All things considered, Steve Ditko has had a pretty strange career. I mean, he co-created Spider-Man and Dr. Strange and Squirrel Girl, and went solo to create the Question, Blue Beetle, and Shade the Changing Man, and even nowadays, he's still going, quietly producing creator-owned work from a studio in Manhattan. But that stretch in between is where it really gets weird. In the '80s and '90s, he did everything from Mr. A to Chuck Norris Karate Kommandos. And then there was the Missing Man.
In a career that was full of characters so odd that one of them was even called Odd Man --- and he lived up to the name, I assure you --- the Missing Man might have been the weirdest. And as the name implies, it's not what's in the stories that's so weird, it's what's not.
It's never the wrong time to read a Jack Kirby comic, but with the King's birthday coming up in two weeks, now is a better time than most. Of course, the big problem there is trying to narrow it down --- Kirby's career did, after all, span six decades and involve some pretty prolific major work --- but really, when you want to read Kirby comics, you want to go for the big stuff.
And there's nothing bigger than Darkseid finally launching his attack on Earth, a battle so titanic that it took the combined forces of the Justice League and their most diabolical villains to repel it. It's the most titanic battle possible, on the grandest, most cosmic scale!
Except for the part where, you know, it doesn't actually happen.
I haven't really watched any of DC's current television offerings, but to be honest, I'm actually pretty impressed with what I've heard. It seems like they're really going for it in a way that Smallville only ever did in its final season, going right to these big, weird superhero stories right out of the gate. I mean, if you'd asked me a year ago, I would've told you that there was no way we were ever going to see a telepathic talking super-gorilla show up on the CW's version of The Flash, and yet, here we are, living in a world where Gorilla Grodd is starring on a live-action TV show.
With that in mind, I'm guessing that we're only one, maybe two seasons away from TV's Green Arrow meeting up with Xeen Arrow, the hundred foot-tall alien Green Arrow from another dimension, a character who may in fact be Jack Kirby's strangest co-creation.
If you've read one Astro Boy story, then the odds are pretty good that it's 1964's "The Greatest Robot On Earth." It's considered to be a high point not only for Astro Boy, but for Osamu Tezuka's career, a massive, sweeping story full of Earth-shattering fight scenes and a villain who, despite his horrible acts, isn't entirely evil. It was even revived as the basis for 2003's Pluto, one of the greatest comics of all time, where Naoki Urasawa retold the story as a murder mystery from an entirely new perspective. It is, by any measure, one of the all time greats.
But let's be real here: Why would anyone ever talk about that comic when the very next volume has a story where Astro Boy fights Lord Satan in an amusement park full of robot deathtraps?
I've written before about how a lot of the fun of reading Golden Age comics is in seeing people who have no idea what they're doing scrambling to figure out the limits of a whole new medium, but if you ever need definitive proof that it was the Wild West back then, just flip through the pages of 1942's Scoop Comics.
It's the home of an early superheroine called Mother Hubbard, and if you haven't heard of her, don't worry. I hadn't either, until I read about her in Jon Morris's League of Regrettable Superheroes, and I think he said it best: "Back then, everyone in a cape and cowl fought a few Nazi masterminds. Only Mother Hubbard confronted a race of gnomes who pried the eyes out of children's heads with a crowbar!"
You might not realize it, but we're currently living in a Golden Age of licensed crossovers. I mean, really, you can go out right now and pick up a comic about the Ninja Turtles hanging out with the Ghostbusters and it'll be a rewarding experience that ties in logically to both ongoing series about those characters, and when you really think about it, that's mind-blowing. There was, after all, a time not too long ago when the big boom brought us a new installment of Such-and-Such vs. So-and-So almost every month, and getting excited for any of them was almost always a recipe for disappointment.
Except, that is, for the time Frank Miller and Walter Simonson decided to do a book about RoboCop fighting the Terminator and gave us the greatest crossover of all time.
This week, Boom Studios --- which, in the interest of full disclosure, is a company I've done some writing for --- announced that they'd acquired the rights to Power Rangers with plans to launch a new series sometime this year. It's pretty exciting news, but at the same time, the news about a bunch of teenagers with (shockingly positive) attitudes coming to comics always gets me a little bit down, because it reminds me of one of the biggest missed opportunities in the history of the franchise.
See, this isn't the first time that the Power Rangers have made an attempt at conquering the world of superhero comics, and there was a time when they only made it through one issue with a story that was more notable for the books that it advertised and never came out than what happens in the issue itself. The year was 1996, the comic was Power Rangers Zeo, and the man who had the license... was Rob Liefeld.
If you're not familiar with Max Alan Collins and Terry Beatty's Wild Dog, the simple explanation is that he's DC's version of the Punisher. I don't know if that's exactly what they were inspired by, but it's hard not to look at the two characters and see a pretty huge influence in Wild Dog and how he works, especially when you consider how popular the Punisher was getting in the late '80s.
The thing is, Wild Dog doesn't really feel like he's meant to be an equivalent as much as the product off someone reading comics about a perpetually grumpy vigilante who runs around with a giant skull on his chest and saying, "Well we can do something weirder than that."
Ever since I wrote about how great Stan Sakai's Usagi Yojimbo is a few weeks ago, it's been the only comic I want to read. As a result, I've been re-reading the entire run, and it occurs to me that even though I wrote at length about how great it is, I might've actually undersold it a little bit. I mean, I talked about the craftsmanship, the accessibility, the commitment to historical accuracy and the effortless way that it's blended with myth and legend, the instantly engaging characters and all that stuff, but when you get right down to it, that's only part of what makes that comic so great.
I mean, I didn't even mention the time that Usagi fought Mothra and summoned the King of All Monsters. That seems like something worth mentioning, right?
I've never been good at playing fighting games, but when I was growing up, there were few things in this world I loved more than Street Fighter. I think I've mentioned this before, but my first memory of actually trying to make a comic was when I was ten years old and I drew the junkyard fight scene from Batman #425 and replaced the bad guys with Blanka and Dhalsim, and really, you can draw a pretty straight line from that to where I am today. I've even written a tiny little bit of Street Fighter comics myself, and I am still very much a person who thinks karate guys throwing fireballs at each other is the highest form of art.
Of course, they didn't exactly make it easy for us to like Street Fighter back then. The games were great, sure, but if you wanted a little more story about it on this side of the Pacific, your options were pretty slim. There was the movie in 1994, and the cartoon that was somehow a sequel to it, but if you wanted to see those characters in comics, you had only one choice: Malibu's Street Fighter --- the comic so legendarily rough that it was canceled after three issues with an apology from the publisher.
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