|
ComicBookNetworkEmag Archives Index
|
|
| << June17, 2006 - [ComicBookNetwork E-Mag] CBEM 579.4 |
June17, 2006 - [ComicBookNetwork E-Mag] CBEM 579.8 >> |
|
----------------------------------------------------------------- COMICS OBSCURA Mike Curtis shandafa@cyberback.com [COMICS OBSCURA are facts Mike Curtis has dug out during his 30 years of collecting Superman and writing about comics. His website for his comic imprint is www.shandafantasyarts.net ] IT'S MORE THAN JUST TO HOLD UP HIS LITTLE GREEN TRUNKS Burt Ward as ROBIN on the 1966 TV series BATMAN also brought a little known innovation to the character's costume. From his original appearance in 1940, Robin has always been credited with having a Utility Belt, same as Batman's but compartments were never shown. That included the two film versions in 1943 and 1949. Ward's costume had "capsules" on his belt, while West graduated to pockets. _________________________________________________________________ ----------------------------------------------------------------- [6] One Superman Returns, But These Won't! Mike Curtis shandafa@cyberback.com [Mike contributes the COMICS OBSCURA for this publication, runs his own publishing imprint SHANDA FANTASY ARTS, and is a long time fan of all things SUPERMAN.] As the time for SUPERMAN RETURNS to open in theaters gets closer, Warner Brothers has announced plans to re-release scores of Superman productions on DVD for the first time, including THE ADVENTURES OF SUPERMAN, LOIS AND CLARK, THE NEW ADVENTURES OF SUPERBOY as well as the two Kirk Alyn serials and the Richard Donner cut of SUPERMAN II. However, there are a FEW Superman film projects you WON'T be seeing on DVD this year, and we're going to examine 5 of them. ----------------------------------------------------------------- ----------------------------------------------------------------- IT'S A BIRD IT'S A PLANE IT'S SUPERMAN the 1975 TV Musical ------------------------------------------ Now before we begin, we should make it plain that the SUPERMAN Broadway musical was not a terrible adaptation of the Man of Steel. On the contrary, it won a chapter in the book BEST PLAYS 0F 1965-1966 and that is where you can see around 30 photos from the production. It had stars (Jack Cassidy, Linda Lavin, and Bob Holiday as Superman) a hit song (YOU'VE GOT POSSIBILITIES) and was full of satire and production numbers. It is still occasionally performed around the country today, usually without the flying scenes. Months of work went into the production and it had the bad luck to debut on Broadway at the Alvin cheater just as BATMANIA hit the country. It was perceived as camp like the Adam West series and closed after 200 plus performances. The original soundtrack was re-released on DC in the 1990's and is a great listen for fans of the theater and Superman. In addition, Bob Holiday carried on George Reeves' tradition of visiting children's hospital wards as Superman, and also has a book out (SUPERMAN ON BROADWAY) about his experiences in the uniform. His last public appearance was in Metropolis Illinois (Home of Superman) some years back. This production of IT'S A BIRD IT'S A PLANE IT'S SUPERMAN! is an entirely different animal. Produced for the late night TV series ABC'S WIDE WORLD OF ENTERTAINMENT, and airing at 10:30 central time on a Friday night, it probably missed the kids who might have viewed it. But if they had seen it, they would have turned it off, dismissing it as cheaper than Filmation's SHAZAM TV series. There's an article with a photo that ran in TV GUIDE the week of the showing, but aside from that, no merchandise or material was produced for the film. The plot of the original musical follows Metropolis' hero Superman, who is reviled by DAILY PLANET gossip columnist MAX MENCKEN (played by Jack Cassidy). He also has an enemy in DR ABNER SEDGWICK, who feels he has been looked over too many times for the Nobel Prize and wants to take revenge by destroying the "world's symbol of goodness, Superman". To that end, he enlists THE FLYING LINGS, a Chinese acrobatic team (no one will pay to see them fly when they can see Superman fly for free.) They arrange for Superman to be occupied when a building is destroyed, and then Sedgwick and Mencken team up to finish off the Man of Steel, who is also demoralized by Lois's defection to another man. At last the Lings reveal themselves as agents of Red China and offer Sedgwick a Peace Prize, while Lois is kidnapped. Superman rallies, beats the Lings, Sedgwick falls into an atomic pile and Max apologizes. The end. For television, the producers decided to "improve" it and you know that spells T-R-O-U-B-L-E with a capital T that stands for ...well anyway, the TV production is several levels below the stage version. First, Nixon has gone to China, so the Lings are out. We now have gangsters with big hats and pinstripes and a new musical number. They don't even rate names like the Lings had, but are billed as "Gangster" and "Boss." Jack Cassidy has passed away and Kenneth Mars cannot begin to try to fill his place, but he tries. David Wayne becomes the only actor to oppose both Batman (THE MAD HATTER, 1966) and Superman on film as he plays Sedgwick. Linda Lavin played Sydney (who?), secretary to Mencken who has a jones for Clark and gets to sing YOU'VE GOT POSSIBILITIES, the hit song. Here Loretta Swit shows why she rarely acted outside of MASH in the role. . Leslie Ann Warren is a very forgettable Lois Lane. Perry White barely had a part in the original production, but game show host Allen Ludden outshines the rest of the cast here. And he's not even an actor! And Superman himself? That's DAVID WILSON. Looking up his bio, he seems to be one of those actors who has had lots of parts but never broken out. He resembles Patrick Duffy of DALLAS in the part, and went on to play in a DALLAS THE EARLY YEARS telefilm. So how else did they improve it? Well, it's supposed to be campy (so they thought) so let's have cartoon background and sets, with color separation dots. And they made jokes in the 1950's about cardboard sets and props on CAPTAIN VIDEO, but by golly these sets and props are literally made of cardboard! And hey, we gotta have commercials, so let's have cliffhangers like the old serials or soap operas. And just to make it all nice, we'll get GARY OWENS of LAUGH IN to do the narration. ---------------- Feh. -------------- I wasted an evening back in 1975 watching this bomb, and have seen about ten minutes of it since I got it on tape. Possibly the lowest point comes when Wilson as Superman has to show he can't go on. In the original, Holiday sang a moving song. Wilson ties an anchor to his neck to throw in the river. The ONLY (and I emphasize that) GOOD improvement is a brief scene when Stuart Getz and Michael Lembeck play "Jerry and Joe"; two teenagers who want to write and draw stories about Superman. Remember, this was before the general public knew about Siegel and Shuster. ---------------- SUPERMAN THE MUSICAL (as it is sometimes known) is commercially available, but if you decide to view it, you'd better get some of those chains Superman likes to burst across his chest so you don't get up and turn off the TV after the first few minutes. Hide the remote too. Get some of those eyelid openers like in CLOCKWORK ORANGE as well. You'll be a Batman fan in no time! Read more about it here: http://www.imdb.com/title/tt0339210/ Next week, we have our final article in this series (then you can cleanse your palate by going to see SUPERMAN RETURNS.) It's the strangest Superman film of all, and maybe the least seen, since it has never shown in a theater or on Television. But it has a mad scientist, an electric ray, art by CURT SWAN and it's a LIVE ACTION version of the first Fleischer cartoon! Join us next week for THE CASE OF THE COSMIC COMIC starring RALPH RUTA JR.! _________________________________________________________________ ----------------------------------------------------------------- COMICS OBSCURA Mike Curtis shandafa@cyberback.com [COMICS OBSCURA are facts Mike Curtis has dug out during his 30 years of collecting Superman and writing about comics. His website for his comic imprint is www.shandafantasyarts.net ] I ALWAYS LIKE TO HANG AROUND OTHER FOLKS IN TIGHTS Besides doing the voice of BATMAN in SUPER FRIENDS, and NEW ADVENTURES OF BATMAN, ADAM WEST also played the live action hero in the 1966 TV series and movie...plus another odd project. Hanna Barbera filmed two hour long specials, CHALLENGE OF THE SUPER HEROES and a celebrity roast using many of the DC stars. West and his Robin BURT WARD joined RIDDLER star FRANK GORSHIN in these two comedy outings. Batman got to interact live on camera with his JUSTICE LEAGUE friends FLASH, GREEN LANTERN, HAWKMAN, BLACK CANARY, THE ATOM, HUNTRESS and CAPTAIN MARVEL. Villains led by the Riddler included SINESTRO, SOLOMON GRUNDY, MORDRU, GIGANTA and DR. SIVANA. _________________________________________________________________ ----------------------------------------------------------------- [7] Suspended Animation Michael Vance & Mark Allen MiklVance2@worldnet.att.net http://www.starland.com/sus [Michael Vance, a professional writer since 1977 and has been published in dozens of magazines including Starlog and Jack and Jill, and as a syndicated columnist and cartoonist in over 500 newspapers. His history book, Forbidden Adventure: The History of the American Comics Group, has been called a "benchmark in comics history". He ghosted an internationally syndicated comic strip, and his wrote own strip, Holiday Out, that was reprinted as a comic book. Vance also wrote the comic books Straw Men, Angel of Death, The Adventures of Captain Nemo, and Bloodtide. He is listed in the Who's Who of American Comic Books and Comic Book Superstars. His short stories have appeared in dozens of magazines and recorded by actor William (Murder She Wrote) Windom. Suspended Animation, has been published for more than sixteen years, and Vance worked in newspapers for 22 years as an editor, writer and advertising manager. Mark Allen lives in Western Oklahoma with his wife and daughter. He has been a Baptist minister for over 15 years, and has also written for the Oklahoma news industry. Having indulged in comics for nearly 30 years, Mark now enjoys using the written word to share with others what he believes is a true, and extremely under-acknowledged, art form.] Graphic Classics: Rafael Sabatini/ 141 pgs. & $11.95 from Eureka Productions/various artists and writers/sold at comics shops and www.graphicclassics.com Once a celebrated author, Rafael Sabatini is virtually unknown today. Even his tales of the pirate Captain Blood, 'immortalized' in motion pictures by actor Errol Flynn, are slipping into obscurity. If nothing else, Sabatini is proof positive that fame is fleeting. The 13th volume in the Graphic Classics series of literature adapted into comics is proof that it shouldn't be fleeting. Sabatini wrote high adventure, supernatural, and other genres tales in novels, short stories, and poetry. They are deserving of praise. My favorite art in this collection is by Gerry Alanguilan. The best story is every story; Sabatini was talented, and these terse adaptations of his work are entertaining and worth your attention. The entire Graphic Classics series is strongly recommended. MV Superman Family #173 [1975]/50 pgs. DC Comics/various artists and writers/sold at comics shops and on-line auctions. They were different. In general, comic books predating the 1980s were story rather than character driven, and were created for an audience of young readers around the age of ten. Indeed, Superman Family almost seems silly compared to today's character driven, hard-edged, and even grim titles. Reading an issue for the first time in thirty years was refreshing. "Superman's pal" Jimmy Olsen, Supergirl, Lois Lane and Superdog are the featured cast. Inside, Jimmy becomes a superhero, Supergirl marries the man who destroyed her home planet, Suberdog saves Superboy, and Lois Lane becomes a series of super-bugs. No one is killed, no one is a drug addict, and life doesn't stink. No kidding. Couldn't we get a few optimistic titles back on today's market? Pretty please! Oklahoma Cartoonists Collection (OCC) Hall of Fame member E. Nelson Bridwell and OCC Associate Kurt Schaffenberger produced the Lois Lane "Super Bug" story. Recommended. MV Order you copy of the all-Vance horror paperback Apocris 1 at http://www.lighthousemediaone.co.uk/FutureProjects.html Interested in the exciting Oklahoma Cartoonists Collection and Toy and Action Figure Museum? Go to fourcolorcommentary.blogspot.com/ _________________________________________________________________ ----------------------------------------------------------------- COMICS OBSCURA Mike Curtis shandafa@cyberback.com [COMICS OBSCURA are facts Mike Curtis has dug out during his 30 years of collecting Superman and writing about comics. His website for his comic imprint is www.shandafantasyarts.net ] IT WAS OLD HAT TO HIM Batman star ADAM WEST was no unknown to television before the hit 1966 TV series. He was a regular on THE DETECTIVES with Robert Taylor, and co-starred with a monkey on the local Hawaiian kid series THE KINI POPO SHOW. _________________________________________________________________ ----------------------------------------------------------------- [8] ComiX-Fan Reviews Eric J. Moreels x-fan@bigpond.net.au http://www.comixfan.com/xfan [Editor's note: Some of the following reviews have spoilers to plot details. This is a TEXT ONLY newsletter so those spoilers are not hidden by HTML code as they are on the ComiX-fan site.] X-MEN: THE END - MEN & X-MEN #6 Reviewer: Brian Wilkinson, bewilkinson@yahoo.ca Story Title: X-Men: The End - Men & X-Men The end, a beginning, and a lot in between. Writer: Chris Claremont Artist: Sean Chen Cover Artist: Gene Ha Inker: Sandu Florea Colorist: Avalon's Ian Hannin Letterer: Dave Sharpe Assistant Editors: Andy Schmidt & Stephanie Moore Editor: Tom Breevort Editor In Chief: Joe Quesada Published by: Marvel Comics Maybe it's just me, but I've felt a growing dissatisfaction with some of Marvel's titles in the past few years with shining beacons being produced by Joss Whedon on Astonishing X-Men, Mark Millar on The Ultimates 2, Brian Bendis on Ultimate Spider-Man and Peter David on X-Factor. That's part of what made me so enthusiastic for Chris Claremont's epic. I loved Sean Chen's work on Wolverine, and while I feel his talents are better suited to focus on a solo character, I thought this was a good pairing for what would be a balls-out story letting Claremont do what he does best. As huge a Claremont supporter as I am, I must admit that I found the final results a little disappointing. Maybe it was the huge Marvel marketing machine lumping it in with the then-hot property Lord of the Rings, but somehow between the start and the finish we got a story, that while 18-issues long, still managed to feel rushed at the end. I started buying comics years ago and it was Claremont's X-Men #1 that got me hooked into more than a decade of reading and loving the mutant characters in the Marvel Universe. That love lead me here, to Comixfan, and even to doing a bit of writing for Marvel itself. For all of these things and more, I'm grateful to the talent that Chris Claremont clearly has. If I wanted more from him it's because I want to use up every bit of talent and energy he has left just to appease me and take my breath away. Claremont excels in some of his regular work is his characterization and humanization of characters that are easily shoved into spandex and into big fights. Claremont mistakes drama for action in this series and instead of delivering an emotional and heartfelt story that sums up his own achievements it descends a little into Hollywood action movie clich‚ with an epilogue that is only a couple of pages long. The final battle is fairly well done even if some of the specifics of it seem a little vague to me. I take it Phoenix came back (again) and brought a whole bunch of other people back to life to somehow contain/calm down Cassandra Nova and then they disappeared into space. So... were they dead already, brought back, and then died again? I'm not sure how or why Wolverine and Kitty were brought out into the battle at the very end there either. The image, the tree of life, was wonderfully done and even if the specifics elude me, the symbolism of what Claremont was trying to achieve came through. The story that he presented wraps things up nicely and gives a brief hint of what this future has in store for the characters. The action was nicely done and the art was some of the best it has been in this title. Claremont lived up to a lot of the hype dumped on him and included a massive roster of characters. It's a shame that this series was based on events of two years ago (Colossus was still dead when this series started coming out, hence 'Kid Colossus'), but taken as an epilogue to that era, it's a well-told story. The negatives here are that it's dated (unfortunately) and Claremont missed the mark by not having more of an emotional impact. More interaction between Magneto and Xavier was needed to bring it to more of a cathartic place for readers as well as the characters. The positives are that it's a great epic and a wonderful place to leave off. If I were considering leaving comics (which I have thought of on more than one occasion), then this might be the sort of thing that I would use as a jumping off point. More positives: lots of death, lots of action, and lots of potential for future 'The End' universe stories should Claremont wish to continue exploring it. This series will make for a great trade collection and is key for any Claremont collection, but ultimately it falls just a tiny bit short for me of being a true must-have classic. Still worth the read, but not necessary in order to get the full flavor of the X- Men mythos, particularly in light of some of Claremont's other comic achievements. OVERALL: 3.0 CABLE/DEADPOOL #29 Reviewer: Alan Bergin, alan_bergin@yahoo.com Story Title: The Domino Principle ~ Part 2; The Politics of Fear Because she doesn't trust me. She can't. She thinks I'm going to ruin this - Like I have everything else for as long as she's known me Writer: Fabian Nicieza Pencillers: Ron Lim Cover: Mark Brooks Inker: Pat Davidson Colorist: Gotham Letters: VC's Cory Petit Editor: Nicole Boose Consulting Editors: Barber & Macchio Editor-In-Chief: Joe Quesada Publisher: Dan Buckley Published by: Marvel Comics Now this, this was good. Great even. Fabian Nicieza has always shown a good deal of kindness to the characters that he has either created or taken under his wing. The inclusion of players such as Commcast, Prestor John & Citizen V in his current Cable & Deadpool run, suggests that even though they have been and perhaps once again will be consigned to Marvel's waste-paper basket, there's still enough in the tank for them to have some degree of influence in the C&DP universe. Similarly, Nicieza's X- Force run has been fondly remembered for the subtle level of characterization that he had given to the erstwhile New Mutants, as they trudged through the big hair, big shoulderpads & big booms that marked the X-Fiction of the early 90's. Cable, Cannonball, Rictor & Siryn all got their start in a run that marked them out as characters who are (at long last) beginning to matter in the X-Men mythos. While Domino may never have had the mass appeal of her fellow X-ladies, her participation in this particular arc has been both pleasurable & satisfying. Her final actions in the last few pages once again demonstrate the importance that Nicieza attaches to the performance of his cast in his elaborate set-pieces. You could assume that this issue would kick-off with the the social & political upheavel that had been generated in the aftermath of Flag-smasher's assassination, but you'd be wrong. As revealed at the close of the previous issue, Cable has taken it upon himself to solve Rumekistan's problems and within the first 5 pages of #29, he would appear to have done so in record time. Qualms amongst the country's existing security forces & the resistance movement are settled as the books remaining protagonists are left to ponder the implications of Nate's intervention. It really is rather good stuff. While I've been willing to criticize the book in the past for its assocation with a myriad of assorted cross-overs & plotlines, Fabian's plans for Cable have remained on-track, despite the steady stream of apparent interruptions. Issue #29 does its job in cementing Cable's power-base, thus furthering Nate's agenda, but while the issue, may seem like a standard conclusion to a solid two-parter, it exposes something of a fissure in the Askani son's facade of invulnerability & cool indifference. The results of which are a reflection of a side of Nathan that had gone AWOL for quite some time. Ask yourself, when was the last time you saw SPOILERS! Cable cry? This is the type of story that I've been clamouring for. Nicieza avoids the easy option of dumping another character on Cable's coat-tales. He takes a player from Nate's past, knowing full-well the mastery which she has over him and through both her action & inaction, succeeds in putting Nate through the emotional wringer. The potency of whatever threat that Deadpool, Captain America or S.H.I.E.L.D represented, pales in comparison to the significance of Domino's influence here as we're left to sympathise with our once so uncompromising lead. It's thought provoking yet saddening and in all honesty, it couldn't have been played-out any better. Wade on the other hand is up to his usual tricks. While it's quite possible to bemoan his current position of lackey, the current circumstances surrounding Cable's plight allow for the ever-humorous Deadpool to be as reliable (in the humour stakes) as they come. His interaction with Citizen V throughout is an unabashed highlight, as is his participation in the issues final scenes. There's not really that much else to say about the issue. The artwork is a step-above last issue's somewhat scratchier efforts as Mark Brooks provides a cracking cover while Ron Lim comes through with some adequate interiors, but while the artwork serves its purpose, it's the plot and character interaction that deserves all the credit here as the story quite simply outshines the scribblings. In saying that, we've been quite lucky to receive some preview art from the upcoming Civil War issues and while Millar's registration act is over-riding all existing storylines, the quality on display here, suggests that in this instance, the artwork won't be overshadowed. Well there you go. Without doubt, the finest issue of Cable & Deadpool in quite some time. Allegiances are put into question, the fourth-wall dupes its own advocate & Fabian illustrates that frailty can be found in the most unlikely of people, at the most unlikely of times. OVERALL: 4.5 CIVIL WAR #2 Reviewer: Jason Grasso, Desperad07@aol.com Any questions? Writer: Mark Millar Penciler: Steve McNiven Inker: Dexter Vines Colorist: Morry Hollowell Letterer: Chris Eliopoulos Assistant Editors: Molly Lazer & Aubrey Sitterson Associate Editor: Andy Schmidt Editor: Tom Brevoort Editor In Chief: Joe Quesada Publisher: Dan Buckley Published By: Marvel Comics WARNING: THIS REVIEW CONTAINS MAJOR SPOILERS. If up until now, you've escaped the major spoiler that ends this issue, I applaud you. However, given the fact that it's already appeared in previews of Thunderbolts #103, the New York Post, AP wire news, Howard Stern's radio show, and everywhere else, it's in our best interest to follow suit, albeit with spoiler etiquette firmly in place! But first, let's start at the beginning. Civil War #2 starts with S.H.I.E.L.D.'s search for the rogue Captain America. They find a few villains and quickly realize that Cap isn't working alone and the resistance is likely gaining strength. In fact, later on we see that strength in the biggest action piece of the issue: a rescue of the captured Young Avengers. Cap and Falcon, in a scene seemingly under the direction of J.J. Abrams, disguised themselves as S.H.I.E.L.D. agents and take over the rig carrying the capture Young Avengers. Falcon is able to get Wiccan to create a rather complex getaway bringing the team to one of Nick Fury's S.H.I.E.L.D. safe houses. We learn that Fury is siding with the resistance and will help in providing them all new secret identities. Meanwhile, at the Baxter Building, Reed Richards is busying himself with a project while his wife shows signs of losing faith in her husband and the registration act. Reed can't even disclose the contents of a classified disc called "#42." This clearly sets up Sue Richards as one of those who'll change sides, an interesting dynamic for the Fantastic Four. McNiven's art is really strong in this issue, going from intense action sequencing to a few emotional close-ups. He starts off the issue with a really great shot of the Vulture and the Grim Reaper, both beaten bloody, tied to a pipe in the shadow-immersed underground. McNiven also excels in the Young Avengers rescue scene as well as the chase after Patriot. But it's not just the broad action scenes that work.he captures some very complex facial expressions here. Take a look at Tony Stark's look of doubt while waiting in his penthouse. Stark displays that very doubt because midnight is approaching and with it the Registration Act will become law. (There isn't any indication that he's been unveiled as Iron Man, despite this happening in last week's Civil War: Frontline #1.) Later, he leads a press conference about the new law and introduces Spider- Man to help communicate the cause. But Spider-Man takes it a step further and pulls his mask off. "My name is Peter Parker and I've been Spider-Man since I was fifteen years old." I had figured that Spider-Man's appearance at the conference was just going to be to publicly side with the registration act. And that Peter's conflict about appearing was in regards to a dilemma about which side of the act he was really for. I really didn't think Marvel would ever disclose the secret identity of one of their icon characters. (In fact, Spider-Man has the advantage that lots of super heroes don't have: his costume actually does hide his entire face.) Inevitably, the strongest response to this issue will be the debate about the unmasking of Spider-Man. On one side there will be traditionalists who feel it should remain a secret. On the other side are the modernists who find secret identities to be increasingly far-featched. Whose side are you on? At first, I wasn't so sure I wanted to see one of the most treasured secret identities in comicdom being revealed. There aren't many other characters with as storied of a supporting cast as Peter Parker and as great a dynamic that he had with those characters. But how secret is his identity now? Almost all of his rogues gallery know who he is, Aunt May knows, most of the good guys now know too. There isn't a lot of intrigue when you're hiding your identity from Jonah Jameson and a billion nobodies. This certainly opens up the possibility for more interesting storylines for the increasingly anti-climactic Spider-Man titles. It's not like Sins Past and The Other did anything to change the status quo in Peter's universe or least not anything we don't want to forget. And there's only so much Tony Stark I can tolerate in Peter Parker's life. This would be a great way to take the character back to basics. (Any good Spidey fan would want to see how Flash Thompson's reacts!) My only issue is the limbo Daredevil seems to be in. In his title proper, Matt Murdock is still in jail while an as-yet-unveiled imposter has taken on the mantle of Daredevil. In Civil War, he's playing vague background character. Brian Bendis spent years crafting a story about Murdock's secret identity being revealed and Murdock's quest to prove otherwise. Given his relationship with Spider-Man, he would've made a great counterpoint to Peter's choices. Unfortunately there haven't been any indications that Daredevil will tie into Civil War at all, not made any easer by the ill-timing of Murdocking being in jail. Two issues in and Civil War already looks like a much more promising 'event' than House of M. Whether or not this really splits the Marvel Universe in the end remains to be seen so there's still some time to botch this up. But if they can stick to their guns, this event could truly deliver on the hype. And give writers of other titles a cool new sandbox to play in. But what's important is not just using the event as a means to an end. Millar has crafted an incredibly interesting story and helped shake up the status quo. House of M meandered, taking the long, scenic route to "no more mutants." Here we're not only interested in the greater ramifications of the Registration Act but also the relationships and activities that are happening because of the new law. Sure, some will cry "shock value" in regards to Spidey's revelation but it never felt excessive in the structure of the story. In fact, anything other than the revelation would've betrayed the idealism behind those who support the act. OVERALL: 5.0 _________________________________________________________________ ------------------------ Yahoo! Groups Sponsor --------------------~--> Something is new at Yahoo! Groups. Check out the enhanced email design. http://us.click.yahoo.com/co.u8A/gOaOAA/Zx0JAA/bGIolB/TM --------------------------------------------------------------------~-> Thanks for subscribing to the Comic Book Network Electronic Magazine (CBEM) --------------------------->Disclaimer<--------------------------- This is an ANNOUNCE only mailing list, only the Editor can send messages to the list. No one else has access to the subscriber list. Replies to these messages will be received by the Editor ONLY, so you must CC: individual contributors if you want them to get your E-Mail. The E-mail to the Emag MAY be used in future issues at the Editor's discretion UNLESS you specifically request that they not be. It is our policy to withhold names and/or Addresses, by request only, from letters of comment. All contributors are required to use their real name and have a valid Email address for their columns to be published. Send Email comments to: ComicBkNet@aol.com Material for inclusion in the Emag - press releases, solicitations, column submissions, Letters to the Editor, guesses for the trivia contest should be sent to ComicBkNet@aol.com The EDITOR, not the submitter, has final approval and edit rights on ALL material. Printed comic books and advanced copies for review in the Emag should be sent via US Mail or UPS to David L. LeBlanc 84 Heather Circle Jefferson, MA 01522-1419 TO Subscribe send a message FROM the intended address to: ComicBookNetworkEmag-subscribe@yahoogroups.com TO Unsubscribe send a message FROM the address to be dropped to: ComicBookNetworkEmag-unsubscribe@yahoogroups.com You may also unsubscribe from the Yahoo groups Web page at the short cut below. Shortcut URL to the Yahoo group page: http://groups.yahoo.com/group/ComicBookNetworkEmag All contents COPYRIGHT 2006 The Comic Book Network. This message may be reproduced only in its original form, and in its entirety, for non-commercial purposes. Contact the original author(s) or the Editor for permission to use individual items. Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/ComicBookNetworkEmag/ <*> To unsubscribe from this group, send an email to: ComicBookNetworkEmag-unsubscribe@yahoogroups.com <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ |
|
| << June17, 2006 - [ComicBookNetwork E-Mag] CBEM 579.4 |
June17, 2006 - [ComicBookNetwork E-Mag] CBEM 579.8 >> |
|
ComicBookNetworkEmag Archives Index
|
|
|
Archives powered by Zinester's Mailing List Service
Details on ComicBookNetworkEmag |
Browse for more newsletters at Zinester's Ezine Directory
Managed by Zinester's Mailing List Management |