11 O’Clock Comics

Man alive, we made it to twenty-five! Entry the first in our brand-spankin’ new 11 O’Clock hand-crafted (with love) Yuengling Lager notebook: this episode we cover the Iron Man movie, America’s Best Comics Primer, Marvel Zombies 3 #1, X-Men: Manifest Destiny, Batman #680, Final Crisis skip month, Marvel Noir, Fred Van Lente, Action Comics #870, Walking Dead #53, The Stand: Captain Trips #2, Pasqual Ferry, SNL, Eric Canete and End League, Star Wars: The Clone Wars #1, more World War Z, The Contingent #1 from Mind Storm Comics, Hellboy, Transformers Animated #3, DC Universe Decisions #2, G. I. Joe, Love & Rockets #1, and much more! Giant-Size extras include a serenade from a moving vehicle and Carlos Cordova spreads the Gospel of Veitch!

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Discuss this episode on the 11 O’Clock Comics forum.

Tags: Action Comics, Batman, DC Universe: Decisions, Eric Canete, Fred Van Lente, Iron Man, Marvel Zombies 3, Pasqual Ferry, The Contingent, Walking Dead, X-Men: Manifest Destiny, Yuengling

Issues 1 - 4

As the cold air creeps in, the leaves begin to decay, and the sun sinks away earlier with each twilight, the human mind seems to slither away into a cave of darker, more gothic thoughts. The month of October is always a special one through my perspective; the tenth month marks the boundary between the pleasant season of fall and the dreary, bleak timeframe of winter. October places a specific grasp upon the human psyche, drawing out our darker ideals as we transition between seasons. The thirty-one days of the tenth month act as a period of gray and with the shade of gray comes the essence of mystery. Published by DC Comics from 1996 to 1997, Batman: The Long Halloween provided a year long mystery that caused readers to scratch their heads as Jeph Loeb and Tim Sale wove an intricate tale amidst the early years of The Caped Crusader’s career. As I take my annual journey through this publication, I plan to allow you the reader to follow along, join in the discussion, and view my thoughts and perspective on a true classic of the Batman mythos.

I believe in Gotham City: those are words of faith, held by a man holding hope in his homeland, held by Bruce Wayne. As it begins, The Long Halloween finds Mr. Wayne early in his career believing that he can truly make a difference in society. Bruce resonates with an almost optimistic attitude, very different from the current version of the character we know. The true faith Bruce holds in Gotham also acts as a hindering method, controlling his urge to always dawn the persona of the Batman and shoving away the public face of Bruce Wayne. While Bruce contemplates suiting up early in issue one, he bumps into love interest Selina Kyle, resulting in the pair dancing underneath the night sky. As the dance stirs on, Wayne narrates, “Selina Kyle. Suddenly, leaving has lost its urgency” (Loeb-The Long Halloween, Issue 1). Because of his vivid faith, Bruce allows himself to trust. Instead of placing all of Gotham’s responsibility on his shoulders, Bruce accepts the partnership and aid of Captain Jim Gordon and Harvey Dent. The trio form a powerful bond, even accepting bending the rules in order to pursue justice. Bruce Wayne allows trust, but he has yet to encounter a falsehood.

The halls of Arkham echo with maniacal laughter. What happened to the good old days jam-packed with mobsters and crime bosses? True, Long Halloween exhibits the reign of Carmine “The Roman” Falcone, but it is a dying reign. Freaks, maniacs, and serial killers are inheriting the throne, no; they are fighting to occupy it. Their breed is growing in numbers as stated by Jim Gordon: “So many are here. Nearly doubled from when you first appeared” (Loeb-The Long Halloween, Issue 3). Gordon instigates that Batman’s existence is the driving factor behind a crime revolution; a revolution beginning in Gotham. The notorious persona of the Holiday Killer largely affects the businesses of the crime families, forcing enemies to organize to put an end to a growing threat. Old school crime is overshadowed in the headlines and street gossip by the new and improved method of doing things. The question is, can the psychos and maniacs group together and truly take control of Gotham’s crime empire?

The first four issues are only the beginning of a mass scale transition in the Batman mythos. The reader can see the seeds being planted, yet the mystery continues as the headlines swell. Who is the Holiday Killer?
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To contact Teenage Wasteland e-mail arb1992@gmail.com

Tags: Batman, Jeph Loeb, Teenage Wasteland, The Long Halloween, Tim Sale

The love of all things Krypton abounds as we talk about Supergirl #34 and the Superman universe, Lego Batman, the 11 O’Clock Traffic Report, Ronin, Geoff Johns, Madame Xanadu, House of Mystery, Alex Nino and Dead Ahead #1 from Image, Gail Simone, Captain Britain and MI13, Locke & Key from IDW, Spooks: Omega Team, Jon Bogdanove, Devil’s Due, Bronze Age fantasy characters, Dan Slott on Mighty Avengers, X-Force, the Squadron Supreme saga, VinceB’s stupidity, Godwheel, Wonder Woman and Aaron Lopresti, Gary Frank, and much more! Bonus! Incoming transmission from the Raph Radia and the fabulous Mario calls the Hotline!

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Tags: Aaron Lopresti, Alex Nino, Dan Slott, Gail Simone, Jamal Igle, Jon Bogdanove, Madame Xanadu, Matt Wagner, Mighty Avengers, Ronin, Supergirl, Wonder Woman, X-Force

M-Theory packs a fistful of classic science fiction attributes with its reminiscent EC Comics feel, harkening back to the days of Weird Science. Aliens, Nazis from outer space, and parallel worlds hallmark this first issue written by Dwight L. MacPherson and Bruce Brown with artwork by Mike Barentine. The book, published under Image Comics’ Shadowline Productions, offers nothing but entertainment value with its sense of pure storytelling pushed by its artwork. M-Theory portrays the fear of the unknown carried by a 1950s society as strange events occur all across the galaxy. Yet, the experiment practiced by two different scientists may seemingly be brought together to solve the mystery shrouding these events.

First off, Mike Barentine’s artwork is the true narrative force of this piece of comic book entertainment. Without any form of dialogue, Barentine’s illustration could still easily translate the story for the reader’s eyes. Yet, MacPherson and Brown’s writing does contribute plenty of supplement to shape the characters and set the stakes. Parodies do not fail to reveal themselves in this comic either; the spacecraft pilot featured cannot help but resemble with look and speech the structure of Captain Kirk. Even in the moments of horror and action, comedy is provided by specific factors and references. M-Theory is definitely worth your three dollars and fifty-cents. If you are at all a fan of EC Comics or the science fiction genre, M-Theory will surly be enjoyable under your eyes.

The adventure concludes this month as the Stellar Rangers rise up from the intensity of battle, close in on their contract, and question the morals of heroics. The trail of a corporate kidnapping narrows as Jessie Garrett, Tsumi, and Panzer strive past the squadron of robotic Crechbabies and put the beat down on the master-mind of a black market organ theft unit. Yet, when the target of the contract is in their grasp, leader Jessie Garrett is faced with a back-breaking decision that forces her conscious to contemplate the meaning of her mercenary career. Written by Garan Madeiros and Charles Shell and drawn by Ariel Padilla, this creative team knows exactly how to slam the reader with non-stop adventure and tug at their emotions with thought-provoking character moments.

It is no secret that Ariel Padilla’s artwork explodes off the page with his bold line work and knowledge of storytelling, and this final issue backs that reputation. First off, I love this cover; I absolutely dig it! The boldness of the art does not stop with the cover though: every panel within this book carries the same attitude and style that Padilla has won me over with. Padilla needs more comic book work! Madeiros and Shell also intensify their game with fun action sequences, bold character development, and quick, snapping dialogue that flows between characters. It is easy to see that the relationship between this starring trio is the key to this story; they win over the reader’s emotion and force the reader to care.

Contract acted as my inaugural dip into the independent pool of comics; I am satisfied to announce that it did not fail my expectations. Luckily, the potential these characters hold is not completely finished. Starting next month, A First Salvo will publish three one-shots – each focusing on a specific character of the starring trio – acting as universe builders for future stories. I encourage everyone to give these characters a shot; they may attach themselves to you in a memorable fashion. Packed with adventure, beautiful artwork, and great characters, Contract satisfies a comic fan’s ravaged hunger.

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To contact Teenage Wasteland e-mail: arb1992@gmail.com

Tags: Contract, M-Theory, Teenage Wasteland

No court of law or any administrative agency can touch us as we talk about 24-Hour Comics Day, Trinity, All-Star Superman #12, JSA: Kingdom Come, Morrison’s JLA, Superman Red & Superman Blue, pulping comics, John Romita Jr., DC Universe: Decisions #1, Deadpool #1 and #2, Marvel’s Embrace Change ads, Guardians of the Galaxy, Joe Kubert’s Tor, Max Brooks‘ Zombie Survival Guide: Recorded Attacks, Captain America, Rick Remender, Twitter, 11 O’Clock watersports, the Minx imprint, and much more! Bonus! Incoming transmission from the Raph Radia and a pair of calls to the Hotline!

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Tags: All-Star Superman, DC Universe: Decisions, Frank Quitely, Grant Morrison, Joe Kubert, John Romita, Jr., Max Brooks, Rick Remender, Superman, Tor, World War Hulk

Creation spirals from the freedom of thought, oozing its way through the human mind, and exiting through the medium chosen. Comics, for the most part of their existence, have been notoriously known as home to the super-hero genre. With such a heavy influence over the medium, super-heroes have absorbed a majority of creativity’s attention. Today, exclusive contracts and corporate biddings work even harder to house certain creative forces under a single roof while providing creators with lifestyle benefits and a feeling of security. Though corporate comics aid in making a comic book career possible, they do seem to hinder the creative process with their strict marketing tactics of selling the super-hero genre. Is it possible that the super-hero genre portrays itself as a villain to the abstract persona of creativity? And, on the subject of this article, what freedoms would a comic book creator’s process welcome or miss if super-heroes were non-existent?

As discussed previously on my behalf, the corporate reign held in comics is possibly due in part to the super-hero genre. The marketable and iconic nature of the genre has enabled particular companies to hold control over the industry for decades in succession. Super-heroes have allowed the build up of Marvel and DC while leaving other genres, publishers, and creators to dwindle away into the basement. Without a corporate dominance over the industry, creativity would hold a free-flowing possession in everyday comics because the average storyteller would be allowed a better opportunity to create, form, and sell their product. A self-publisher or a smaller publishing company would not have to combat the blinding banner affect of name brand companies nor the recognizable imagery of iconic characters. The corporate nature associated with the super-hero genre could possibly hinder the advancement of other genres, creator’s legacies, and the medium in general because of its controlling factor over the products created and how consumers buy.

The super-hero structure plants a constraint over numerous creators, feeding off of their time, work, and energy to build itself into a mass entity. In an absence of heroes and a dominant market entity, comic book forgers may thrive in an environment of self-publishing and diversity in story. Creativity could spring free without the blinding affect and barrier of a “single” genre in comics. Opportunities would be abundant for creators to sell their own story and easily spread the word about their product; the market would be a very diverse place completely ruled by the creator reign. Yet, for some, the genre has been a nursery for their career, talent, and legacy. Good things could happen for creators in a world full of diversity, yet think of what the super-hero based companies offer for some comic creators. Being a comic book architect does not offer health benefits, a pension, or any form of life insurance. Exclusive contracts give these opportunities for those who put their heart and soul into this medium. Also, were would legacy names such as Jack Kirby, Stan Lee, Gil Kane, John Romita, or John Broome be without heroes? Chances are we as fans may never know of their existence. Plus, how many current comic professionals have been inspired by the super-hero genre and the names above?

Maybe the genre of tights, capes, and the American way is truly the reason the medium has survived? Super-heroes have given comics a mainstream appearance, and they have aided in inspiring many young writers and artists to choose the medium as their field of expression. Yet, if other genres flourished maybe they would have touched a whole other audience and inspired a completely different species of artist? Truth is, we will never know the correct answer. It didn’t happen. Super-heroes have survived the test of time, and they will continue to soar into the far reaches of the future and inspire the young minds of many up and coming comic book professionals.

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To contact Teenage Wasteland e-mail arb1992@gmail.com

Tags: Creators, Super-heroes, Teenage Wasteland

Technical difficulties and the mid-episode loss of a host are not enough to keep us from talking about John Byrne’s Superman, the Marvel Must-Have format, Star Wars: Force Unleashed, Frank Miller, the Buffy Omnibus, Stephen King and the Stand, Local, Marvel cartoons and Jetix, Cable, New Exiles, Vertigo’s Air, George Perez, Marvel Handbooks and why DC hasn’t updated their Who’s Who, Brave and the Bold #17, Secret Six, Amanda Conner and Terra, Ronin, Firestar, Action Comics and All-Star Superman, and much more! Plus, Joe Quesada and Tom Morris call the Hotline! Buy Witchblade!

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Book features 128 pages of great Hulk art from a dazzling array of artists!

LOS ANGELES (September 17, 2008) - So maybe you didn’t win one of the auctions for The Hero Initiative’s fabulous original Hulk #1 covers. Now’s your chance to “own” every cover!

All 100+ Hero Initiative covers to Marvel Comics’ Hulk #1 are on display in The Hulk 100 Project! This great book, with art by J. Scott Campbell, John Cassaday, Frank Cho, Terry Dodson, Dale Keown, John Romita Sr. and Jr. and many more features MORE covers and MORE pages than last year’s Ultimate Spider-Man #100 Project…at the same great price! The book retails for $10 and will be available in stores everywhere in December. All proceeds benefit The Hero Initiative.

And through special arrangement with Marvel Comics, there will be ONLY ONE PRINTING OF THIS BOOK EVER! Get it now so you don’t blow your chance! The Hulk 100 Project is listed in Diamond Comics Distribution’s October 2008 Previews for items shipping December 2008. The book’s ISBN-13 is: 978-0-9797602-8-0

The Hero Initiative is the first-ever federally chartered not-for-profit corporation dedicated strictly to helping comic book creators in need. Hero creates a financial safety net for yesterdays’ creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work. It’s a chance for all of us to give back something to the people who have given us so much enjoyment.

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For further information, contact:
Janine Bielski
310-909-7809
HeroInitiative@aol.com
www.HeroInitiative.org

Tags: Hero Initiative, The Hulk 100 Project

Whether it is stereotypical or not, for most people the term “comic book” is drenched in the nostalgic scent of super-heroes. Portraying the everyday theme of good versus evil, shedding light on the sights of spandex and capes, and inspiring others with messages of hope, super-heroes have been evident in entertainment sense the early days of World War II. Though evident, the comic book super-hero did face hardship early in its career. The late 1940s and early 1950s proved to be a testing era for the genre with the combination of a fading interest and real world stories being told within the medium; it was a drought for our costumed adventurers. But living to win the good fight, super-heroes survived the entertainment slump, progressed into the silver age, and continue to prosper today. Now, let us step back and ask the question: What if the comic book super-hero did not survive the drought?

Now, looking back at the publishing history of comics, it seems that a majority of the tales told have involved the character type of the super-hero. What types of stories would be told within comics without the super-hero architecture? For some it is hard to even imagine comic book stories not involving super-heroes because the genre is the absolute trademark of the medium. Without super-heroes on the scene, creative focus could have fallen more towards the science fiction, horror, and crime noir side of storytelling. True, the Comics Code hindered the development of these genres, but let us not focus on that factor right now. Imagine these genres endure, and they step into the 1960s as the mainstream comic books found in mom and pop stores all across the nation. These new genres would allow for a more realistic sense of storytelling, especially within the down-to-earth crime comics of the day. Also, with this down-to-earth feel, it is quite possible that they would attract different types of authors/artists. To think, an artist may wish to record the events of a politician or a historical figure’s life in a biographical comic book. Maybe they would become common practice? Envision walking into your local comic shop, picking up the latest issue of Jesse James: American Criminal, and discussing it online later that evening. In the absence of super-heroes, it is certain that comics as a medium would be a vastly different landscape for storytelling.

Without the iconic stature of super-heroes, would either Marvel or DC exist? Both companies did hold existence in the days of the war (Note: Marvel was called Timely); both companies formed together to birth the Golden Age, yet the super-hero genre was their treasure trove. It would have not been impossible for either company to adapt to popular demand and have produced the genres in question (Noir, Science Fiction, Horror, etc). The true matter of the question is whether either company would still occupy a key spot in the marketplace and hold rights to iconic characters in pop culture. If these genres were to survive a Comics Code, it is also quite possible that EC (Entertaining Comics) may have survived and have provided competition against Marvel (Timely) or DC. Also as a comics fan, a reader would have to consider the existence of a large piece to Marvel and DC comics: continuity. It is possible for the matter to exist with noir or horror genres but could it be as intricate as current Marvel or DC continuity? As a fan, I seriously doubt it, unless a story universe could be created to house such genres, company spanning events could take place, and a strict love and observation could occur under the readers as you see in fanboys today. Marvel or DC may continue to exist producing the genres in question, but I do not see them holding a position as they currently do; I see the situation in question forming a very open market shared by many different publishers.

Having an industry housing a spread of different genres, it is certain that comics would attract a whole other audience. Let’s face it, super-hero comics may not be everyone’s cup of tea. To some, they may carry a child-like stereotype or for others they may just not be that exciting. But, if the comic book industry offered a selection of different genres, the industry would have greater chances of picking up new readers. The argument could also be made that comics as a medium may be taken seriously for the vast storytelling possibilities: instead of the stereotypical thought that only super-hero stories can take place within comic books. This opens up the gateway for literary authors wanting to experiment, and comics possibly being adopted under the term “literature”.

Super-heroes dominate the industry as of present time, but there was a period when crime, horror, and science fiction comics were the main interest. Even if all of these genres could co-exist and share a “mainstream” spotlight, comics would be an entirely different landscape. Yet, just as in story, the super-hero archetype is the one to stand victorious and grab all of the attention. As a fan digesting this topic, I have to wonder if creativity is possibly being held back on a leash of super-heroics in an industry dominated by the genre.

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To contact Teenage Wasteland e-mail arb1992@gmail.com

Tags: Other Genre Comics, Teenage Wasteland

The Woodman is two for two as we chew the fat on Trinity, X-Men: Legacy, Cable, Dark Reign and Dark Avengers, Savage Dragon, Battle Hymn, Hack/Slash and Tim Seeley, Brad Meltzer and DC Universe Last Will and Testament, Tori Amos‘ Comic Book Tattoo from Image Comics, JSA, Skaar: Son of Hulk, Amazing Spider-Man: One More Day, Brand New Day, and New Ways to Die, The Last Musketeer by Jason, Tony Moore & Jerome Opena on Fear Agent, and so much more! Bonus! Incoming transmission from the Raph Radia!

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Tags: Amazing Spider-Man, Battle Hymn, Brad Meltzer, Cable, Comic Book Tattoo, DC Universe: Last Will and Testament, Hack/Slash, Jason, Jerome Opena, Justice Society of America, Savage Dragon, Skaar: Son of Hulk, The Last Musketeer, Tim Seeley, Tony Moore, Trinity