As a kid, I remember sneaking downstairs at 10.30 PM (well past my bedtime as a young lad) in order to partake of the cheesy sci-fi goodness of Doctor Who on the local PBS affiliate. Tom Baker and that impossibly long scarf and impossibly large grin captivated me. The special effects were horrible, but to a small child, wonderful at the same time.

The Doctor was a mainstay of the BBC for 26 years, from 1963-1989 and recently boasts a successful revival (and enjoying a not-small measure of popularity in the States as well).

IDW Publishing is hoping that the success of the show is enough to spark interest in reprints of the Doctor Who Weekly series under the banner of Doctor Who Classics.

For the record, my interest is sparked.

The first issue features the unforgettable Fourth Doctor, and Dave Gibbons did/does a wonderful portrayal of Baker in the comic. Pat Mills and John Wagner capture/d the irreverence of No. 4 very well also, to the point where I can hear Baker’s distinctive voice saying (whispering, bellowing, almost-laughingly) the lines.

Really, if you’re a fan of absurd-yet-intelligent science fiction, you know about Doctor Who already and are a fan. If you’re not aware of The Doctor, then this would be an amazing introduction — even without an “origin” story, the book is an easy read.

Iron Man’s dickery has been a subject of debate amongst the more web-active of the comics community. The Civil War, cloning Thor, Captain America’s death, the death of Bill Foster (Goliath), Spider-Man’s One More Day, the shooting of Aunt May – all this can be laid either directly or indirectly at Tony Stark’s feet.

That’s a helluva lot of burden to carry.

This What If…? from Marvel takes place right after Cap’s funeral, when a Watcher comes to Stark and shows him a few alternate futures.

All of them show Iron Man what it would be like if he wasn’t a jackass. A couple of them are stellar futures — much unlike the current state of the 616 Marvel Universe.

My only beef with this book — the art is stellar, the writing crew outstanding — is that Stark didn’t change because of this. There was no growth because of the events of this book, at all. You’d think that Tony would be humbled, perhaps come away with some thoughts of how to do things in order to honor Cap’s memory and derail the belligerent attitude prevalent in 616…but no! You’d be wrong.

He’s still an asshat.

Are you buying Elephantmen? You really should be. A fiction built around a bipedal humanized hippo named Hip Flask is nothing to shake a stick at, after all. But more than that, Elephantmen touches on themes that tend to separate thoughtful, lasting fiction from the more pulpish varieties. Namely: What is Human?

War Toys is a 3-issue mini that looks to be detailing the war that the Elephantmen were used in — the cleansing of Europe by the Mappo corporation after a plague annihilated the population. In this, you can see the brutality of the transgened troops — and you can also see where one hippo hybrid starts to break free of the conditioning.

Really, Elephantmen is good to read however deep you want to go — Richard Starkings knows his craft, and plies it effortlessly across the pages. Artist Moritat can pack more action or feeling into one panel than most of his peers can in an issue.

I try not to comment on what I don’t like out there. There’s enough books for enough tastes that I’d much rather fill these pages with positives. Chances are, you see a book here and it’s one I liked. (Or it’s something I had a reaction to, good or bad)

But good lord. When Ed Brubaker killed Captain America, he proved that Cap was an integral part of the Marvel Universe, dead or alive. He proved that the moral integrity of the man was still viable, even in the dark and cynical world that the heroes are in.

In short, he proved that Cap’s still needed — in some fashion.

Then along comes David Morrell. He has a non-continuity story to tell featuring the Captain.

This isn’t good.

The first issue was pretty much straight jingoism, and that’s never healthy. The portrayal of a dying Cap, whose serum is breaking down his body has some potential — I won’t deny that — but as the issues have gone along the story’s just broken down. Do we really need to read more about Cap’s origin? Do we need to touch on Erskine and Bucky and 4F Steve Rogers again? I don’t think so.

The one redeeming factor in the book is how Cap makes mental contact with a soldier serving in the Middle East. The doubt the soldier has is done real — if a bit repetitive — and Cap admitting that he’s scared every day he went out with the costume on was done well . . . but that budding relationship, which really only starts to gel in this book (5 of 6), isn’t enough to save the comic.

Dollar bin, maybe.

I haven’t reported on this, because I’ve always thought of Keith Giffen as being free to work all sides of the comics industry, and it kind of bums me out to see that he’s now, well, not. He was responsible for the breakdowns on 52 last year as well as the Annihilation mini from Marvel. He’s done work for his own interests as well as the major work-for hires.

But now, he’s exclusively DC. A great move by DC, this brings a prolific writer with a fan following under the roof.

Newsarama has an interview with the Giff talking about his move. Well worth a read, because Giffen is one of the best in the business.

Frank Cho is an amazing artist, he really is. Liberty Meadows stands out as one of the few comic strips that is worth the time to track down, and his work for Marvel in the pages of Mighty Avengers has been great. (As well as his Shanna the She-Devil stuff). Cho works best with the T&A artistry, and with Ms. Marvel, Wasp, the Femme Ultron thing he’s had plenty of it recently.

There’s only one problem with Cho — he’s slow. The Mighty Avengers is running behind New Avengers by a good 2-3 months. Which is an issue when they are supposed to be running concurrent storylines. There is hope, however!

Mark Bagley takes over with #7, and he’s quicker than lightning on them comic book pages. Only problem will be is when he moves to DC next year, but at least this gives Mighty Avengers a chance to catch up with the anti-reg side.

Oh, this issue? It’s decent. It wraps up the Femme Ultron storyline and sets up the Secret Invasion for the Mighty side — as well as Illuminati #5. (I told you this was late). Next issue is a new arc, so if you haven’t read the book yet, skip this issue. It’s not worth grabbing the back issues for.

Immortal Iron Fist — yes, it’s Ed Brubaker and Matt Fraction. Yes it is amazingly detailed art by David Aja (assisted by Kano on pages 7-9 and 13-15 this issue). Yes, it’s a bleedin’ superhero.

Who gives a shit. Pick this book UP!

Buy the backissues in trade or floppy format — read ‘em on Marvel’s DCU thing. I don’t care. But for the love of all that is holy, this is the book to read. No. I don’t care if you don’t like superheroes. This transcends that. This is a book people will be talking about 10 years from now, so don’t miss your chance to go “Holy Shit” yourself and tell them yes you were there. You read it.

Direct enough?

Someone explain this to me. The original Marvel Zombies was a decently-fun romp, penned by Robert Kirkman (Walking Dead, Invincible) and drawn by Sean Phillips. It riffed off of a zombie Fantastic Four seen in Ultimate Fantastic Four, and was bloody enough to satisfy any zombie fan.

But then something happened. The Zombies ended up everywhere (as zombies are wont to do) — Black Panther, Fantastic Four, Army of Darkness vs. Marvel Zombies, Arthur Suydam variant covers to just about everything under the sun.

And now, volume two of Marvel Zombies is out there — has been for a couple months — and I’m still unsure on where the hell this popularity surge has come from. There’s a lot more zombie comics out there than any time in my memory (including XXXZombies — zombies infecting the porn industry. Yes, it exists — and no, it is not nearly as bad a book as it sounds).

I’m not a huge zombie fan, so I haven’t stayed abreast of the brain-eaters as much as I probably should have, given that a helluva lot of comics are out there or planned with zombies as a subject.

Anyway, Wizard Online has an interview with artist Phillips about Marvel Zombies vol. 2, which features this nifty quote:

I’ve been able to do whatever I like. No one has asked me to hold back. Although, with Spider-Man eating Mary Jane, I did keep it all off panel and very vague. It just didn’t seem right to show that.

As reported, 2000AD (home of Judge Dredd) is making individual issues available online. This differs — majorly — from the Marvel Digital Comics Unlimited offering due to the fact that the issues are available for download. That’s right, on your machine — you buy it, you own it (albeit in PDF format, not paper copy). It differs from DC’s Zuda offering because, well, Zuda is its own beast entirely.

This is well worth checking out — 2000 AD has been around for ages and Judge Dredd is one of the best characters created. Ever. Regardless of what you saw on the silver screen with Sly Stallone.

Newsarama scored an interview with 2000AD’s Matt Smith; Kristien Wendt, Director of Character Communications; and Clickwheel’s Tim Demeter about the upcoming online launch.

There are of course the obvious concerns of developing any online application like this, particularly ensuring the security of our users and protecting our own content, but on a less strictly technical end our prime concern lies with making sure we’re offering content that people want in a way that is intuitive and convenient. We know with the quality of content that 2000AD offers we have no worries in terms of product, but we are constantly innovating to improve the experience and we are already working on things far, far grander than what the public will see in our beta launch on the 19th.

The digital version of 2000AD is there to reach out to potential new audiences who may not be able to readily get the printed edition in their area or to younger readers who are used to getting the better part of their entertainment online. I know retailers lose sleep at the notion of comics online, but we feel the fans currently enjoying 2000AD in print will continue to do so and moreover we expect that the influx of new readers the digital version reaches will result in some of them opting to read the comic in print, actually increasing print sales.

Like I’ve said before, Rebellion (publisher of 2000AD) Gets It.

DARK HORSE COMICS

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IMAGE COMICS

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COMICS

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