June 30, 2008
June 29, 2008
Each of the three stories is 11 pages, including an introductory splash page featuring the narrator, "Time Traveler, emissary of the Enigma Force". The first story is "Timestream", and features explorer Arcturus Rann and his robot companion Biotron on the final day of their 1000 year exploration of the Microverse, when they encounter a long-dead world in the Force Nexus with a single resident, the armoured Galactic Defender. I'm sure all that makes sense to someone. Anyway, the point is that Ditko's art is well suited to this story, with lots of weird space scenes, alien landscapes and some especially good work on the Galactic Defender character, who rapidly ages once his helmet is shattered.
The previous story ends with Rann heading back to Homeworld, where the next story takes place. "Coup" follows the royal family of Homeworld, and lays out some of the events that lead to Baron Karza successfully executing the coup of the title, killing the king and queen, sending their children Mari and Argon on the run. The final story, "Arena of Death" follows two prisoners who had a cameo in the previous story, Price Acroyear and Bug, as they're forced to fight various beasts in an arena for the amusement of Baron Karza. Ditko does a good job with this combination sci-fi/fantasy milieu, and his style works well with the characters, who are pretty well designed for a bunch of toys.
Ditko also does a 2-page spread of the characters in the regular series, including Captain Universe, and plugging and upcoming appearance by the Fantastic Four and their old villain Psychoman, and does the cover for the issue. This is a surprisingly entertaining comic for something called MICRONAUTS ANNUAL #1, with 36 pages of quality Ditko pencils and inks. The introductory splash pages are especially well designed.
June 28, 2008
He made a brief return to that world for this profile page almost a decade after it was abruptly cut short (with one completed issue still not published, and I'm sure plans for more). A nice taste of just some of the stunning visuals that Ditko designed for the book.
June 27, 2008
Starman's a really nice Ditko design, as were his supporting characters, as this design with the vignettes in the background show.
I also really like Tanghal's inks on this one, which are a definite step up from his inks on the original run. He was okay then, but it's clear from this that he'd learned quite a bit (I'm sure spending much of that time inking George Perez helped), and this is just a gorgeous piece of work.
As I said, a favourite of mine, I've read it dozens of times and it never grows old. Fortunately, Ditko got the rights to Killjoy at some point, so this story, and the first Killjoy story from E-MAN #2 (which I read later, and isn't quite as good) have been slightly revised and reprinted a few times (REVOLVER ANNUAL #1  and THE DITKO PACKAGE #1 ). It's untitled in the original form, titled "Killjoy and Killer Ded" for one of the reprints. Ditko did a new Killjoy story a few years back, and while it had its moments, the magic wasn't recaptured (for one thing, Killjoy talked a lot...).
June 25, 2008
Great bold central figure, and while the story vignettes are a bit cluttered (and with off-register colour), they nicely capture the fantasy world that the creators had only began to explore when the series was cancelled.
On that same trip, they also ran into a failed actor who wrongly placed the blame for his failure on Robbie's mother. Donning a green mask, the actor tries to get Robbie out of the way and kill his mother at a theatre and then a theatre supply store, only to be thwarted by Robbie using the Masked Marvel powers that allow him to absorb kinetic energy and bounce a lot. Not great powers, but sufficient to defeat a Shakespeare-quoting nutjob.
None of the Speedball stories is really great, but the visuals are nice, with Ditko's rendition of his out-of-control bouncing.
Roger Stern scripts the story, and Jackson Guice inks.
June 24, 2008
June 21, 2008
Anyway, this story has the celebration of Darkseid's "mortis-nacht", which I gather from the vague text is the anniversary of his mother's death, and his head torturer DeSaad bragging to Granny Goodness that he's found the perfect gift for Darkseid by exposing a creature composed of pure love to one composed of pure pain. Unsurprisingly, this backfires on DeSaad.
Other than for the aforementioned curiosity factors, this isn't much of a story. Gray does a good job with what he's given in a few places (the large close-up of Darkseid on the title page is quite good), but a lot of the faces just don't seem right. I'm on the fence about the visual of the creatures of pure emotion. It's almost goofy enough to work.
June 19, 2008
I could never figure out if that spelling of "Fantastig" was just a very large typo or intentional. And if it is a typo, should it be left as-is in reprint (as Marvel does it) or corrected? Anyway, a great little splash for an offbeat story.
Amazing Adult Fantasy #12 
Amazing Adult Fantasy #12 
June 18, 2008
The 20-page story "The Birth of A Hero" presents the origin of the Destructor, as we meet Jay Hunter, a young runner for some small-town mobsters who's getting a bit too ambitious for his boss, Max Raven. As luck would have it, Jay's father is a scientist working on a serum which will maximize human senses, and dreams of using it to create a super-hero. Just as we get the exposition out of the way, a hit-man comes in to take out Jay, shooting both father and son. As his final act, Jay's father gives him the serum, which quickly improves his body to the point that it can heal the bullet wounds.
On the run from the mob, Jay finds a costume that his father had prepared for the super-hero he dreamed of creating, and takes the identity of the Destructor, using his new powers to disrupt the criminal operations of Raven, who finally calls in some expert help in the form of Slaymaster. The confrontation between the two costumed adversaries is arranged in the Giant Novelty Company warehouse (a mob front, of course, and conveniently full of giant clown heads and other body parts for better fight visuals). The Destructor is pushed to his limits by Slaymaster, finding out new things about how his powers work in the process, and eventually prevails. He then goes to confront Raven directly, only to see Raven killed by his own underlings, eager to take over his operations. Finally we get the old graveside vow, as Jay promises his father to continue fighting crime to make up for causing his death.
While there was nothing remarkably new about this series, stitched together from aspects of Spider-Man, Daredevil, Batman, the Creeper and others, it's a solid start to a series by a trio of top-rate pros, maybe not at the top of their games but certainly close to it. Ditko is pretty much without equal in the field of heroes moving with improbable gymnastics, and despite the obvious set-up of the novelty warehouse setting for the big fight, it's an effective visual. Slaymaster was also a good one-shot villain in the vein of the original Spider-Man series. Wood's inking as always add quite a bit, while usually leaving the essential Ditko elements in place. Unfortunately, the team was only together for two issues here, and only Ditko was left by the fourth and final issue, and the entire Atlas-Seaboard line ("21 Action Packed Full Color Comics!!", as one ad boasts, not to mention the B&W mags) was almost inevitably not long for the world.
June 16, 2008
June 13, 2008
June 10, 2008
June 3, 2008
Jim Shooter talks a bit about Ditko's return to Marvel and some of his 1990s work late in this interview. Parts of it are a bit self-serving and possibly inaccurate (I don't think "when I left Marvel they stopped giving him work" is right, since SPEEDBALL was well after Shooter left Marvel), but there's some interesting stuff there, like the explanation for Ditko dropping out of DARK DOMINION and how close they came to publishing Mr. A through one of Shooter's short-lived comic companies (and probably means there's yet more unpublished Mr. A sitting on Ditko's shelf).