Biff Bam Pop! Celebrates 100 Years of Jack Kirby

Legendary American comic book writer, artist and innovator Jack Kirby would have celebrated his 100th birthday on August 28th.  To celebrate the life and work of Kirby, pop culture website Biff Bam Pop! will spend the summer featuring many of Kirby’s greatest character creations, books and publications, artistry and influence. Titled #Kirby100: Biff Bam Pop! Celebrates 100 Years of Jack Kirby, readers can look forward to a summer-long celebration of one of the most innovative creators of our time.

“Without Jack Kirby, comic books and pop culture wouldn’t be what we know them to be today,” says Biff Bam Pop! Publisher/Founder Andy Burns. “This is your invitation to join the Biff Bam Pop! editorial team and site contributors for a summer-long #Kirby100 party!”

If you can scan the litany of comic book characters that Kirby created or co-created you’d be certain to find dozens of your favourites. From the globally renowned Captain America, Avengers, Fantastic Four and X-Men series of characters, to the populace’s burgeoning awareness of Darkseid and Black Panther, to the more niche creations of Kamandi, Etrigan the Demon and Destroyer Duck. With Kirby, the list of great characters is unparalleled. 

Born in New York City in 1917 to poor, working class immigrant parents, Jack Kirby liked to draw from an early age. Self-taught, his art led him to the comic book industry in his late teens from which there was no turning back. The companies that Kirby helped immortalize between the 1940s-1970s included Fox Feature Syndicate, Timely Comics (later Marvel Comics), National Comics Publications (later DC Comics), Harvey Comics, Eclipse Comics, and many others. He even worked alongside two of the other greatest creators to ever be immortalized in comic book lore: Joe Simon and Stan Lee, and it was with them that Kirby created his most recognized works of comic book pop culture.

“For the decades that encompassed the Golden Age, the Silver Age, and the Bronze Age of comic book publishing, Jack Kirby, the King, was at the heart of it all. As an artist and writer, he instructed, he nurtured, and, most importantly, he entertained,” says Biff Bam Pop! Consulting Editor, Jean-Paul Fallavollita.

 #Kirby100: Biff Bam Pop Celebrates 100 Years of Jack Kirby kicks of today right here and runs all summer long at Biff Bam Pop!

Also don't forget to check out our regular columns:

The Wednesday Run on comics by Jean-Paul Fallavollita

The Ten Percent on film by K. Dale Koontz and Ensley F. Guffey

Creations of Chaos on animation by Sarah Hawkins Miduski

Pump Up the Jam on music by Less Lee Moore

True Crime Corner on serial killers by Loretta Sisco

By the Book on adaptations by James Knipp

Box Office Predictions by Andy Burns

Heroes and Villains on comics by Glenn Walker

Biff Bam Pop! was established in August 2008, Biff Bam Pop! is a website devoted to the world of pop culture, from comic books and video games, to movies, books, and music. Come check it out and stay a while at Biff Bam Pop!.

What Hydra Really Is

Those of you who follow my work know how I feel about the current comics situation with Captain America and Secret Empire. If you don't, my thoughts on Captain America as a Hydra agent can be found here, here, here, here, here, and here, and the new crossover event Secret Empire here and here. Suffice it to say, reality was warped and Captain America is, and always has been an agent of Hydra, and in Secret Empire he makes his move as a major super-villain and takes over the planet in the name of Hydra.

Much has been made of what Hydra is and isn't, with many folks equating this organization with the Third Reich and Nazism. When the group was created by Stan Lee and Jack Kirby for Strange Tales #135 in 1965, they were essentially a modern day group of adversaries designed for Captain America who could take the place of the Nazis he routinely trounced in World War II.

Later, in a series by Jonathan Hickman that retconned much of S.H.I.E.L.D.'s history as well as that of Hydra, the organization was described as ancient, East Asian, and having origins going back centuries before the Third Reich. Those of you who have watched "Marvel's Agents of S.H.I.E.L.D." are aware of this retcon when the team fought the extraterrestrial creature called Hive. Hydra moved even farther from its Nazi origins when the Marvel Cinematic Universe made a point of referring to them as the science branch of the Third Reich which broke off into its own thing.

But even if you want to play this retroactive continuity game, here are the facts. Baron Zemo, Arnim Zola, Baron Von Strucker, and the Red Skull were all Nazis. They are all fascists, anti-Semites, genocidal maniacs, bent on world domination. They have all worn swastikas. Is it a coincidence they are also all founders of Hydra? If it quacks like a duck, folks...

So, anyone who knows what a metaphor knows what I'm talking about. Hydra equals Nazis, no matter what anyone says, and Marvel should be ashamed to have their symbol of freedom, the superheroic icon who began his career by punching Hitler in the mouth, become one of them. His creators Joe Simon and Jack Kirby would be sick over this, and Marvel should do what is right - apologize, and sweep this whole demented Secret Empire concept away and forget it ever happened. And pray that your readers forget it ever happened.

Fantastic Four 2015

Fantastic Four ~ As a few of my friends have mentioned, like Andy Burns at Biff Bam Pop! and Skott Stotland at The Nerd Signal, this movie wasn't as bad as a lot of folks have been saying - but that said, it is still pretty bad.

Up front, this troubled production from co-writer/director Josh Trank is not a Fantastic Four movie in the traditional sense, nor is it any kind of superhero movie either. In the same sense that his highly acclaimed Chronicle was an anti-superhero movie, so is his Fantastic Four. Taking its cues loosely from the Ultimate Fantastic Four comics rather than the Stan Lee and Jack Kirby original stories, this is a tale of Reed Richards, played by the much-hated-in-some-circles Miles Teller. This socially awkward young genius is given the resources to build his invention, a dimensional teleporter, which has consequences that eventually transform his friends and colleagues into …something else.

Just as it sounds, this is more science fiction than superhero, and there's a little bit of horror here as well with overtones of the 1980s version of The Fly thrown in for good measure. Comparing it to the comics or the characters therein is a silly exercise at this point, because let's face it, Trank didn't even go there. Any resemblance to those sources appear to have been added later by the studio. Much like Chronicle, Trank appears to have gone his own way.

The characters, save Teller's Reed, are two-dimensional, their only personality being that overlaid subconsciously by viewers who know them from the comics. They are one note and we don't care about them. Reed on the other hand fulfills his destiny as a screw-up, perhaps more blatantly here than in the comics, and really engenders no sympathy beyond that. The acting is minimal, the special effects are in places, well done and elsewhere cartoony.

I have to say I liked Kate Mara better as Sue Storm than I did Jessica Alba in 2005 and 2007, and I'm one of the few apparently that liked those movies. With all the hubbub about the character's race change, Michael B. Jordan comes off rather well, but the Human Torch special effects while invoking the comics imagery look like bad animation after a while. The Thing is an effective, yet disturbing cross between the Nome King in Return to Oz and the rock creature in Galaxy Quest. Only Toby Kebbel's Doom, before transformation, radiates any real charisma, but that gets fixed pretty quickly.

Not only does much of the cast lack charisma, they also lack chemistry. While romantic intentions are hinted at, nothing is done, nor is it advanced. While I had been following along the science fiction story for the first hour or so of the movie, there is a point where it all falls apart, and that's where Doom returns from the other world - a weak pastiche of the Negative Zone called Planet Zero. Suddenly Doom is the bad guy, unmotivated, he is just evil. Cartoon fights ensue, and I checked out.

Again, Doom is inserted into the Fantastic Four origin. And again badly. He emerged from the other world covered in metal without a mouth, an actor, one of the more likable in the flick, now unable to act. The Thing and Human Torch are given similar handicaps. I found this surprising as one of the tropes of superhero movies (of which this is not) is the constant removal of masks so the actor can emote or show off their good looks. Yeah, I'm looking at you, Tobey Maguire.

There is one nice touch, a minor Easter egg, in the movie. The antagonist in the movie other than Doom, the government suit who tries to use the FF's powers for his own bidding is named Harvey Elder. Sharp-eyed hardcore FF fans know that this is the real name of the super-villain the Mole Man. Also look for the Deadpool trailer before the film, if you're looking for more Marvel content. There's not much, even Stan Lee stayed away from this one.

Unlike other Marvel-connected movies (although it should be noted, as a Fox film, this is not part of the Marvel Cinematic Universe), there is no after-credits or mid-credits stinger. As a matter of fact, I noticed that once the movie proper was over, people could not wait to get out of the theater. I did learn one surprising thing from the credits however. Minimalist composer Philip Glass (a favorite) did some of the score. I did like it and will have to go back and listen to it some more.

Did I hate it? Certainly not as much as my friend Ray Cornwall who eviscerates it on the latest episode of The GAR! Podcast, but I didn't like it. This was not a good movie, nor was it a good superhero movie, and it was most definitely not a good Fantastic Four movie. Not recommended. Wait for Netflix or cable if you must see it.

Arrow S03 E05: "The Secret Origin of Felicity Smoak"

Being a hardcore comics fanboy, I appreciated the comics title of this episode, and it's about time we learned the television origins of Ms. Smoak. Like many elements of our sister show "The Flash," Felicity Smoak comes originally from the pages of Firestorm comics. Much older and brunette in the comics, Felicity ran a software firm and eventually married Ronnie Raymond's father. Much like her TV counterpart, she was burdened with secrets as she knew that Ronnie was part of the Firestorm entity.

We open on a wonderful and intense training montage - Oliver and Roy, Laurel and Ted Grant, Thea and Malcolm - followed as Thea asks what normal people do in the morning, cut to Felicity doing sit-ups to the TV. Ray Palmer shows up, followed by her mother. Felicity is not pleased. Donna Smoak is Charlotte Ross, like Barry Allen's Grant Gustin, another choice from "Glee." Mom is so far from our girl, Ray asks if she's adopted. Also, why does Ray have to seem so slimy? Or is that just Brandon Routh?

After a quick flashback to Felicity's college days as a goth hacker whose boyfriend is a bit of a mad hacktivist (and obviously, maybe too obviously as we'll see, our villain of the week), the real story begins. The power grid of Starling City goes out and then only TV monitors come back on with an image of Sauron's eye delivering an ultimatum. It calls itself Brother Eye. I'm betting on the flashback boyfriend or his roommate, but we'll see. Either way, Emily Bett Rickards looks good goth.

Brother Eye is a machine with a long and storied past in the DC Comics, originally created by the great Jack Kirby. Brother Eye is OMAC's advisor, controller, companion. Originally OMAC stood for One Man Army Corps, but later versions have been translated as Omni Mind And Community and as Observational Metahuman Activity Construct. OMAC is, in most versions, a good guy who gets his incredible strength and other abilities from his machine cohort, usually an orbital satellite called Brother Eye.

In some versions of continuity, Batman created the satellite to keep watch over other superheroes in case they went rogue or became threats. This satellite was turned against him of course in the Final Crisis. So while OMAC began as a near future hero by Kirby, most folks of this generation might think of him as an anti-hero/villain. And that goes for Brother Eye as well. Here, on "Arrow," Brother Eye is more a codename for the cyber-terrorist threatening the city.

Felicity's discovery that the virus Brother Eye is using to attack Starling is one she herself wrote back in college is the thrust of the previews for the episode, so it's not really as much of a shock as it should be, but it still packs quite a wallop. I have to learn to stop watching previews. You too. Ignore the video at the end of this review.

When the roommate's name is revealed as Myron Forest (in the comics, one of Brother Eye's creators), we really know who's behind what. Or do we? He claims innocence, and apparently Felicity's boyfriend is dead. But let's face it, the dead boyfriend is always the last one you expect. Holy red herring, Batman, Lifetime this ain't. But really, what kind of NSA super hacker could this doofus really be if he thinks Felicity is just a corporate lackey? I mean, let's face it, Team Arrow isn't the world's biggest secret. He couldn't figure that one out?

Felicity is not having a good day. She and her mom aren't the best of friends, but it all comes together in the end. Speaking of soap opera content, Laurel and her dad are just as much at odds as Felicity and her mom. Thea and Oliver are trying to get along, despite her taking Malcolm's money.

The Arrowcave question I posed last time reared its ugly head. How long will Thea put up with a locked door in her nightclub, 'flooded basement' or not? There was also another Coast City name drop. And did everyone else love the Adventures of Robin Hood movie poster at Felicity's place?

There was an awesome end fight, beginning to drop into a Batman '66 pattern, where we know at twenty of the hour there will be a fight. I loved Arrow misdirecting the motion guns. Diggle definitely needs a better battle suit. And Roy's arrow through the bazooka was so good even he didn't believe it.

Now let's talk about that ending. Roy is dreaming he killed Sara? It does fit in that Sara seemed to know her killer. And he's throwing the arrows? Can he do that without the Mirakuru in his system? Maybe it's not out? Or maybe, just maybe, it's just a dream. Having already faced T.O. Morrow, Solomon Grundy, and Brother Eye - would an appearance by Doctor Destiny be that much of a stretch really?

Thor The Dark World

Thor The Dark World ~ Any Marvel movie at this point is an event, not just a promised blockbuster, but a legitimate mainstream event. Everyone wants to see the next big Marvel movie, and with the news this past week of Netflix's picking up five different Marvel Comics projects as live action additions to their streaming own line-up that includes "House of Cards," "Orange Is the New Black," and "Arrested Development," the next Marvel movie is big, and that movie is Thor The Dark World, a movie so big, it opened alone this weekend.

One thing I was happy to see, that even though the Marvel superheroes are now part of everyday pop culture and even your grandmom is aware of Thor, the powers that be aren't afraid to mine the source material for ideas rather than going off on a weird Hollywood tangent. One of the best Thor runs in the comics, other than the classic Stan Lee/Jack Kirby originals, would be the Walt Simonson run in the 1980s. Simonson did so much in his short run. He brought the character back to his roots, removed Don Blake from the equation, turned our hero into a frog, froze the planet, brought on both Surtur and the Midgard Serpent - and he also created Malekith and Kurse.

These two new characters were among the most powerful and dangerous the god of thunder had ever fought in the comics, making them more than adequate fodder for movie villains. I was more than pleased with former Doctor Christopher Eccleston as Malekith and Adewale Akinnuoye-Agbaje from HBO's "Oz" as Kurse, but I just wish they had had more to do and less make-up, as they're both terrific actors. In both cases, Kurse more so, the make up hindered their performances.

Sadly, what I said about source material goes by the wayside quite quickly. In the comics, Malekith releases Surtur and opens the Cask of Ancient Winters amongst other evils, but here, it is a mysterious aether that is the MacGuffin and magical weapon of choice. I really got the sense, especially when seeing that a different group of folks wrote the screenplay than wrote the story, that this was a plot from something else that had been transplanted into this Thor movie - sort of like how 1987's Masters of the Universe flick was a rewritten abandoned New Gods script.

Nevertheless, I like Thor The Dark World quite a bit. The cast was back in full force, and Chris Hemsworth seemed more comfortable in the title role this time, Natalie Portman was not as annoying, and as always Tom Hiddleston steals the show as Loki. I did think Anthony Hopkins looked a bit tired, and I was glad to see Idris Elba getting more screen time as Heimdall. I like Kat Dennings more every time I see her, sigh, I guess I'll have to break down and watch that "2 Broke Girls" show. I was also delighted to see Chris O'Dowd, as well as (spoilers) Chris Evans.

I really enjoyed the movie, despite it sorta taking a lighter, more Avengers tone than the first Kenneth Branaugh directed film. I liked the new language of the Dark Elves, I liked their spaceships, and their weapons, especially the space warp bombs. It was a bit of a distraction to have guns going 'pew-pew' and I freely admit to saying out loud at one point, "Coruscant is under attack, where're the Jedis?" Now, that said, the first movie made a concerted effort to explain that Asgard was not magic, but technology so advanced it appeared to be magic, so this does fit the Marvel Cinematic continuity.

Thor The Dark World was really cool, I'd see it again, and I'll definitely get it for home viewing when it comes out. I didn't think it needed much improvement, but female friends we ran into after the flick, as well as The Bride, all commented on the same thing regarding Chris Hemsworth. More bare chest. And butt, more butt. On that note, don't forget to stay for the after credits stingers, this time there are two.

Arrow S02 E04: "Crucible"

My mantra in the review of last week's episode was Who is the Black Canary? and now we know. For those of you who already know or figured it out on your own, you'll just have to wait a couple paragraphs, and for those who don't, you'll have to sizzle too. I'll get to it. All that said, I enjoy a little mystery surprise, and "Arrow" gave us a nice one to ponder last week.

Our opening has Oliver and Sebastian Blood parrying once again verbally. I know it's leading up to Oliver running for mayor just like in the comics, and I know that Sebastian is Brother Blood, but I'm just not finding this storyline all that exciting. Oh, we might get references to great inspiring dialogue by Denny O'Neil or Elliot S! Maggin about 'what one man can do,' but on the other hand, I highly doubt that Sebastian is going to pull out the prayer shawl of Jesus or call upon Trigon.

Meanwhile Felicity figures out that the Black Canary (though not yet named so) is following Laurel, not Oliver. Knowing this, our hero ambushes and unmasks her. It's the late Sara Lance, who supposedly died in the shipwreck that stranded Oliver on the island. At least it's a Lance in the leather, oh, and she knows Oliver is The Hood.

Cue painful memory music, and island flashback, it turns out Oliver knew she wasn't dead. On board the Amazo (the boat, not the one man Justice League), he encounters a Russian man in the next cell - will the Bat-connections never end? - it's the KGBeast. I guess we know where Oliver got the tattoo and Russian mob contacts now. And Sara is there too, but not in the way we expect...

Meanwhile a new villain has arisen from the ashes and wreckage of The Glades, a man who ironically calls himself The Mayor, a merciless sociopath who is carving out a territory and a reputation in the city. He's played by an actor I like a bit named Cle Bennett. The Mayor is running guns in Starling City. It seems like even after The Undertaking, Starling City is getting its groove back.

Diggle meets with Lyla of A.R.G.U.S. again regarding Deadshot. Summer Glau continues not to impress. I love her, but I just don't find her believable in this role. I just don't buy it. Laurel is drinking a bit and gets stopped by the cops. It seems that being demoted to beat cop has humbled Quentin Lance as he's now trying to make amends with The Hood and Oliver both. I have the feeling this is an interim episode, just moving the pieces around the board for the big strike.

After a heart to heart chat between Oliver and Blood that invokes the title of the episode, The Mayor attacks a Cash for Guns rally. Our hero saves Blood, but Sin is caught in the crossfire. As you might imagine, this launches both our ersatz Green Arrow and Black Canary at the same target. Yeah, fangasm, baby. Best parts of the clash are tied, when the two trade weapons, and when The Hood deflects a rocket with an arrow.

In the odds and ends department, we had a Jack Kirby shout out, as Marvel's King Kirby did a brief but brilliant stint on Green Arrow in the 1950s. On the bad side, I cringed at the continuity of Black Canary having black eye make up when her mask is on, yet it disappears when the mask comes off. Uncool.

In the end, we see The Mayor bound, but not by the police. He's needle injected with some sort of drug by a man in a weird mask. Remember what I said about the ability of this show to surprise? Yeah, baby, Brother Blood is here, and is that venom?

Next: The League of Assassins!

Doris Danger on ComiXology

I have only recently caught up with the world technology-wise. I have only had my iPad Mini a few months, and I'm still learning. And it's also only been a short time since I have been reading digital comics the, um, shall we say, the legal way.

ComiXology is my friend, my reding device, and the bane of my wallet, but it has been a new way for me to experience not only comics, but comics in a new way as well. It has also been a way for me to explore comics I might not have read otherwise or catch up on stuff I haven't read in a while. In other words, I do a lot of exploring on ComiXology.

Imagine my surprise when I discovered an old friend and his work there, and I purchased it right away. I'm talking about Doris Danger by the talented Chris Wisnia. Chris has been doing comics for a while now and I have been following him and cheering him on for most of that time, whether it's Tabloia, or Dr. DeBunko, or even Doris Danger, it is always a fun time reading comics. And really, aren't comics supposed to be fun?

Currently only Chris Wisnia's Doris Danger Giant Monster Adventures is available digitally, and some of the stories included are even specially formatted for optimal e-reading. I had read all the stories in the collection before, but still I was happy to not only have them all in one place, but also in electronic form.

This terrific e-comic is ninety-six pages of tales of giant monsters in the Atlas Comics tradition of the legendary Jack Kirby. Yes, Kirby homage is kinda old hat these days, but Chris was not only doing it before it was cool, he was (and is) doing it better than all the other guys. He's found that elusive groove between respect and humor with falling into insult or mockery. Each page is lovingly rendered and showing what was so cool about 1950s giant monster comics, both good and bad.

The book is described thusly: "As a teen, Doris Danger was abducted by a giant monster. Ever since, she's had a burning desire to prove the existence of giant monsters, but has been unable to prove her beliefs by snapping an indisputable photograph. While she has convinced many, she has also met many who doubt, who try to disprove, or even lie, manipulate, and cover up evidence. Doris Danger crosses the X-Files with the classic Lee/Kirby giant monster comics, with a little bit of Godzilla thrown in for good measure."

Chris Wisnia rocks these comics, that also feature fabulous pin-ups by artists you have definitely heard of like Russ Heath, Steve Rude, and Mike Mignola among others; and great letters columns and text pieces detailing the history of these amazing comics, both real and fictional.

I love these books, and whether you have or haven't experienced them before, you should definitely check out Doris Danger Giant Monster Adventures in electronic or hard copy form, and also stop by Chris' website to see all the other creative stuff he has going on, and Follow him on Twitter as well.

RIP Joe Kubert

Legendary comics creator Joe Kubert passed away this weekend at the age of 85. He was there back at the beginning of the Golden Age of comics, and was still producing work today. His legacy is carried on by perhaps the first and best school for comics creators which he founded and named after himself, and his two sons Adam and Andy, two of today's hottest comics artists themselves. We have truly lost one of the geniuses, one of the legends, one of the greatest contributors to the comics industry. Joe Kubert will be missed by anyone whose experienced his work, and that probably includes the entire comics field.

I first was introduced to Mr. Kubert at the Berlin Farmer's Market. There was a store there that sold comic books with the covers torn off, three for a quarter. The store is still there but it's much more expensive. I was a superhero guy, but at that price I could explore titles I wouldn't normally have picked up. In that way, I picked up comics featuring Tarzan and Sgt. Rock, illustrated by Joe Kubert. It was also through one of those Tarzan comics that I was turned onto John Carter of Mars and the rest of the Edgar Rice Burroughs fantasy universes.

Joe Kubert was my introduction into so many other worlds. His artistic vision and technique was unique in comics. Much like Jack Kirby, he was an original. There was no one who drew like him, but everyone wanted to and tried to draw like him. Still to this day, if Tarzan, Sgt. Rock, Viking Prince, Enemy Ace, Tor, Ragman, even Hawkman and Hawkgirl, are not by Kubert - my mind will automatically say that's not the real thing. Those characters, and many many more, are the trademark, the realm, and the legacy of Joe Kubert.

We have lost perhaps one of the greatest in comics. We are all in mourning.

Thor

Thor ~ This Marvel Comics film is one of conflicts and contrasts, most of them terrific. If you loved the Stan Lee and Jack Kirby comics, and even the Lee and John Buscema comics, you will be swept up in a world conjured by those stories. Some of the themes and explanations have changed, but unlike a lot of things the DC Comics have done, these changes are for story logic.

There's a rough beginning where astrophysicist Natalie Portman's Jane Foster (an odd job change for her character but it works in the context) is looking for an anomaly and ends up hitting Thor with her car. When we're hooked, we're hit with the real beginning. The wonderfully cast Anthony Hopkins as Odin clues us in to the origins of the Norse gods as beings of superior science and technology, which we perceive as gods and magic. We meet the family, his sons Thor, about to ascend the throne, and his darker brother Loki.

More great casting comes with their friends the Warriors Three. I love Josh Dallas who is the de facto substitute for Cary Elwes in parts the original is too old and chunky for. The main roles of Loki and Thor are also perfect cast. Tom Hiddleston has the correct slinkiness and sneakiness in his voice and physical stature. And nobody else could ever have played Thor better than Chris Hemsworth in my opinion.

There is one bit of casting that seems to have caused a controversy in some dark corners of our world, and that is Idris Elba as Heimdall. Some racists have made a big fuss about the character being African-American. Now if these were truly Norse gods, one could make the argument that the Norse would perceive their gods as like themselves, as in white skin. But it should be noted in the context of the movie, the Asgardians are not Norse, they may not even be human, and can be of whatever race. Just because the Norse thought Heimdall was white doesn't mean he is. Add to this Elba's amazing performance, and I have no problems at all.

It's just like Lawrence Fishbourne being cast as Perry White in The Man of Steel. There's nothing that says he isn't, or can't be. I think there are a small handful of characters who are definitely of one race or another. Established African-American characters can't really be white. For instance you just couldn't do it with the Black Panther or Black Lightning (and not just because of the names), but Blade could very well be portrayed as white. Of course you will get an argument from me on Wonder Woman. Sorry, Beyonce, but Wonder Woman is Greek. But enough on this sidetrack, suffice it to say, Idris Elba's Heimdall is one of the highpoints of the flick.

Once Odin's explanation of the universe is over we move to a very special occasion - Thor becoming his replacement as king of Asgard. The ceremony is ruined by a break-in by some Frost Giants trying to steal back the Casket of Ancient Winters. Thor wants to attack the Frost Giants and start a war, and his father disagrees, seeing this as a bad kingly decision. Like a good spoiled brat prince, Thor gets his brother and his friends together, and off they go to Jotunheim to rumble with the Frost Giants.

This is Lee/Kirby/Buscema made live on the big screen. This sequence is among the best of the flick. I love it and can watch it over and over again. I know the story of Thor is him on Earth, but man oh man, what I wouldn't give for a Thor in Asgard chilling and killing with his friends movie. Note should be made of the movie Asgard. The realm Eternal is a glorious place, not necessarily that of the comics, but a beautiful vision of futuristic and mythic society. Comparisons could be made to the cityscapes of the first Star Wars trilogy (one of the few things I liked about those movies). And take note, DC Comics, the awe inspired by Asgard is what viewers should have felt when they saw Oa in the Green Lantern film.

After attacking the Frost Giants, Odin has had it with his spoiled brat of a son, and banishes him to Earth to learn humility, just like in the comics, and we come full circle in our movie story. Following a weird light anomaly in the sky, Jane Foster - along with her scientist friend Erik played by Stellan Skarsgard and her intern Darcy (Kat Dennings) - whacks our exiled thunder god with her car. Some great fish out of water scenes follow, and we soon learn that the first anomaly Jane detected was Thor's hammer falling from the sky as shown in the post-credits scene in Iron Man 2. Nice continuity there, Marvel.

Natalie Portman's Jane Foster is a bit of an anomaly herself, going from nurse in the comics to astrophysicist here. The job change needed for both story logic and because Thor's human alter-ego of Dr. Donald Blake doesn't really exist in this tale, although the name does pop up as an Easter egg for comics fans. Jane really only exists here as a romantic foil for Thor. Her mentor has all the keys and her intern does all the work. I would have rather had Jane have all the answers and the intern be her sounding board. Skarsgard wasn't really needed here. Please give me strong women in the movies made from the comics, if not the comics, ya know? Jane Foster could have been that character.

There are great scenes at the hammer drop site of folks trying to lift it, including one with creator Stan Lee. While Thor plays fish out of water on Earth, and SHIELD takes over the hammer site, Loki takes over the throne of Asgard. Loki also sets his sights on bringing all the realms to their knees, and sends the Destroyer to, what else, destroy Thor. Also, Avengers fans, don't miss the fifteen second cameo by Jeremy Renner as Hawkeye the Marksman. When the Warriors Three come to Earth, it's total coolness, though I wish more had been made of it. The same goes with the battle with the Destroyer. When the only real complaint one can have is that I wish there was more of it, that's a good thing. When is Thor 2 again? And, geekgasm, how about a Lady Sif and the Warriors Three movie?

Things are beginning to resemble a Thor comic at this point, and that's a good thing - because it works. Director Kenneth Branagh has succeeded in repeating the magic with which Jon Favreau brought Iron Man to the big screen. He brings what made the comics special to the screen. Thor is near perfect. Along with the original Iron Man and Captain America which followed Thor in July, it's a perfect trinity of Marvel's greatest characters.

This bodes well for 2012's Avengers movie. And speaking of which, don't forget, as with all Marvel movies, don't forget to watch the post-credits sequence with more foreshadowing of the Avengers film. Thor is easily one of the top ten, perhaps top five, superhero movies of all time, do not miss.

Aquaman Returns

My friend Rob Kelly is a guy with a lot of passion. Whether it’s his work or his hobbies, he puts everything he has into it. Case in point – his brainchild the Aquaman Shrine. His love and respect for the Aquaman character knows no bounds and his passion to see Aquaman get the props he deserves is phenomenal.

When the sea king, in his most classic and recognizable form, was set to return in the pages of The Brave and the Bold, Rob set up a campaign to make sure as many folks as possible were both aware of and ordered the issue. Even here at Welcome to Hell I supported the effort.

Yesterday Brave and the Bold #32 came out, featuring the classic Aquaman and Jack Kirby’s The Demon, and here’s my review...

Writer J. Michael Straczynski has been rolling throughout time and space in the DC Universe with his tales in Brave and the Bold, and this issue marks the subtitle on the cover ”Lost Stories of Yesterday, Today and Tomorrow” to further ensure he wouldn’t be hindered by continuity. Sometimes the complicated soap opera mythology of comics gets in the way of telling stories. If you want to read good stories and worry about that tangled mess – JMS’ Brave and the Bold is for you.

This issue, illustrated by frequent collaborator Jesus Saiz, is no different. This done-in-one story brings the classic Aquaman together with The Demon to stop a decidedly Lovecraftian elder entity from entering our dimension. An excellent short story, “Night Gods” tells the tale of Whitford Crane who is trying to find out if he’s insane or not by digging up his friend’s grave. When captured he relates the story from his point of view. The first two pages have the feel of the old 1970s DC horror comics. I could almost see the Phantom Stranger appearing next, but instead it’s the rather odd pairing of Aquaman and the Demon.

The unlikely duo get together once a year to stop this invasion of an elder god into our world, and poor Whitford is stuck in the middle. While Lovecraft is more in the Demon’s field, the focus is actually more on Aquaman. As a man of the sea himself, Crane has a healthy respect for Aquaman, and his narration lovingly paints him as the dynamic hero he is. The sea king’s underwater fighting prowess and especially his telepathic powers are displayed breathtakingly.

I agree with Rob wholeheartedly that this is the Aquaman we want, and hopefully sales on this issue should tell DC Comics how much we feel this. And even if you’re not an Aquaman fan, or even a comics fan, Brave and the Bold demonstrates what good storytelling is all about. Definitely check it out. Highly recommended.

Doris Danger Is Back

SLG, formerly Slave Labor Graphics, will be publishing Chris Wisnia's 96-page digest-sized comic, "Doris Danger Giant Monster Adventures," this November (Diamond Previews #SEP090572).

It features a cover by Shag, inks by Dick Ayers, and pin-ups of giant monsters by Arthur Adams, Mike Allred, Gene Colan, Peter Bagge, Ramona Fradon, Dave Gibbons, Russ Heath, Los Bros Hernandez, Mike Mignola, Tony Millionaire, John Severin, and Bill Sienkiewicz. And the inside of course is filled with the genius of Chris Wisnia.

An authentic rip-off of the Kirby-style giant monster genre, Doris Danger is a photo-journalist who, as a teen, was abducted by a giant monster! Ever since, she's had a burning desire to prove the existence of giant monsters, but has yet been unable to prove her beliefs and snap that indisputable photograph! Along the way, she has met many others who believe, as she does, in giant monsters! She has managed to convince many, foremost of them, her boyfriend, former astronaut Steve Wonder! And she has met many who doubt, try to disprove, or even lie, manipulate, and cover up evidence!

Join everyone's favorite Tabloid photo journalist as she encounters giggling scientists, a fezz-wearing cult, the Monster Liberation Army, FBI "G" Division, robots disguised as African tribesmen, actors disguised as robots, menacing mannequins, hillbillies, and GIANT MONSTERS!

Doris Danger crosses the X-Files with the famous Lee/Kirby giant monster comics (with a little bit of Godzilla thrown in for good measure) to create a fun and exciting read.

NOTE: This issue collects most everything from Doris's Tabloia Weekly Magazine appearances, Doris Danger Seeks... Where Giant Monsters Creep and Stomp!, Doris Danger Greatest All-Out Army Battles, Doris Danger in Outer Space, and Doris Danger Seeks... Where Urban Creatures Creep and Stomp! But SMALLER THAN EVER (digest-sized 5"x7 1/2")! It's a "MUST-HAVE!"

Get it here!

Wednesday Comics Are Here

I love comics. Anyone who knows me knows that. We all have our hobbies, our obsessions, our passions. But how often does something happen within that interest that you are just compelled to tell everyone about it? And I mean everyone. For me, and for comics, that happened this week.

It’s called Wednesday Comics, and it came out on, duh, Wednesday. You might remember me talking about this before, a few weeks back. Then it was just an item of interest that I had not personally seen yet, only heard about and seen a few previews of. Now that I have it in my hands, I am stunned. This is the coolest thing to happen in comics (and maybe in print) in years.

This is not just the return of Sunday color adventure comics, it’s not even just the return of comics on newsprint. DC Comics has done both of those things, but they filled it with the best work they had to offer. This is amazing.

Kyle Baker’s Hawkman is stunning. Neil Gaiman and Mike Allred have recreated the Silver Age Metamorpho perfectly. The Flash is the peak of sequential storytelling. Great to see a jet age Green Lantern, it’s the era he was created for. Father and son Kuberts do Sgt. Rock, just as husband and wife Palmiotti and Conner give us a delightful take on Supergirl, Krypto and Streaky. Dave Gibbons and Ryan Sook pay homage to Hal Foster’s Prince Valiant with Jack Kirby’s Kamandi just as Paul Pope does the same for Alex Raymond’s Flash Gordon with his Adam Strange. It’s just beautiful.

And for those of you for whom that last paragraph means nothing, don’t worry. The best thing about Wednesday Comics is that it’s non-continuity. In English, that means it’s mainstream – it’s accessible to any readers new or old. If you’ve been reading these things forever or if you wouldn’t know a Teen Titan from Tony the Tiger, you’ll still enjoy this.


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