Wednesday, September 28, 2016

TV Tie-Ins, Part XV : Cage #3





Someone needs to check the batteries on this 1991 Power Man series



I miss Luke Cage's flattop fade. I miss his "Sweet Christmas" catchphrase. I miss him wearing a giant steel tiara. I miss that open front disco shirt. And I even miss him holding up his pants with a length of chain.



I'm saying I miss this guy:





I know, I know. That's Luke right after his origin, born of white guy's imagining what a black superhero would be like. It was Blaxploitation, and I'm probably somehow a product of the culture of that time.



I still think he looks cool though.



I remember picking up those issues of Power Man and Iron Fist and thinking of how both characters worked outside of the realm of all the other hero books I was reading. Iron Fist was a white guy who embraced the wisdom and teaching of the Far East. Luke Cage was an ex-convict who now fought to keep the streets of his neighborhood safe while also working odd PI jobs to make ends meet.



These guys weren't Avengers material. The world they inhabited wasn't worried about Doctor Doom or Kang or Loki. It worried about street slashers and drug pushers and all manner of common REAL evils (usually with supervillains popping up here and there). And I enjoyed their tales all the more for it.



Not to mention the camaraderie shown between the two men. They really were two polar opposites who seemed best of friends.



After an altercation in 1986, Iron Fist supposedly died. Evidence was trumped up that made it look like Cage had killed his buddy, Luke was forced to relocate to Chicago. He was later cleared of all wrongdoing (and Iron Fist turned up not dead by reason of plant doppelganger) yet Luke decided to remain in Chi-town. Cage was the series that covered this portion of his life and filled in a backstory on Cage as a young gang member with past enemies who now wanted him dead.



I have to admit that this intermediate step between the original Power Man and the Luke Cage we see in New Avengers and Netflix didn't really enthuse me. The storyline from Marc McLaurin is so filled with unexpected flashbacks to build a new origin for Luke that they tend to clutter the narrative. Having C-lister cameos from Dakota North in each issue working to ALSO fill in Luke's past and to be a MacGuffin the bad guys need to acquire so THEY can find out Luke's past doesn't really turn me on either. In this two issue spurt, there's a Punisher cameo that has the flimsiest of explanations and a very unexpected ending. Like out of nowhere kind of unexpected.



To me it is poorly plotted.



And as it goes into issue 4, also badly dialogued. We'll get to that later.



The second nail in Cage's coffin is the art provided by Dwayne Turner and Christopher Ivy. Some panels work and some don't. I dig some of the character's facial features but there are moments where the art looks oddly distorted. And it doesn't help matters much that Mike Thomas uses such a heavy hand with his color selections. Take this first flashback scene.






All flashback scenes in the book are characterized by the backgrounds being warm reds, oranges and yellows. To say that makes them a "hot" mess is completely on the mark. They are also hard to look at.



I'll spare your eyes and tell you what we are setting up here. This is Carl Lucas, the youth who would become "Luke Cage." Lucas was a street tough running in a gang called the Rivals. With him is fellow gangmember and best friend Willis Stryker. The Rivals have a "West Side Story" thing going on with another gang called the Diablos.



Stryker in the past is the more level-headed of the two and pulls Lucas from the fray before he gets hurt or caught by the cops. Once home Lucas has to deal with the ire of his Father, a disabled ex-cop who wants more for his son than a life as a gangbanger.



These backstory pieces are integral to the over-arcing tale McLaurin is trying to create, but they don't appear to be well thought out or paced. This opening isn't bad, per say, but in this two-part Punisher tie-in we see them interrupt action sequences and good character moments in such a way that they take you out of the story instead of enhancing it. These just don't work for me due to placement.



Placement and that garishly bright color scheme.



The long game to this is Luke also has a straight-arrow brother. The brother thinks Luke's Dad would be better off not having to deal with Luke, so while Luke is incarcerated brother James lets Luke believe that his Father has passed away. He tells their Dad that  Lucas died in prison. Since Lucas has been going around in his Luke Cage alias, his Father is never the wiser. Private Investigator and "I almost had my own series" character Dakota North has uncovered some of this and a group called The Untouchables (oh, yes! We'll get to them) want the information she has on Luke as leverage.



For what, it isn't really clear at first, but the mystery identity of this man funding the Untouchables is what ties this all up.



Meanwhile, Luke is pulling a young lady by the name of Ana from an elevator that's been damaged by a blast from one of the Untouchables, Nitro. Yes, the same unstable explosive guy that set off Civil War. I hate him just for that very reason.




Ana works for the paper that advertises Luke's services under a deal that gives them rights to publish stories about his exploits. Dakota North works for them as well, it appears. It was North they were trying to snag before the elevator blast. No clue why they left without her.



And it is here that I start losing it on the art. I'm not sure who to blame for these panels. The pencils on the woman Luke is rescuing is amateurish in the extreme. Her head looks two-dimensional.

But what's more distracting is the colorist insisting on making the muscles in Cages legs look so weirdly shaded. And tone things down a bit too. So many dark solid colors doesn't allow for any of the subtle aspects of Turners pencils to even show. It's like a coloring book you've gotten back from a four year old.





And what am I to make of this? Part of me says that's a great shot of the Hulk. And then the other part says, yeah, but that's supposed to be Luke Cage. It is that mouth. Look at the size of it. He could swallow his own head.



I'm done picking at the art, but you see my problems here. Little distracting things getting in the way of enjoying the story. When the story decides to move forward, that is.



Luke rescues said lady from scary elevator and loose electrical wires. He has words with Dakota North and Ana basically saying they need to pay him for rescuing them and also that he isn't interested in taking any cases that involve finding the Untouchables. At the moment he's trying to help his young friend Troop find his parents.





Meanwhile, the Punisher is polishing his gun collection in this van outside the mansion where The Untouchables are training. Tombstone (from the Spider-Man books) is the only member not playing nice right at the moment, but these yahoos spend both books banging against each other almost as much as they do fighting Cage and the Punisher. Nitro and Tombstone being usually being the ones messing things up for everyone.



Our third baddie and leader of the troop is Hardcore, a supervillain known for his past in the porn industry. Okay, you got me. I have no clue what he is known for but it looks like leaping and jumping.



And speaking of things you do with your legs, teammate four is Kickback, a human with scientifically enhanced legs which give him the power of (wah-huh-ate for it!) Super Kicking (yah, you guessed that) and limited time travel (wait, what?). That's right: he can kick himself up to three minutes into the past. No, I'm not going to try and explain how big leg muscles equals time travel.



While the bad guys squabble and the Punisher eavesdrops, Cage is busy with Troop, his young client/protégé. They wander into a bank at the start of a robbery and this is probably the most enjoyable the book gets.

 

I like the quips and the attitude and the heroism. But all too quickly we are back to the mediocre "golden" days of Cage, done all up in orange of course. In the past he and Stryker get caught by the cops. When we return, this bit occurs that ends with Dakota North threatening to shoot Cage in the unmentionables.


 

The breaking down the door seems overlydramatic, by the way.



I have to admit that the more I look at the art, the more I make excuses for it. It isn't good, but it is a product of the "proto-90's" when extreme began to creep into every book made. And Turner appears to be trying to walk the fence between old-school Marvel style and the more extreme 90's style. It isn't working for me. It feels very off and I catch hints of proportion distortions that made that Brave and the Bold look so terrible.

However, I'm trying to like it. Really.



In the story, Dakota's associate calls up dropping a code word that he's been captured and forced to place the call. It is the Untouchables, of course, still looking for info on Cage. Info they could easily get in the next series of cut-scenes if they could stand what all these orange and reds will do to their eyes.



Since they can't, they are going to endure a beatdown at the hands of Cage and Dakota North.




But while Cage takes on Nitro and Tombstone, Kickback appears to have orders to nab Dakota. Which he does while all this brawl takes place leading to convoluted crap that only takes place in comic books.



First Tombstone tries to go toe-to-toe with Cage, which doesn't work out so well. See steel is harder than rock. Nitro is upset that he hasn't got a clear shot.





So Cage obliges him by getting Tombstone out of the way of a shot and into the way of Nitro's face. Now most people would blame Cage. Nitro isn't "most people," as we shall soon see. Nitro is special. Like short-bus special.



And speaking of not bright things, Tombstone and Cage have brawled their way through the building and out into the street where the Punisher is waiting.



Nitro wakes up and is becomes upset at Tombstone for Cage's action. I mean, Tombstone wasn't asking Cage to swing him around by his feet, so chill yourself, Nitro. But explosive isn't just his power, it is his whole personality, so he's off to mess up everyone. Also Kickback takes a shine to Dakota, apparently.




And the art takes a big step down. Those teeth are giving me more Brave and Bold flashbacks.



More silly plot contrivances occur to create fake tension and messed up action. Like Tombstone id'ing the Punisher and claiming he's the one behind the Untouchable's actions. (oh, and that "out of costume" remark by the Punisher? That refers to the time he was turned into a black guy. Reviews of those will be coming out soon.)




He hopes to turn Cage against him, but all he really does is get Cage to bash Tombstone into Frank's battlevan. Which Frank helps with for some reason.






Same way Nitro decides to explode North and Kickback because…I'm gonna let him explain.





Really, no help there. Lucky for us Kickback can move through time. Cage arrives just after the full page explosion thinking Nitro killed Dakota. Cage flips out, saying "No one dies!" over and over again, due to this past event where Stryker stabbed another kid. All of this pathos is followed by the Punisher drawing down on Cage because he somehow now believes this nonsensical train of illogic.

 

We exit with a one page Epilogue of a new Power Man catching a bad guy in the desert only to actually take the guy hostage as a setup for a future issue. A storyline which sounds better than everything in this issue.



I'm not a fan of these. The later shaved head Luke Cage stories, while more realistic and grittier, were infinitely better even if father from steel tiaras and chain belts. These are far too convoluted. And it appears I wasn't the only one who thought so as the Cage series only lasted a scant 20 issues.



Luke Cage would bounce back from this, of course, harder and stronger and now on Netflix as well. It wouldn't hurt for him to wear an open-front disco shirt once in a while though.

Sunday, September 25, 2016

October Horror-ible Halloween News!

Due to an overflowing Crapbox and an abundance of energy drinks, I am proud to announce that for the month of October 2016 the Crapbox will be going DAILY!

That's right: one new comic review a day!

There are just far too many Horror comics clogging up the pipe to pick just four to review. So I will be posting one review a day, spirits willing, showcasing the best and the worst the Crapbox has to provide where it comes to all things scary: 


Ghosts
Werewolves
Vampires
Zombies
Serial Killers
and all tales Odd and Frightening

Will these be Treats or will they be Tricks?

Only time will tell! 
So tune into the Crapbox daily in October for all things monstrous and Horror-ible!






Wednesday, September 21, 2016

Redblade #2





Sadly, someone decided this comic needed an actual plot

When last we left our favorite undead samurai dude and his half-naked witch-devil companion, they had just been transported to Earth. Yet their arrival to kick the butts of various demons was marred by the spell having reversed their sexes. As this issue gets underway, we dispense with that pesky issue by page five. Redblade and Vena are attacked by a demon (of course) and Vena magics them back as they were while Redblade pokes his sword through the offending imp’s skull.





Yay! The sex change thing was a throw-away joke and I’m glad the writer realized it. As Engetsu continues to cut his way through downtown, Redblade decides to take the battle to him.

Soon he’s hacking up demons with abandon, which is fine as long as no one in the audience remembers these were once regular people who have been enslaved by Engetsu. But enough thinking for now. Heyyyyy –Yah!



Vena comes down on Redblade for massacring hundreds of demon-people and acting recklessly. Seems they could be sent back to the earth-mother’s realm and would have a hard time returning or something. Redblade lays the verbal smackdown on her.



See, it is just like a buddy-cop movie. Meanwhile Engetsu’s monster-maker machine finds the suburbs. He’s just about to start demonizing people one subdivision at a time, when his computer system alerts him to Redblade’s pursuit. He fires off a demon-shaped shell that knocks Vena and our samurai out of the air. 



After crashing to Earth, Redblade takes the head off the shell-casing thinking it’s a foe. What it turns out to be is a cyclopean demon inside a hollow demon-shaped rocket shell. Who does Engetsu think he is? Cadbury-Schwepps? This new arrival trashes Redblade and shrugs off the worst blasting by Vena while saying how sorry it is to have to fight them.


So Vena patches Redblade up in some of the goofiest-looking magical Samurai armor I’ve ever seen and sends him back into the fray. He still gets a shellacking from mean-cyclops green. I’m not sure how it happened as any demon facing off against this outfit would surely die laughing.



Vena tries to take out the baddie and she gets knocked out. All the while, he’s complaining how he really doesn’t want to do it, but Engetsu is holding his daughter’s spirit hostage. Engetsu starts sucking people up with his giant demon processor, which leads to my only giggle of the whole mag.


I was hoping for a little resolution this issue, but nada is forthcoming. My assessment is that the additional good demon/bad demon subplot weighs this issue down. To recap: Redblade and Vena captured by a demon that acts like all reluctant and good guy-ish. He will likely turn on his master next issue. Engetsu murders thousands more people with no one coming close to stopping him. The Gorn (remember him?) makes an appearance this issue and it amounts to him gloating behind the scenes while rubbing his hands together. Kind of meh-tastic compared to the first issue.

But still a bunch of fun.