I have to take some time off due to a family emergency.
I have to take some time off due to a family emergency.
Published: December 14th, 2010
Written by: Rob Liefeld, Justin Jordan
Art by: Rob Liefeld, Art Thibert, various
DC Comics, 266 Pages
I guess this came out in a time where I wasn’t paying close attention to new comics. Because I would’ve been on board for Rob Liefeld’s take on Deathstroke, especially since his most famous creation, Dead Pool, was done as a sort of parody of the character.
But, man. Having read this now, I kind of wish I never knew about it.
I hate to be harsh but the writing was a disjointed mess that was all over the f’n place. Plus, this collection doesn’t finish Liefeld’s story! It ends on a cliffhanger where Deathstroke and Hawkman are about to fight a horde of evil hawk dudes and then you turn the page and it’s a totally different story.
I mean, what the fuck, DC? Was the Hawkman story a crossover? Where’s the rest of that story? You just jump right past it and into another arc done by a completely different creative team. And frankly, the second half of this book should have just been a volume three, as it is drastically different than the Liefeld stuff that’s left incomplete.
This collection is garbage. It’s poorly organized, its a total clusterfuck narratively and tonally due to the creative team change midway through.
Honestly, this is only worth checking out if you are a Liefeld die hard. And even then, you’ll still be disappointed.
Although, I should mention that I thought it was neat that Liefeld utilized Jim Lee’s WildC.A.T.S. characters, as they’ve pretty much faded away into oblivion since Lee sold them to DC.
Pairs well with: the Deathstroke collection before this one and then the other New 52 stuff after it.
The Cartoonist Kayfabe guys (Ed Piskor & Jim Rugg) discuss the Palmer’s Picks feature from Wizard, Issue 11.
Published: May, 1981 – May, 1983
Written by: Dave Sim
Art by: Dave Sim
Aardvark-Vanaheim, 532 Pages
The High Society story arc actually ends at issue 50 but I tacked 51 onto this, as it serves as a one-issue bridge between High Society and the first part of Church & State. And it felt more natural to tack it into this big string of issues, as opposed to reading it at the front of Church & State.
Having just come off of reading the first twenty-five issues of Cerebus, I wasn’t sure what to expect from High Society. I’ve read a few issues from this large arc in the past but never have I read it in its entirety or in order, for that matter.
This really takes Cerebus to the next level and I understand that Dave Sim probably grew tired of the series just being a parody of ’70s sword and sorcery comics, as well as Howard the Duck, in some regard, but I personally loved those earlier issues.
But this is more mature, looks at life a bit deeper and Sim starts to ask bigger questions and reveal deeper things about himself.
High Society steps out of the formula of not having a formula. It fine tunes things and thus, gives us a more interesting, more cohesive and more meaningful tale to digest.
I really dug this story, its tone and I’ve got to say, I don’t really disagree with Sim’s commentary on politics and high society. This is a good critique on that stuff and even though it’s done with caricatures and in a somewhat fantastical way, it’s all very real.
The high points of the book for me channel back to the earlier stories though. My favorite bits are where Jaka returns and Cerebus is faced with his love for her while trying to maintain the status he’s achieved since they were last together. Has he changed for the better? Has he changed for the worse? How can his life be different but his love for her is still the same? Has his relationship with Astoria created a love triangle? How does Astoria really see Cerebus? And why the hell can’t Cerebus be nicer to the Elf?
High Society still delves into parody though. The Roach is used pretty heavily in this and we even get to see him take on a new form that is a parody of Marvel Comics’ Moon Knight.
This was a fine followup to Sim’s early Cerebus work and frankly, it’s made me excited to get into the next big epic, Church & State. Plus, Sim’s art really is more detailed and alluring here. This is a fantastic comic to look at and drink in. High Society is a great example of how powerful just black, white and grey can be in the comic book medium.
Pairs well with: other Cerebus story arcs, especially the earlier stuff.
Also known as: Vendetta dal futuro (original Italian title), Atomic Cyborg (France), El destructor (Mexico), Hands of Stone (Netherlands), Arms of Steel (Norway), L’enfonceur (Canadian French title), Cyborg (Slovenia), Fists of Steel (UK), Destroyer (Spain)
Release Date: March 26th, 1986 (France)
Directed by: Sergio Martino
Written by: Sergio Martino, Sauro Scavolini, Elisa Livia Briganti, John Crowther
Music by: Claudio Simonetti
Cast: Daniel Greene, Janet Argen, John Saxon
National Cinematografica, Dania Film, Medusa Distribuzione, 94 Minutes
“When I get through with you, you’ll have to wipe your ass with your nose” – Raul Morales
This film had more international titles than it had extras!
But this film can have as many titles as it wants, as it is a pretty badass and ridiculous flick that has a plot that’s all over the map but doesn’t suffer because its supposed to be a smorgasbord of everything that made ’80s action movies so much fun.
Let me summarize the insane premise: An evil CEO sends a cyborg to assassinate a scientist. The cyborg fails so the CEO sends his other cyborgs to take him out. The cyborg hides in a desert diner with a chick that’s horny for him. All the while he draws the ire of the tri-state arm wrestling champion that wants to prove he’s the strongest man in the desert. The evil CEO is John Saxon and he has a really big laser.
This motion picture is insanely enjoyable and one of the best Italian post-apocalyptic, “knock off everything under the sun” movies.
There’s even a scene where the good cyborg has to arm wrestler a guy that looks like Bear Hugger from Punch-Out!! The insane part about this scene is that the loser gets their hand trapped in a shackle while a diamondback rattler bites them to death.
Now this is just about everything you’d expect from an Italian Mad Max wannabe but then it’s so much more. It’s part Terminator, part RoboCop, part Over the Top and 100 percent toxic masculinity. Plus, this came out before RoboCop and Over the Top, so it’s like the writer/director Sergio Martino was psychic. I mean, he ripped off something that didn’t yet exist!
Speaking of Martino, he’s a guy that directed a lot of the top Italian schlock. You know, the type of schlock that gives schlock a good name and inspires people like myself to find endearing things within movies that the general populace could never tolerate. He’s done giallo, slashers, spaghetti westerns, other post-apocalyptic movies and pretty much something in every cool sub-genre that matters to fans of grindhouse, exploitation, horror and action films.
Hands of Steel is a hell of a ride. It has pretty good, albeit hokey effects. But considering this picture’s budget, it’s all passable and it works. In fact, the scene where the cyborg repairs his arm is pretty impressive.
While I’m sure that most people would dismiss this movie as absolute shit, the opinions and money of the regular moviegoer are why we keep getting subpar blockbusters, countless sequels, spinoffs, remakes and reboots. I’ll take Hands of Steel over some Harley Quinn dressed like a peacock movie.
Pairs well with: other Italian post-apocalyptic movies of the ’80s.
Also known as: The Water Witch (working title)
Release Date: June 27th, 1958 (New York City premiere)
Directed by: Will Cowan
Written by: David Duncan
Music by: Henry Mancini (uncredited)
Cast: William Reynolds, Andra Martin, Jeffrey Stone, Carolyn Kearney
Universal Pictures, 69 Minutes
“[explaining why the branch fell on Linda] It must have been a evil wind!” – Gordon Hawthorne
The poster for this ’50s horror picture is much cooler than the film itself. But yes, there is indeed a severed head that gets carried around. Eventually, the head, that of an evil sorcerer, is reunited with a body. But even though the evil head’s evil plot is about getting put back onto a body, not much comes of it, as the sorcerer is then knocked off pretty easily.
While I watch a lot of schlock pictures, a lot of them have things that make them fun. This one doesn’t though. There is nothing endearing or charming and had this not been in an episode of Mystery Science Theater 3000, I doubt it’d be remembered today in any capacity.
Strangely, this was paired with the infinitely superior Hammer Films classic, Horror of Dracula. Now that’s a double bill with a massive contrast in quality.
The general premise for the movie sounds cool but the execution made me want to execute myself for sitting through it. But apparently, there is a Spanish film from 1972 that has a very similar plot and looks to be better based off of what I’ve read about it online. That film is called Horror Rises From the Tomb a.k.a. El espanto surge de la tumba. I can’t yet vouch for it, as I haven’t seen it.
But getting back to this film, it’s worth missing. Unless you’re an MST3K junkie like myself and feel the need to sit through hours of schlock just for a few laughs.
Pairs well with: other ’50s and ’60s horror schlock that was featured on Mystery Science Theater 3000.
This pretty short book is a collection of a few dozen essays written by some fairly notable people, about their childhood love of G.I. Joe: A Real American Hero.
Some essays are about the old ’60s toys but most are about the ’80s version of G.I. Joe and all of it’s forms: toys, comics and the cartoon.
Fabian Nicieza even contributed to the book, which was cool as I’ve been a big fan of his comic book writing since the early ’90s.
This obviously won’t mean much to non-G.I. Joe fans but for those of us who have a love of the franchise, it was really nice reading about how passionate these writers are about the toyline and everything that came with it.
In the end, it’s just nice being reminded from time to time that you’re not alone in your love of something that feels long gone, that will probably never be the same, even after several attempts at resurrection.