Hasslein Blog: April 2017


Hasslein Blog

Saturday, April 29, 2017

Trumping the Future

By Rich Handley

Today, my son and I watched a story about a corrupt, sexist, bullying billionaire who rose up in power without having earned his own wealth, to become a dangerous, womanizing douchebag who used his money to control and manipulate. He married three women, all of them beautiful, the third of whom, though very clearly unhappy with her lot in life, remained subservient to him out of fear because her financial stability and that of her children fully depended on it. He looked ridiculous, with reddish-grey, straw-like hair combed over very stupidly; he treated women like property to molest; he used a propaganda machine and lots of spectacle to keep his followers ignorant of his true motives by pandering to their baser natures; he exhibited a small vocabulary and tended to misuse phrases when he spoke, indicative of a low IQ and poor education; and he erected an overly tall building and lived in its elaborate penthouse, very clearly to compensate for having an inadequate manhood. A megalomaniacal land mogul and political figure, he had strong ties to organized crime, gambling and vice. He was ruthless to his enemies, without actually accomplishing anything or working an honest day in his life. He hated scientists and youths who questioned authority, and the only thing that ever mattered to him was his own gratification—which he walked all over others to achieve. In short, he was a fascist, dishonest, corrupt piece of shit who needed to be taken down before he could do any further damage to the population over whom he held domain.

Then, after we finished watching Back to the Future Part II, we watched a news report about Donald Trump.

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Thursday, April 20, 2017

The British Star Trek Newspaper Strips—Fully Reprinted At Last

By Rich Handley

There's satisfying feedback, and then there's satisfying feedback.

As some of you know, I've been working with IDW for the past few years to reprint all of the old Star Trek comic strips from 1969 to 1973 and 1979 to 1983. One of the talented artists on those strips was a man named Mike Noble. A mutual friend, Lee Sullivan, helped me arrange for Mike to receive copies of these books, which reprint his 40-plus-year-old work.

An example of Mike Noble's wonderful artwork from 
the 13th U.K. storyline, "Mutiny on the Dorado."

Lee told me today that Mike is very happy with how the books came out—and specifically with the introductory materials I wrote. That alone justifies all the work that went into writing them. I'm a great fan of Mike Noble's beautiful artwork, so knowing that he thinks we did justice to his legacy is something I'm very proud of.

As it happens, I received a PDF of the fifth and final volume (two volumes reprint the U.S. strips, three for the U.K. strips) just last night, to review prior to printing, and it looks fantastic. The third British volume collects strips that, back in the 1960s, were printed in such a way that they came out a bit muddy and dulled, so I was worried that this volume might not look as impressive as the others. Silly me. I needn't have worried, as IDW's Library of American Comics (LOAC) imprint cleaned them up extremely well, just as they did for the previous volumes—they look far better than I could have hoped.

Volume 1 reprints storylines #1-7 (Joe 90: Top Secret issues #1-34), storylines #8-13 
(TV21 & Joe 90 issues #1-38), storylines #14-17 (TV21 issues #39-64), and the 
Joe 90 Top Secret 1969 annual, with an introduction by yours truly.

The book is now off to the proofreader and then the printer, which means my role in this five-year project has come to a close—which both excites and saddens me, as this was something I've actually been trying to make happen for about 15 years or so. My thanks to IDW's Chris Ryall for giving me the greenlight back in 2012, and to LOAC's Dean Mullaney for doing such an amazing job of restoring these strips. The work Dean and I have done on these books has been a truly enjoyable collaboration that has culminated in friendship, and I'm going to miss it (though not for long, as I'm now working with Dean on another project—reprinting the old Star Wars comic strips from the L.A. Times Syndicate).

Volume 2 collects storylines #18-24 (TV21 issues #65-105), storylines #25-30 
(Valiant issues #1-42), and the TV21 1971 annual, with more supplementary 
materials by some hack named Rich Handley.

For many years, I'd never met a single Star Trek fan besides me who owned a complete run of these old newspaper and magazine strips. Now, thanks to the efforts of Chris and Dean, thousands of fans have the strips on their shelves, and I can actually discuss them with other comics enthusiasts, which is much better than being the only guy on the block. It was my honor to be involved in making it so.

Finally, the upcoming third volume reprints storylines #31-37 (Valiant issues #43-118),
 the TV21 1972 and 1973 annuals, the Mighty TV Comic 1978 and 1979 annuals, 
the 1972 Valiant Summer Special, a Radio Times issue, and additional strips from 
Larami's Star Trek Space Viewer, the Kenner/Chad Valley Give-a-Show Projector, and more, 
with a Star Trek cover gallery and more supplementary materials from that Handley fellow.

Eaglamoss will soon reprint a portion of the UK strips as part of its Star Trek Graphic Novel Collection, and I've been privileged to be a part of that project as well (as discussed here). Eaglemoss has been doing a phenomenal job of repackaging these and many other Star Trek comics from throughout the past five decades, and I'm thrilled to see the U.K. strips being included in that set of hardcover books. Since Eaglemoss is a British publisher, it's only fitting that the strips would end up back in print in the land that first spawned them.
Eaglemoss is reprinting part of the U.K. strips from IDW's U.S. reprints 
for Eaglemoss's U.K. audience. It's Trekception at its finest.

After remaining Star Trek's most obscure comics series for decades, the British strips are finally getting their time in the spotlight. It's much deserved, and IDW, The Library of American Comics, and Eaglemoss have done fans a great service in making them widely available at last.

Gaze upon how cool that looks.
Go ahead... gaze upon it.

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Sunday, April 9, 2017

Vampirella #38

By Matthew Stephen Sunrich

By the time I started collecting comics, Vampirella had been absent from the racks for about six years.

The original series ended with issue #112 in 1983; its companion magazines Creepy and Eerie held on for another couple years or so before James Warren, owing to health problems and other concerns, decided to close up shop. The property was subsequently acquired by Harris, which handled a variety of periodicals such as Guitar World, when it was auctioned off, but the company didn't begin publishing new Vampirella material until 1991.

Fan reaction to the stories, which were published in color comics rather than black-and-white magazines, was mixed, but the books sold fairly well. Drakulon's favorite daughter reached the peak of her popularity in the late 1990s when "bad girl" comics, oddly, became a thing, and many prominent writers, including Alan Moore and Kurt Busiek, contributed to her adventures. Harris held onto her until 2010, when it surrendered the lovely vampiress to Dynamite.

Admittedly, I had never found the character particularly worth looking into. For one thing, unlike the throngs of quasi-pretentious geeks/community-theater actors who played White Wolf's Vampire: The Masquerade roleplaying game around that time, I had never thought much of undead blood-suckers. In Bernie Wrightson: A Look Back, I found that the famed horror artist's opinion mirrored my own. "They tend to be snotty," he remarked, "and like being vampires." Other than Marvel's Morbius (who became a vampire as a result of a failed experiment), it didn't seem that vampires were ever looking for a cure. As Wrightson expressed, they didn't appear to have a problem with their condition, and they even possessed a certain "coolness" factor that reminded me of the popular crowd in high school. Remember that Ray-Ban commercial where the vampires are immune to sunlight because they're wearing designer shades? Ugh. (Trivia: The concept of vampires' being killed by the sun originated in F. R. Murnau's 1922 film Nosferatu, not in Dracula, the novel of which it was an unauthorized adaptation. While Dracula was weakened by daylight, it was not fatal to him.)

I knew virtually nothing about Vampirella; my opinion was based on the images I had seen in various magazines such as Wizard and Previews, which, like a lot of the art in 1990s horror comics, tended to be kind of gross (one cover has her lasciviously bathing in a fountain of blood) and over the top. I assumed she was a "standard" vampire, who just happened to be scantily clad and sexy, rather than an altruistic, non-undead superhero devoted to ridding Earth of evil monsters, who came from a planet where blood was akin to water (this version of her origin was later retconned, but the principle's the same). Interestingly enough, Trina Robbins, who designed Vampirella's costume, told Comic Book Artist in 1999 that a teacher with whom she once coffee had grown up enjoying the original magazine but had been "horrified and repulsed" by what she had seen in recent publications.

What I perceived as Harris' mishandling of the character kept me away for a long time, but I became curious when Dynamite released a paperback compilation of her original stories in 2013 (over 500 pages, culled from the first 37 issues, for a very-reasonable $25). Being a fan of Bronze-Age horror magazines, I felt that I needed to at least give the gal a chance. And, man, am I glad I did! I discovered a treasure-trove of fantastic material and became a fan immediately. I picked up the new series by Nancy Collins and Patrick Berkenkotter that started a few months later and found it to be likewise excellent, though in entirely different ways.

Since then, Vampirella has become one of my favorite characters, and I have collected most of the magazines (either in their original form or in reprint compilations such as the excellent Vampirella Archives) and all of the comics Dynamite has released.

For those of you who don't know, Vampirella was originally conceived as nothing more than a horror hostess. During the early 1950s, EC Comics found success with Tales from the Crypt, The Vault of Horror, and The Haunt of Fear, hosted, respectively, by the Crypt-Keeper, the Vault-Keeper, and the Old Witch. When Warren started its line of horror magazines, it borrowed this idea, giving readers Uncle Creepy, Cousin Eerie, and Vampirella (if you find it unfair that the women are outnumbered, you might want to check out DC's oft-overlooked Bronze-Age gem The Witching Hour, in which all of the stories are hosted by females). After a handful of issues, the editor decided that Vampirella was falling short of her potential by merely bookending stories and deserved a feature of her own.

Warren's magazines were anthologies, featuring several stories by several creative teams per issue. By the time Vampirella established itself, every issue included a tale starring the vampiress along with several others, some of which were parts of series but most of which were standalone stories. The themes in Vampirella's stories varied. Sometimes she'd fight monsters. Other times she'd face evil wizards or alien invaders. Her adventures were an interesting mixture of horror, fantasy, and science fiction, which reflected the genres that Warren's magazines made extensive use of (while it's usually associated with horror, many stories were sword & sorcery, science fiction, or weird western). The artwork was consistently spectacular, executed by such greats as Jose "Pepe" Gonzalez, Gonzalo Mayo, Esteban Maroto, Jose Ortiz, Alfredo Alcala, Luis Bermejo, and Rafael Aura Leon (Auraleon).

I selected #38 (November 1974) to discuss both because it's the earliest full issue in my collection and because it contains a mummy story, which is of particular interest to me. The issue comprises six tales, and, like most of Warren's magazines of the period, it's a great-looking package. The cover, by Manuel Sanjulian, is a real beaut; it possesses many of the attributes that made classic horror so compelling, juxtaposed with Vampi's stunning figure. (I was born too late to enjoy Warren's mags during their original run, and I envy readers who were able to get this much awesomeness for a mere dollar at the local newsstand month after month. Granted, a dollar was a lot more money back then, but comics are four bucks these days, and they arguably aren't as good.) There was a major Universal Monsters revival going on at the time, coupled with the fact that the Comics Code Authority had finally relaxed its standards, leading to a resurgence in monster comics (it should be noted that magazines were not forced to adhere to the Code, which is how Warren and its ilk were able to flourish). It's hard to deny that, for a horror magazine, Vampirella had a touch of class.

Vampirella starts things off with "The Mummy's Revenge," by Flaxman Loew and Gonzalez. Vampirella's most prolific illustrator, Gonzalez uses many different techniques in his storytelling. Here, he juxtaposes light and dark (not unlike the Renaissance artist Caravaggio) to create a feeling of endless dread within eerie catacombs. You can almost smell the dust and decay as the undead emerge from their niches. (Am I the only one who likes the smell of old comics?)

Touring Italy's Museum of Antiquities, Vampirella encounters a young antiquarian named Bruno Verdi. She accepts his invitation to dinner, and after the meal he takes her on a tour of the catacombs beneath the city, where untold thousands of souls were lain to rest. The vampiress soon realizes, however, that Verdi has left her to be torn apart by the undead, including the mummy of Ptolemy, who, strangely enough, is a vampire. With the help of Amun-Ra, Vampirella escapes and heads to Verdi's apartment, where she gets her revenge by feeding on his blood. He and the mummy, which is still back in the tomb, simultaneously crumble to dust, and Vampirella, when questioned about her evening, humorously remarks that her date "went all to pieces." (This may seem corny, but horror and humor have gone hand in hand for decades. The EC stories almost always ended with the host's dropping a pun or two, a tradition which has been picked up by the new quarterly Warren pastiche The Creeps, which I will no doubt write about eventually.)

Mummies have been popular fixtures in horror fiction since the 1800s. The discovery of the strangely intact tomb of Tutankhamen by Howard Carter in 1922 brought immense public attention to the discipline of Egyptology, and the mystique of perfectly-preserved corpses from millennia ago compelled even more writers to pen horrific tales of the risen dead. (H. P. Lovecraft even ghost-wrote a story for Harry Houdini called "Imprisoned with the Pharaohs," which is definitely worth checking out.) The new medium of film made the prospect of such tales even more promising. Universal and Hammer each produced their own versions of the mummy story, and there have been numerous others since then. Marvel published The Living Mummy in the pages of Supernatural Thrillers in the early 1970s, and all of the horror magazines featured bandaged abominations at one time or another. For Vampirella, mummies are just another kind of monster, nothing to write home about, although the revelation that she was, in fact, Cleopatra in a previous life adds more weight to the story. Exactly how she was supposed to have been born on alien planet and also undergone reincarnations on Earth is a question better left unasked.

Five more excellent tales follow.

Gerry Boudreau, Carl Wessler, and Maroto give us "Gypsy Curse," in which a rich count marries a gypsy maiden but succumbs to a terrible curse when he chooses to mistreat her. Maroto is another of Warren's most skilled artists. His airy ink work, combined with his phantasmagoric layouts, imbues his stories with an almost dreamlike aspect. It is interesting that the "gypsy" is a stock character in fiction (as a fortune teller and/or dabbler in magic of questionable ethics), but to the Romani, to whom the term refers, it is often considered a slur. Because of this, it is used far less frequently these days, but it's hard to deny the appeal of the image of an old, cloaked woman residing in a tenebrous wagon parked in the forest, ominously prognosticating with her tarot deck.

"Lucky Stiff," by Boudreau, Wessler, and Ramon Torrents, is the curious story of a mild-mannered office worker who becomes bewitched by the gorgeous new file clerk. Readers are given a glimpse into the possible, horrific outcome of their rendezvous, but he never reaches her house because fate has other plans. The archetype of the "crazy cat lady," which has become so popular these days, is flipped on its head in this yarn, and we are given just a hint of the twisted world of the girl in the office who seizes the attention of every man who crosses her path. Not unlike the hapless sailors enchanted by the sirens' song, they are bound to be undone by their own appetites.

Next, John Jacobson and Felix Mas offer up "Out of the Nameless City." Fans of H. P. Lovecraft will immediately recognize his fingerprints in this tale, and there are several things taken directly from his work. Set in 1926, the year Lovecraft's groundbreaking "The Call of Cthulhu" was written, this story concerns an actor believed to be the key to the resurrection of ancient gods and the man who tries to stop it from happening. This story's execution, viewed both as a pastiche and a story unto itself, is practically flawless.

"On Little Cat Feet," by Jacobson and Auraleon, is a tale of bizarre witchcraft. When an elderly landlady kicks a witch out of her boarding house, the sorceress, having transformed herself into a cat, returns to seek revenge. But she finds that her former roommate, a sculptor, has a bizarre way of creating her statues. There is quite a bit of humor in this story, but there are also moments that are bound to make readers chuckle in "self-defense" because it's hard to know what to make of them. Warren's magazines often feature particularly weird stories, and this is definitely one. It makes you wonder how on earth the writer came up with it.

The issue concludes with "Trick of the Tide," Jack Butterworth and Isidro Mones' short-but-sweet yarn of a treacherous man named Gabriel Greaves who earns money fishing corpses out of the Thames and the waterlogged corpse of a woman he murders for her husband's money. Not surprisingly, things do not turn out terribly well for him. Let's just say that he learns the hard way that being an opportunist can have dire consequences.

Matt Sunrich, a great fan of the Bronze Age of comic books, maintains two blogs: The Other Other Castle, about Bronze-Age sword and sorcery, and Forging the Dark Knight, concerning Bronze-Age Batman.

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