The Thanagarians worry that the Earthlings will not mature out of their destructive behavior before they develop interstellar travel.
The aliens land in Africa, observe the wanton slaughter of wildlife and environmental destruction, and decide to visit a nearby village. Unfortunately, this particular village sits atop a toxic waste dump; the poverty-stricken villagers have become economically dependent on the storage fees. The villagers worry that the Thanagarians have come to stop the practice and react badly.
While I understand the good intent of the story, it really does look like technologically advanced white people lecturing primitive native Africans on proper respect for the environment. And the Hawks destroy the natives’ livelihood and leave without considering that consequence, so their victory leaves a bitter aftertaste.
“Spit” is a recurring feature about an orphan who runs away from the orphanage and winds up stowing away on a whaling ship. In short vignettes, he suffers much abuse, but eventually learns how to survive at sea and decides to become a whaler. The first few chapters are in sepia tone, but the finale is mostly in full color. One (landlubber) character is implied to be a pedophile, but is thwarted before he can do anything.
“The Redeemer” is three chapters of a series Mr. Kubert solicited back in the 1980s before he discovered he wouldn’t be able to deliver it on time. Jim Torkan is the title character, a man who reincarnates across time and space to gain the wisdom he will need to eventually save the human race from itself. He is the target of the Infernal One, who sends agents to tempt Torkan from the path of righteousness, so that the Redeemer will be under his control.
The first two chapters take place in the far future, as Torkan is a scientist whose space station is invaded by murderous robbers seeking a chemical he’s developed that can control minds. His love interest is actually an agent of the Infernal One who tries to convince him to join up with the would-be dictator to save his own skin. The third chapter has Torkan as an ex-Confederate soldier just after the Civil War. The story carefully avoids mentioning what the Confederacy fought for beyond “justice and right” (hint: slavery), but it was all a waste and Torkan is without purpose. He gets involved in a treasure hunt, but at the end discovers something more precious than gold: himself.
“Farewell” was Kubert’s last Sergeant Rock story. The son and grandson of one of Easy Company’s soldiers visit a D-Day beach and the cemetery nearby. They discuss the possible death of Rock, but in the end it doesn’t matter if he is buried here–a piece of each soldier who fell rests with every other soldier.
“The Biker” is about a wounded Afghanistan veteran and motorcyclist who bunks down for the night in an abandoned house. But maybe not as abandoned as it looks. Some excellent coloring work here.
Then there are two stories written by Joe Kubert, but with art by other people. “The Ruby” (art by Henrik Jonsson) is about bandits attacking a Himalayan temple–it turns out to be a possible origin story for an obscure DC character. “Devil’s Play” (art by Brandon Vietti) is a Kamandi story, as the last boy on Earth battles the animal-men that have taken over the planet. This story offers a different explanation for the Great Disaster than usual.
The series also contained several “U.S.S. Stevens” stories by Sam Glanzman, telling tales of his WWII service aboard that destroyer. “The Figurehead” is the most interesting of these, featuring an eccentric crewmate of Mr. Glanzman’s who may or may not have had unusual abilities (it’s possible that this is a sailor’s yarn and he’s pulling our leg a bit.) This material has been collected separately, along with Mr. Glanzman’s other memoirs.
Brian Buniak gives us “Angel and the Ape”, based on the Bob Oksner series about private detectives Angel O’Day (an attractive human woman) and Sam Simeon (a cartoonist who also happens to be a gorilla.) It’s not quite in continuity with any other appearance of the characters, but as a comedy strip, continuity was never a huge issue. The pair are hired to prevent a restaurateur from being murdered; they do so but he is shot anyway, and they have to figure out whodunnit. After they solve that case, a reporter gets the story of their origin (or at least Angel’s version.) There’s an energy and attention to humorous background details reminiscent of early Mad, but sometimes the exaggerated art style can go a bit off.
If you are a fan of Joe Kubert’s art, this volume is a must-have; if you’re indifferent to that, the stories are only average, and the problematic material may knock this down a star or two for you. I liked this very much.
Magazine Review: Astounding Science-Fiction January 1946 edited by John W. Campbell, Jr.
Before Analog (see previous reviews), there was Astounding, the science fiction magazine that led the field for many years. Having gotten a copy of an issue from the pulp days, let’s take a look at what wonders lie within. Despite the cover date, the ads indicate it came out in early December 1945.
The lead and cover story is part one (of two) of “The Fairy Chessmen” by Lewis Padgett (a pseudonym for Henry Kuttner working with C.L. Moore.) It is roughly a century into the future, and the world is at war…again. After World War Two, the governments of Eurasia had crumbled, and reformed as the Falangists. They and America are the two superpowers and implacable enemies. Thanks to atom-bomb-proof shields and robot warfare, the war has stalemated for years.
Most Americans live deceptively peaceful lives in scattered communities on the surface, while the warmen toil in vast underground cities whose actual locations are closely guarded secrets. Low Chicago might be below the ruins of Old Chicago, or anywhere in the Midwest. Of course, in such conditions claustrophobia and other mental illnesses are a continuing concern, and it’s up to the Department of Psychometrics to keep the warmen in good mental health.
Which is why it’s concerning that Cameron, the head of the department, has been having hallucinations of eyeball doorknobs and talking clocks. He’s trying to keep it a secret, but his help is desperately needed by the War Department. It seems they have captured a scientific formula from the enemy, one that drives anyone who studies it mad (sometimes giving them strange powers in the process. For example, the levitating man who thinks he’s Muhammad’s corpse.)
There are time travel shenanigans involved, and one character seems determined to produce a specific future. The title comes from “fairy chess”, variants of the strategy game that use changed rules, such as a knight that can only capture backwards, or a 10×10 board. The formula changes the rules of physics, sometimes in mid-equation, and scientifically trained minds crack under the strain.
A nifty throwaway (probably) bit is the existence of “fairylands”, miniature cities with tiny robots that people play with ala the Sims. There’s also an amusing typo when one character claims he’s “half misogynist” when he means “misanthrope.”
Unfortunately, this novel is long out of print, so I have no idea how it ends. The cliffhanger is neat: “The edges of the spoon thickened, curled, spread into cold metallic lips. And kissed him.”
“N Day” by Philip Latham (pen name of R.S. Richardson) concerns an astronomer who discovers the sun is about to go nova. He tells the world, but is dismissed as a crackpot. (Had there been more time, someone would have checked his math and found him correct.) As a result, he finds his spine for the first time in decades.
“Veiled Island” by Emmett McDowell takes place on Venus (the pulp Venus of swamps and jungles.) A three-person anthropological team goes in search of the title island to investigate reports of a new variant of human. Apparently, unlike Earth, Venus just keeps producing new human variants out of the swamps which then climb up the ladder of civilization as they travel to the other side of the planet.
The Earthlings promptly crash-land, losing their clothing and supplies–they themselves have to start from scratch. While struggling to survive, they run into the new variant of humans they were looking for. A variant that seems destined to replace homo sapiens.
The sexism is pretty thick here, the action guy protagonist denigrates his female colleague for wanting to be treated as an equal, calling her a “tomboy” and the type who would have been a suffragette back in the day. (Apparently something like feminism happened in this future, but he’s not too keen on the results.) Over the course of the story, she comes to realize how awesome he is, and they are planning to get married (in the now considered barbaric Twentieth Century fashion) at the end.
The evolutionary science is suspect–emotionlessness is viewed as a huge evolutionary advantage that will allow the new species to outcompete other humans and replace them.
“A Matter of Length” by Ross Rocklynn (pen name of Ross Louis Rocklin) takes place in a far future with galactic travel. A stable mutation has created a new kind of human, the “double-brained” Hypnos, who have the ability to hypnotize ordinary humans. They are not physically distinguishable from other humans, but can be detected by “Sensitives.” Hypnos face severe prejudice, and there’s a war going on between societies that want to exterminate them and those that tolerate them.
All that is background. A Hypno named Joe has been captured by anti-Hypno forces, and was being shipped back to their planet for a show trial and execution when the ship went off-course and landed on a planet where time has gone wonky. There’s a paranoid belief among some of the crew that Joe somehow caused this, or is making them hallucinate this, despite the anti-mind control forcefield surrounding his cell. Eventually, the time wonkiness allows Joe to escape, and he rescues the two people on the ship who are not entirely anti-Hypno.
It turns out that Hypno powers have been vastly exaggerated as propaganda by the anti-Hypno forces; Joe never actually uses his mind control abilities during the course of the story. It’s the holding cell force field that gives him the temporary advantage he needs as it shields him from the time wonkiness for a while. Keitha, the Sensitive woman who tracked him down, is dismayed to learn that she’s next on the extermination list after all the Hypnos have been eliminated (as Sensitives are Hypno/ordinary human crossbreeds.)
Apparently, there are also longevity treatments in this future, as the captain of the anti-Hypno ship holds a grudge against the Hypnos for the death of his daughter nearly a century before, with the war starting later. (It’s a “failure to save” instance–a doctor who was secretly a Hypno couldn’t cure the daughter from a fatal disease, and when his secret was revealed, he was lynched for deliberately killing a human girl.)
“The Plants” by Murray Leinster takes place on a planet with only one form of life. Plants with flowers that follow the sun…or anything unusual that happens. Four men whose spaceship was sabotaged crash-land on the planet. Are they more in danger from the pirates that sabotaged the ship for its precious cargo…or from the plants? A story that has some creepy moments, and could have gone full on horror if the author wanted.
“Fine Feathers” by George O. Smith is the final fiction piece. It’s a science fiction retelling of the fable “The Bird with Borrowed Feathers” usually ascribed to Aesop. A ruthless businessman discovers a way to artificially boost his intelligence by energizing his brain. The process renders the user sterile (somehow) but since he wasn’t interested in having children, Wanniston considers that a small price.
Being superhumanly intelligent gives Wanniston a huge advantage over his fellow Earthmen, and he is soon the most powerful businessman on the planet. But he yearns for more, and when a suicide trap makes it untenable for Wanniston to stay on Earth, he decides to join Galactic civilization, where dwell people who have come to super-intelligence by eons of evolutionary processes. He keeps using the brain energizer, and is soon even more intelligent than the Galactic Ones.
Being logical beings, the Galactic Ones recognize Wan Nes Stan’s (as he now calls himself) superior intellect, and are willing to install him as their leader…as soon as his experience catches up to his intelligence in a few centuries. Wan Nes Stan tries to shortcut the process, only to discover his true limitations and destroy himself.
The story bookends with identical dialogue at the beginning and end, which would be effective if the language in those conversations wasn’t so stilted. It also uses the 10% of your brain gimmick (which admittedly was less debunked back then.)
John W. Campbell’s editorial “–but are we?” is prescient on the subject of nuclear proliferation though thankfully humanity has survived so far.
There are two science fact articles. “Hearing Aid” by George O. Smith is a very short piece on radio proximity fuses. “Electrical Yardsticks” by Earl Welch is about the international standards for the volt, ampere and ohm; how they were decided, and how they are maintained. Lots of math here, and possibly the technology is dated, but likely fascinating reading if you want to know more about electrical engineering.
I liked the Leinster piece best because of the thin line it walks between horror and SF; “The Fairy Chessmen” has some great imagery, but with only part one I can’t judge its full effectiveness.
Overall, an average issue, but well worth looking up for old-time science fiction fans.
Comic Book Review: Essential Captain Marvel Vol. 2 by various creators.
Back in 1967, Marvel Comics became aware that the name “Captain Marvel” for a superhero had fallen out of trademark status. It was too good a name for Marvel to pass up, so Stan Lee quickly came up with a character to appear in Marvel Super-Heroes #12, who then appeared in his own series. Captain Mar-Vell was a representative of the alien Kree Empire, sent to spy on the Earth for potential conquest. He was chosen for the job because of being of the oppressed minority “Pink Kree” who happened to look like Caucasian humans, as opposed to the majority “Blue Kree.” (This allowed Marvel Comics to play him as an underdog who faced prejudice, while still having a “white” character as the hero.)
Mar-Vell assumed the identity of recently deceased scientist Walter Lawson and began working at Cape Canaveral in Florida, the better to spy on the space program. When danger threatened his co-workers, Mar-Vell put on his Kree uniform (with its face-hiding helmet), and due to accidentally revealing his name became known as the superhero Captain Marvel. Unfortunately, Mar-Vell’s commanding officer Colonel Yon-Rogg wanted to steal his subordinate’s girlfriend, Nurse Una, and proceeded to try to get Captain Marvel killed.
Several issues in, Mar-Vell’s powers were reworked, and he was bonded with perennial sidekick Rick Jones–only one of them could be in the positive universe at a time, which the other floated around in the Negative Zone, swapping places with power-enhancing bracelets called Nega-Bands. (And yes, this was a riff on the original Captain Marvel’s relationship with Billy Batson.) Sales were never particularly good, and the series went on hiatus for several years while the character guest-starred in other heroes’ books.
Which brings us to the volume at hand. Issue #22 starts with Captain Marvel apparently dead, having given up his lifeforce to save Rick Jones at the end of the Kree-Skrull war. But no, he was just “hiding” and a mad science treatment allows Mar-Vell to return to trading places with Rick. The first few issues are standard superhero stuff, but then comes the Starlin run. Jim Starlin was new to Marvel Comics at the time, but had big ideas for a cosmic plotline involving several characters he’d designed, and he convinced Marvel to let him anchor it with Captain Marvel.
This involved Thanos, one of a race of godlike beings that inhabited Titan, a moon of Saturn. In love with Death (literally), he rejected the peaceful ways of his people to become a conqueror, gathering an army of outcasts and criminals from across the galaxy. Along the way, he inspired the creation of Drax the Destroyer, a golem-like creature whose sole purpose was killing Thanos. (This version was very different from the one most of you will have seen in the Guardians of the Galaxy movie, among other things being a formidable telepath.)
Thanos’ plans to conquer Earth accelerate when he learns that Rick Jones (unknown to himself) knows the location of the Cosmic Cube, a device that can reshape reality to the holder’s whim. The mad titan plans to use it to elevate himself to true godhood, making him omnipotent. While Captain Marvel and his allies manage to defeat some of Thanos’ minions and slow down his plans a bit, it is not until Mar-Vell is granted “cosmic awareness” by a being called Eon that he is finally able to save the day, resulting in Thanos’ first death.
The high-stakes action and some trippy visuals impressed the heck out of 12-year-old me, and a lot of other kids, and Jim Starlin became a favorite creator. After the end of the Thanos Saga, Starlin stayed on only long enough for a transitional issue to Steve Englehart’s run. #34 had Mar-Vell go up against a C-list villain named Nitro, whose power was exploding himself. At the end of the issue, Mar-Vell was exposed to experimental nerve gas, (Much later it would turn out he had developed inoperable cancer from this exposure, resulting in the classic story The Death of Captain Marvel.)
Nitro turned out to be a minion of the Lunatic Legion, Blue Kree purists headquartered on Earth’s Moon. They in turn turned out to be pawns of the Kree Supreme Intelligence, who had been orchestrating events for years to turn Rick Jones into a jump-start for Kree evolution (this is not how evolution works; just roll with it.) This volume ends with Mar-Vell and Rick defeating the Supreme Intelligence’s plan, but not without cost.
There are a couple of appearances by Carol Danvers (who’d been chief of security for Cape Canaveral during the early issues of the series) who has been demoted due to the events surrounding Lawson. She doesn’t get to show off her competence, alas. Things would look up for her a couple years later when she became the superhero Ms. Marvel, and Carol is now the Marvel Universe’s Captain Marvel.
Englehart’s run was also pretty good, but not up to the level of Starlin’s; some good art by Al Milgrom helps.
Trivia note: A black singer says that she wants to be “Tina Turner–without Ike” two years before Ike’s abuse of Tina became public knowledge.
In addition to general superheroic violence, there’s the “fantastic racism” previously mentioned. In addition to the skin color issues of the Kree, the Kree and their long-time enemies the shape-shifting Skrulls regularly hurl slurs at each other. (Even Mar-Vell himself indulges in this before gaining cosmic awareness.) There’s also an issue where Rick takes a hallucinogenic drug a friend gave him without consideration of what that might do to his mental link with Mar-Vell.
The art suffers some from the lack of color (Starlin did his own colors, which made his issues really pop.)
Recommended to Captain Marvel fans on a budget and Starlin fans in particular; check your lending library.
In the not so distant future, technologies for human alteration and augmentation have advanced rapidly, so that many people are considered “transhuman” and there are a few that are possibly “post-human.” One of the new developments is Nexus, a “nanodrug” that allows humans to communicate mind-to-mind to some degree.
Kaden Lane and his friends have developed a new variant of Nexus they call Nexus Five. It makes the effects of Nexus permanent and gives the user new capabilities that are near or at superhuman levels. Young and idealistic, they want to help the world with this new technology. Samantha Cataranes and the agents of the Emerging Risks Directorate want to protect humanity from the misuse of new technologies like Nexus Five, even if it means holding back progress by the strongest means available. These two groups, and several more, are on a collision course.
After several horrible incidents (one of which Samantha was a direct survivor of) involving various new human enhancement technologies, the governments of the world decided that people who had passed a certain line were no longer human in the legal sense, and thus had no human rights. In the U.S., the ERD has taken this to an extreme, censoring, imprisoning or even killing as necessary to prevent what they see as harmful alterations to humanity. Of course, to battle criminals with these enhancements, the government agents themselves have to become transhuman, a bitter taste in Samantha’s mind.
Kaden and his friends are caught early on before they can spread Nexus Five beyond their immediate circle, and Kaden is extorted into working for the ERD. It seems there’s this Chinese scientist, Su-Yong Shu, who is violating the international agreements on behalf of her government, and she’s taken an interest in Kaden’s work. The ERD wants Kaden to go to a scientific conference in Thailand to be contacted by her and eventually infiltrate her laboratory. If he doesn’t do what the ERD wants, his friends will be imprisoned incommunicado permanently. Naturally, the agent assigned as his partner is Samantha, the one who busted him. She is against her will dosed with Nexus Five to help in the assignment.
While firmly in the science fiction camp, this book has the structure of a techno-thriller. Every so often, the action is interrupted for “Briefing” sections that fill in some of the future society’s backstory. The technologies have both good points and bad ones–it’s pointed out by a minor character that because many of the enhancements are produced illegally due to the heavy restrictions, safety and side effects aren’t tested as rigorously as they would be if researching the technology was legal.
One of the things I like about this book is that most of the characters are at least trying to do the right thing. The ERD really does good work pursuing criminals who abuse new technologies. Kaden and his friends want to improve everyone’s lives. Su-Yong Shu wants to protect her people, even as her government perverts her work. A scientist-monk wants to invite people to live in harmony. But these goals come into conflict, and there are a few people in the story whose motives are greedy and self-serving, and they force the story on to a violent path.
Kaden and Samantha both grow over the course of the story, Kaden learning to take responsibility for the consequences of his actions (and to think more carefully what those actions should be) while Samantha moves past the pain of her past to find a new way into the future.
Early on, there is a scene where a faulty “sensual enhancement program” turns a consensual encounter into involuntary sexual assault, and one character’s backstory involves rape and sexual abuse. The abuse of mind control technology is a constant theme.
In the author’s note, he discusses the real-life technologies he’s extrapolating from–it’s fascinating stuff.
Recommended for science fiction fans up for discussions of transhumanism and the possibility of post-human people.
Comic Book Review: Wonder Woman ’77 Volume 1 written by Marc Andreyko
Back in the 1970s, live-action television series with a woman in the lead were rare creatures indeed, and one of the best was Wonder Woman, starring Lynda Carter. It migrated from ABC (where it was set during World War Two) to CBS in 1977, and it is this “modern day” series that this comic book series is based on.
In this version, Wonder Woman works for the Inter-Agency Defense Command in her secret identity of Diana Prince, along Steve Trevor, Jr. Steve may or may not know that Diana is also Wonder Woman, but at least in these issues, he doesn’t officially know or make a fuss about it. They have access to the latest 1970s technology, including the advanced computer IRA, but Wonder Woman’s powers and compassion are usually the main key to victory.
Where this comic book series varies from the TV version is that the live-action version used none of WW’s comic book supervillains, so versions of these compatible with the show’s look and feel are inserted.
The first story takes place mostly at a disco, where a Soviet defector scientist must be protected from mind-controlling songstress Silver Swan. Diana’s outfit for this is based on the “white pantsuit” look she had during a brief period where the comics depowered her (to make her more “relevant.”)
The second story opens with Diana waking up in a world where she is not Wonder Woman or Diana Prince, but a mentally ill woman named Donna Troy. There are some nifty references to the Cathy Lee Crosby TV movie, and the post-Crisis WW continuity. Diana must figure out what’s going on and fight her way back to the reality she knows.
Next, there is a story that uses the Barbara Minerva version of long-time supervillain the Cheetah. It brings in elements of the Priscilla Rich version of the character as well–Dr. Minerva is driven by jealousy when the museum she works for dismantles her prize exhibit involving years of scholarship and hard digging for a Wonder Woman-centric publicity grabber. This allows the Cheetah spirit to take over her body so that Barbara can try to get her revenge. The climax is a showcase for Diana’s gentle spirit being able to overcome Cheetah’s command of great cats.
Original (so far as I know) villain Celsia takes center stage next. Due to a nuclear power plant accident that killed her home town, Celsia can project both heat and cold. She is determined to punish the men who placed profit over life and safety. We also get a version of the Atomic Knights, including a not-named Gardner Grayle.
And finally Diana has an encounter with the swamp monster Solomon Grundy on Halloween. Grundy may not be the real monster here… (Warning: domestic abuse.)
The issue is filled out with an essay by Andy Mangels about the television show, plus a gallery of covers and concept art.
One of the things I really like about this series is Wonder Woman’s dedication to non-lethal force, something that has largely been lost in recent years. Yes, punching bad guys is an important part of her problem-solving style, but whenever possible, she uses truth and compassion to bring about resolutions. This Wonder Woman smiles a lot, and inspires others to be better people.
Some of the 1970s elements do come across a bit cheesy, but this is not entirely a bad thing, as they fit with the feel of the show. On the other hand, the very episodic stories mean that there’s no character growth or deeper characterization–what you see is all you are going to get.
The art is okay, with Diana and Steve being on model most of the time.
Recommended to fans of the TV show, Wonder Woman fans who prefer a lighter style and younger readers. (It should be okay for tweens with a little parental guidance.)