Friday, September 7, 2007

An (Alternate) Opening to a Blackmoor Campaign

CAMPAIGN START
It is unusual for any of you to be riding in a wagon train, but the circumstances of this trip are most singular. Each of you was recently in trouble with the law in either the Town of Blackmoor or the Town of Vestfold. For your particular crime, you faced anything from a few days of imprisonment to death by execution. But, before you could see a magistrate, you were each interviewed by the man you now share a wagon with.
“The Fetch,” as he called himself, was a sharp-featured man with a long, pointed nose, a dark, straight brow, and black hair. He offered each of you a choice – face your judgments, or come do him a favor. Nothing further was explained – until now.
“I chose each of you because you have unusual abilities, a low profile, and a willingness to take risks. There is something…amiss in the Village of Gomchut. I am sure that, if I sent my people, they would not find anything. I need a wild card to play, something that will stir things up in Gomchut without chasing anything away. Your job is to stay in Gomchut and find out what is amiss there. Until such time as you do, you are exiled from the Towns of Vestfold and Blackmoor and not to return to either on penalty of death. You can report to Bram von Cartlandt, the head enchanter at Gomchut Keep, with any progress you make. But do not expect help from him. In a moment, you will be on your own.”
With that, The Fetch taps the shoulder of the wagon driver and the driver calls for a halt. He reins in his draft horses as the drivers of the wagons in front of and behind yours do likewise. You rode alone with the Fetch and his driver, but the other two wagons held heavily-armed guards just in case your compliance had to be forced. Now the Fetch is asking you to climb off the wagon. “You’ll walk from here, to draw less attention to yourselves than…well, I am sure you will draw enough attention on your own,” he ends with a smile.

Fletcher “The Fetch” Willems, master thief: AC T 10.
8 heavy cavalrymen.
1 driver/theurgist.
1 driver/curate.

Q & A with the Fletch:
Q: “Who do you work for?”
A: “That is no secret. I am in the employ of Arch-Duke Bestmo. I …fetch people for him.”
Q: “Does this mean we work for the Arch-Duke now?”
A: “No it does not. You work for me, and even then unofficially.”

THE HEMPLAS ROAD
Stretching from the Town of Vestfold to the Town of Lake Gloomy south and west of it, the Hemplas Road is dry sanctuary from the marshlands that surround it along much of its length. The road itself is atop a raised earthen mound about 40 ft. wide and 5 to 10 ft. higher than the marshes below. There are milestones, but many are missing and you usually pass a milestone only once ever 3-4 miles. Tall, skinny trees grow in rows on either side of the mound. Scattered trees and shrubs dot the marshes. The marshlands had been gently rolling down to the south and east where they feed into Noord Wiet Lake, but up ahead the land flattens and rises to a level, grassy plain. This grassy plain is more like a pass, though, as you are passing through the 4-mile stretch between Noorden Lake to the north and Zuidelik Lake to the south. Noorden Lake is the closer, coming as close as a mile away from the road. Zuidelik Lake is slightly lower in elevation that Noorden, and the Zuidelik is fed by several streams flowing south from the Noorden. Where the streams cross the road, the road continues over them via wooden bridges. By each bridge is a wooden watchtower which typically houses 1-4 lightly armed and armored sentries. Such light security seems remarkable, considering that horrible island, the Egg of Coot, is less than 70 miles north of here.

ENCOUNTERS ON THE ROAD #1: Four miles from Gomchut, the PCs intercept, by chance, 5 kobolds crossing over the road from north to south. The kobolds have abandoned the Caves of Chaos and are looking for work elsewhere, but it will be very difficult for the PCs to learn this, as the kobolds most likely know none of the party’s dialects.
5 kobolds: AC 12 (hvy hide); MV 20’; HD 1+2; hp 9, 8, 7, 6 (x2); #At 1 pick; Dmg 1d10; SA magic stone 1/hour; STR 13, INT 8, DEX 10, CON 14; AL NE; XP 30 each; 3 1/2’ tall spirit-folk with red eyes, flat, broad black noses, slimy skin, scaly tails, and double-jointed arms. Treasure: 10 cp, 18 sp between them.
ENCOUNTERS ON THE ROAD #2: Two miles from Gomchut, the PCs see a man riding a pony toward them. He introduces himself as Arjan the Sentry, Patroller of the Hemplas Road. He acts not at all surprised to learn of monsters crossing the road this close to Gomchut, but volunteers to accompany the PCs back to Gomchut to help keep them safe. Along the way, he quizzes the PCs about their capabilities. Arjan is actually the leader of a small group of roadside thieves lurking just a mile outside Gomchut.
Arjan the Sentry, bully: AC 16 (b&g, helm, padded, shield, DEX); MV 30’; T 2; hp 8; #At 1 spear or 1 hand axe; Dmg 1d6; SA thief skills – after removing armor; STR 13, INT 11, WIS 10, DEX 14, CON 12, CHA 13; AL CN; XP 30; 5’9” tall human with sandy blonde hair, crooked nose, and clean-shaven. Treasure: 1 gp, 5 ep, 9 sp, 8 cp.
ENCOUNTERS ON THE ROAD #3: Arjan’s bandits are hiding in the ditch to either side of the road just a mile outside Gomchut. They wait for a signal from Arjan to attack. They have a 4 in 6 chance to surprise.
Arjan’s 5 bandits: AC 15 (hide, shield); MV 30’; F 1; hp 8, 7 (x2), 6 (x2); #At 1 club or 1 hand axe; Dmg 1-6; STR 13, INT 8, DEX 12, CON 11; AL CN; XP 20 each. Treasure: 7 sp, 15 cp between them.

Thursday, September 6, 2007

Comic Book Archives Year-by-Year

The rules of this game are to find good (if not the best) reprint volumes (of consecutive issues) to represent each year since Superman first appeared, without using two volumes of the same title or series in a row. Note in parentheses is publisher, or OOP for Out Of Print.

1938: Superman Archives, vol. 1 (DC)
1939: Superman: the Action Comics Archives, vol. 1 (DC)
1940: Shazam! Archives, vol. 1 (DC)
1941: Will Eisner’s Spirit Archives, vol. 2 (DC)
1942: Plastic Man Archives, vol. 1 (DC)
1943: Batman Archives, vol. 3 (DC)
1944: Will Eisner’s Spirit Archives, vol. 8 (DC)
1945: Plastic Man Archives, vol. 4 (DC)
1946: Batman Archives, vol. 5 (DC)
1947: All-Star Comics Archives, vol. 7 (DC)
1948: Will Eisner’s Spirit Archives, vol. 17 (DC)
1949: All Star Comics Archives, vol. 10 (DC)
1950: Masterworks Series of Great Comic Book Artists, vol. 1 (DC, OOP)
1951: Marvel Masterworks: Atlas Era Heroes (Marvel)
1952: World’s Finest Comics Archives, vol. 1 (DC)
1953: Tor Archives (DC)
1954: Showcase Presents: Superman Family, vol. 1 (DC)
1955: World’s Finest Comics Archives, vol. 1 (DC)
1956: Challengers of the Unknown Archives, vol. 1 (DC)
1957: Flash Archives, vol. 1 (DC)
1958: Superman: the Man of Tomorrow Archives, vol. 1 (DC)
1959: Sgt. Rock Archives, vol. 1 (DC)
1960: Legion of Super-Heroes Archives, vol. 1 (DC)
1961: Sgt. Rock Archives, vol. 3 (DC)
1962: Marvel Masterworks: Fantastic Four, vol. 1 (Marvel)
1963: Marvel Masterworks: Amazing Spider-Man, vol. 1 (Marvel)
1964: Marvel Masterworks: Avengers, vol. 1 (Marvel)
1965: Marvel Masterworks: Amazing Spider-Man, vol. 3 (Marvel)
1966: Marvel Masterworks: Captain America, vol. 1 (Marvel)
1967: Marvel Masterworks: Fantastic Four, vol. 6 (Marvel)
1968: Marvel Masterworks: Silver Surfer, vol. 1 (Marvel)
1969: Marvel Masterworks: Fantastic Four, vol. 8 (Marvel)
1970: Essential Avengers, vol. 4 (Marvel)
1971: Essential Amazing Spider-Man, vol. 5 (Marvel)
1972: Essential Doctor Strange, vol. 2 (Marvel)
1973: Essential Hulk, vol. 4 (Marvel)
1974: Essential Marvel Team-Up, vol. 1 (Marvel)
1975: Essential Marvel Two-In-One, vol. 1 (Marvel)
1976: Essential Howard the Duck, vol. 1 (Marvel)
1977: Essential Nova, vol. 1 (Marvel)
1978: Essential Peter Parker, the Spectacular Spider-Man, vol. 1 (Marvel)
1979: Marvel Masterworks: X-Men, vol. 1 (Marvel)
1980: New Teen Titans Archives, vol. 1 (DC)
1981: Marvel Masterworks: X-Men, vol. 3 (Marvel)

Not George Washington Review

Not George Washington is a novel P.G. Wodehouse co-wrote before his more famous Jeeves and Wooster stories, but I can still hear the voice of Hugh Laurie playing James Orlebar Cloyster (and can imagine Stephen Fry as Briggs, if he could suffer a part so small). The novel is billed as an autobiography, which makes it seem odd that a) the novel is co-written by Wodehouse’s friend, Herbert Westbrook, b) the novel is narrated by four different characters, and a) that the main character of Cloyster is a cad and a bounder. Since the whole book skewers the literary field of London circa 1904, I suppose the “autobiographical” part is not to be trusted, though the introduction assures us that much of Wodehouse’s early experience as a writer is on display here. The curt narrative of the long-suffering girlfriend Margaret leads the novel and only serves to endear her to the reader and make Cloyster look all the more caddish later when he’s prepared to dump her.

The real highlights of the novel — and all the fun — come during Cloyster’s narrative, with the satirizing of cash-strapped Bohemia, Cloyster using his early rejection slips for wallpaper, and the assemblage of quirky characters he meets during his bachelor days, including the ever-napping Julian Eversleigh and John Hatton, the rollerskating reverend. Eventually, Cloyster becomes almost ridiculously successful as a writer (it would be unbelievable if Wodehouse himself had not become so successful), but his world falls apart when he decides to hold onto it longer without telling Margaret he’s well-off enough to marry her now. His deceptions, both of friends and self, soon lead to conspiracies (orchestrated by the other narrators) against him that, while not as funny as the earlier part of the novel, are certainly well-deserved. And yet all ends well. Well, except maybe for Margaret. Her prize at the end hardly seems to justify the three painful years she spent loyally pining away for her bounder of a boyfriend. To the modern audience, her treatment probably seems rather sexist. Also uncomfortable is the then-more-acceptable romance between cousins (Julian and Eva) and the …I’m not sure what to make of the scene in the men’s club – the Barrel — Cloyster attends. It reads to my modern sensibilities to be the start of a gay orgy, but the English audience of 1907 may have read it more innocently than that. Still, quibbles aside, it was a fun, easy read that left me thinking about my own literary ambitions afterward.

Favorite Comic Book Titles by Year - pt. 2

1972- Mr. Miracle (2)(runner-up: New Gods)
Mr. Miracle was not consistently good by any means, but it had some great stories.
I actually have nothing from 1973!
1974 – Batman
Batman was part-new stories and part-reprints at this time, and the reprints were much better!
1975 – Avengers (runner-up: Amazing Spider-Man)
Steve Englehart “woke up” the Avengers to greatness again, especially towards the end of his run.
1976 –Howard the Duck (runner-up: Amazing Spider-Man)
And then Steve Gerber’s hilarious social satire seemed to spring out of nowhere and fade just as fast.
1977 – Avengers (runner-up: Amazing Spider-Man)
When your rotating artists include John Byrne and George Perez, how can you go wrong?
1978 – Marvel Team-Up
An off-year for Marvel with a B title like this is your best, but Claremont and Byrne were already showing what they could do together here.
1979 – Avengers
The writing baton passed to David Micheline and the Avengers just started getting even better!
1980 – Avengers (runner-up: Peter Parker, the Spectacular Spider-Man)
And his stint continued with gems like this: http://daveslongbox.blogspot.com/2005/06/avengers-198-marvel-comics-1980.html
1981 – Fantastic Four (runner-up: Avengers)
But then you’ve got John Byrne taking over the FF, writing, drawing, AND inking, and then you’ve got Nirvana. This is the title that changed me from a comic book fan to a fanatic.
1982 – Fantastic Four (runner-up: Avengers)
Byrne was wrapping up his back-to-basics approach by now and creating a title where characters actually changed and grew over time! An insanely novel concept for superheroes, circa 1982.
1983 – Fantastic Four (runner-up: Avengers)
More fantastic issues of Byrne’s master run.
1984 – Fantastic Four (runner-up: Mighty Thor)
Byrne gets real experimental with the FF, but it works.
1985 – Fantastic Four (runner-up: Mighty Thor)
I liked it better when Byrne was doing his own inks, but it’s still great.
1986 – Fantastic Four (runner-up: Avengers)
And here’s a taste of how good it was: http://daveslongbox.blogspot.com/2006/09/fantastic-four-290-marvel-c
1987 – Avengers (runner-up: West Coast Avengers)
Byrne is gone from the FF and it slumps. Roger Stern, who taught Byrne much of what he knew on writing with style, has meanwhile pumped up the Avengers to amazing levels.
1988 – Avengers (runner-up: Fantastic Four)
Stern’s run ends with a bang mid-year, followed by a less-inspired, but still good run by Walt Simonson.
1989 – Sensational She-Hulk (runner-up: West Coast Avengers)
Byrne ran with Stern’s efforts to make She-Hulk interesting and made her funny, innovative, and for (only) 10 issues, a must-read.
1990 – Fantastic Four (runner-up: Incredible Hulk)
Simonson left the Avengers for the FF to start one of his best stints ever, including one of the best sci-fi epics in comics – the Black Celestial Saga (http://the-isb.blogspot.com/2006/08/unmitigated-radness-of-walt-simonsons.html)!
1991 – Fantastic Four (runner-up: Incredible Hulk)
Simonson’s run ends in controversy, but still highlighted by innovation (http://www.time.com/time/sampler/article/0,8599,104312,00.html ).
1992 – Bone (runner-up: Justice Society of America)
And then, suddenly, superheroes didn’t matter so much anymore. Editor-in-Chief Tom Defalco had flushed Marvel down the toilet and DC was only starting to come into its own again. On the fringe of comicdom was the greatest independent comic of all time (http://www.boneville.com/bone/bone-history/ )!
1993 – Bone (runner-up: Justice Society of America)
Bone peaks, and comic book-dom has still not found a way to surpass it.
1994 – Bone (runner-up: Batman Adventures)
Bone begins to turn a little darker, and DC is gaining fast, riding the success of one of the best TV shows of all time, Batman: the Animated Series.
1995 – Bone (runner-up: Batman Adventures)
The year I actually discovered Bone (with back issues and trade paperbacks snatched up as quickly as I could find them).
1996 – Bone (runner-up: Kingdom Come)
Mark Waid and Alex Ross make one of the best superhero stories of all time, and it still couldn’t beat the magic that was Bone.
1997 – Bone (runner-up: Kurt Busiek’s Astro City)
Nor could Kurt Busiek dethrone Bone!
1998 – Bone (runner-up: Marvel Universe)
…But, by now, the magic was starting to wear thin on Bone. It was still good, but the “Rock Jaw” story arc never reached greatness.
1999 – Tom Strong (runner-up: Bone)
Alan Moore has never been better than when he tried his hand at optimistic comic books (though he could not keep his cynicism out of it for long).
2000 – Meridian (runner-up: Bone)
Very promising fantasy/super-heroine series from CrossGen – the company that kept its promises for about the first two years.
2001 – Ruse (runner-up: Bone)
This could easily have been Mark Waid’s best series ever if he had kept at the level of the first three issues, but problems at CrossGen kept Waid from trying harder.
2002 – Usagi Yojimbo (runner-up: Bone)
Time for a nod to the incredibly long-lived and incredibly good story of a samurai rabbit that has not been off my top ten list ever since I discovered it.
2003 –Jack Staff (runner-up: Bone)
From across the pond, Paul Grist showed us an amazingly nonlinear method of telling a superhero story.
2004 – Fantastic Four (runner-up: Bone)
I thought it couldn’t be done after so long, but Waid managed to make the FF relevant again with his amazing “Hereafter” storyline.
2005 - Usagi Yojimbo (runner-up: Knights of the Dinner Table)
The rabbit never gets stale, as “The Treasure of the Mother of Mountains” shows that Usagi can be used in any number of epic adventures.
2006 - Agents of Atlas
More fun than a comic book with so much cussing in it has any right to be.
2007 - Shazam: Monster Society of Evil
Not exactly Captain Marvel, but more like Jeff Smith dressing up characters from Bone and Pogo in superhero costumes -- still a lot of fun.
2008 - Spirit (runner-up: Tiny Titans)
A workman-like stint by esteemed funnymen Mark Evanier and Sergio Aragones, no doubt intended to show their range and instead showing their strength lies in humor.
2009 - Justice Society of America (runner-up: Tiny Titans)
Geoff Johns' swan song on the JSA is a testament to how charming the superhero genre can be.
2010 - Tiny Titans (runner-up: Traveler)
Art Baltazar's super fun tribute to the Fun in Comics.
2011- Tiny Titans
Aw yeah!
2012 - Tiny Titans
Tiny Titans is canceled and the comic book industry, in essence, died.

Addendum:
...Well, I thought that was the end of things for a time, but then I got into Batman: L'il Gotham late in 2013. It reminded me of the continuity-lite Batman Adventures based on the TV series.  And then Steam Wars, the steampunk version of Star Wars, came out from Antarctic Press in 2014. So maybe the industry isn't quite dead yet....

Wednesday, September 5, 2007

Favorite Comic Book Titles by Year - pt. 1

1937 – Detective Comics (Bruce Nelson)
Of the serialized features I’ve seen reprinted in pre-Batman issues, Bruce Nelson’s oriental intrigues were the best drawn and most interesting.
1938 – Action Comics (Superman)
Creativity and raw, primal energy bursts off every page of the super-vigilante/activist, Superman.
1939 – Action Comics (Superman)
Superman is already starting to be changed by his own success, but is still great. (runner-up tie: All-American Comics for Scribbly and Smash Comics for Black X and John Law)
1940 – Whiz Comics (Captain Marvel)
Quickly eclipsing Superman, the more colorful, more fun, and more powerful Captain Marvel (runner-up: Batman)
1941 – Whiz Comics (Captain Marvel)
The ingenuity that was disappearing from Superman by now was all turning up here. (runner-up: Action Comics for Superman)
1942 – Detective Comics (Batman)
…But for the best rogues gallery, that was shaping up to be Batman’s. (runner-up: All-Star Comics for JSA)
1943 - Police Comics (Plastic Man)
After an uneven first two years, Plastic Man finally became a joy to both look at and read. (runner-up: All-Star Comics for JSA)
1944 – Police Comics (Plastic Man)
Consistently fun and funny. (runner-up: Spirit)
1945 – Police Comics (Plastic Man)
And innovative storytelling. (runner-up: Batman)
1946 – All-Star Comics (Justice Society of America)
Always fun, although uneven.
(runner-up: Stuntman Comics)
1947 – All-Star Comics (Justice Society of America)
They get better over time....
1948 - All-Star Comics
At least the best titles do, while the rest of comicdom became domesticated to the point of boredom.
1949 – Batman (runner-up: Adventure Comics for Johnny Quick)
As the creative teams refined formulas, the best titles became formulaic, but very good formulas!
1950 – Adventure Comics (Shining Knight)
Or, they could just get Frank Frazetta to draw it!
1951 - Two-Fisted Tales
But by now none of the superheroes were cutting it anymore.
1952 – Star-Spangled Comics (Tomahawk)
Frank here too...
1953 - Walt Disney's Uncle Scrooge
Still no superheroes left in sight...
1954 – Batman
Until now. Something had happened to re-energize Batman. The stories are more fun and feel more fresh again.
1955 – Batman (runner-up: Congo Bill)
And more of the same.
1956 – Showcase (for Flash II) (runner-up: World’s Finest Comics for Superman & Batman)
The Silver Age Flash, the Challengers of the Unknown -- this was a terrific year for new concepts.
1957 – Detective Comics
More wacky Batman fun.
1958 – Adventure Comics (Green Arrow)
Jack Kirby delivers!
1959 – Our Army at War (Sgt. Rock) (runner-up: Showcase for Green Lantern II)
I’m no fan of war, but these stories speak of the human condition better than DC was doing with the superhero genre up to this point.
1960 – Justice League of America
I’m not really a fan of this either, but it was a slow year otherwise…
1961 – Fantastic Four
The FF was not great right off the bat, but it was good and promised great things from Marvel that would eclipse DC. This would be a good time for confessing I was a Marvel Zombie from 1975 to 1991…
1962 – Amazing Adult Fantasy (Spider-Man) (runner-up: Fantastic Four)
As good as the FF was, Spider-Man was simply so much better. It didn’t just speak of the human condition – if you were ever a shy, nerdy boy, it spoke directly to YOUR condition!
1963 – Amazing Spider-Man (runner-up: Fantastic Four)
More of Lee and Ditko’s amazing run…
1964 – Amazing Spider-Man (runner-up: Avengers)
…proved that innovation could be both fun and charming.
1965 – Amazing Spider-Man (runner-up: Avengers)
And sustained!
1966 – Fantastic Four (runner-up: Amazing Spider-Man)
For Marvel in general, each year’s worth of titles got better than the previous year, building up to this stellar year – but not for Spider-Man, which lost Ditko and much of its greatness.
1967 – Fantastic Four (runner-up: Avengers)
The FF was still on fire, and Roy Thomas was slowly transforming the Avengers into better than a second-best title.
1968 – Fantastic Four (runner-up: Captain America)
Although it was sometimes feeling rushed, the FF was still tops.
1969 - Silver Surfer (runner-up: Fantastic Four)
This title started out so great and went downhill so badly.
1970 - Avengers (runner-up: Fantastic Four)
The Avengers woke up out of a two-year lull as good as ever.
1971 - Mr. Miracle (runner-up: New Gods)
But Marvel’s star was declining and whenever Marvel declined, DC picked up the pace.

Superman Returns Review

I had the hardest time deciding what to give this movie for a grade. Oh, it’s safely in the A range. There is a lot to like here. It is true to both the Christopher Reeve Superman movies and, largely, to the comic books themselves, from 1945-1990. Jimmy Olson’s bowtie is there. Perry White says “Great Caesar’s Ghost” (and seeing Frank Langella in a movie is always a plus). There are several frames in the movie that are swipes of famous comic book covers. And Routh and Spacey are channeling Reeve and Hackman (but why not just hire Hackman…?).

But then there are the disappointments. Zero resolution (shame on you, for making a sequel so obvious, Singer!). Lois’ son’s sissy girl hair (a deliberate statement on when DC put Superman in long sissy girl hair?). While I give Singer some points for not making the Superman-as-Jesus parallels too obvious, they still bother me somewhat; being a Superman purist who prefers the 1938-1939 Superman who was, as Chabon brought to the world’s attention, a modern day Jewish golem/wish-fulfillment myth — not a Christ figure.

And the dog-eating jokes. Ugh…

Oh well. It was still enough of an achievement that I have to give it an A.

Essential Avengers vol. 1 Graded

Avengers #1. Grade: B. Obviously an important issue, but it laughably clear from the start how unbalanced this team is.
Avengers #2. Grade: A-. A more fair and balanced script – aided primarily by making Ant-Man into Giant-Man makes for a stronger second showing. The inking is sketchier, but still looks good to me.
Avengers #3. Grade: B+. Not much of a plot, but can you go wrong with Sub-Mariner vs. Thor vs. Hulk? A pure Kirby slugfest.
Avengers #4. Grade: A-. Captain America could not have asked for a better relaunch. Oh, and the Avengers are in it too.
Avengers #5. Grade: B+. Kirby makes the Lava Men look so good and everyone but the Wasp gets a moment to shine.
Avengers #6. Grade: B+. It’s always exciting to see a supervillain team-up, but these are purely second string villains.
Avengers #7. Grade: A. Finally, some villains worthy of Thor!
Avengers #8. Grade: A. Kang the Conqueror debuts. Nuff said!
Avengers #9. Grade: B. Wonder Man debuts and the reader has to keep from laughing at his costume. The decline of the Avengers has begun.
Avengers #10. Grade: B-. Why a new time-traveling villain already? Probably because Kang was too powerful for Capt. America to tackle.
Avengers #11. Grade: C-. Chic Stone’s inking looks horrible and the story isn’t much better; it just makes you wish Spider-Man was an Avenger.
Avengers #12. Grade: D+. The Mole Man has been reduced to a generic mad scientist, the sudden team-up with the Red Ghost is just weird, the science wackier than usual – and yet the plot about trusting in ants has an odd charm to it that saves the story from failure.
Avengers #13. Grade: C-. One of those stories about how quickly the establishment can turn on its heroes and law enforcement, that usually can’t handle supervillains, is inexplicably deadly towards the heroes. And Count Nefaria keeps the antidote conveniently sitting out in a spray bottle, of all things.
Avengers #14. Grade: D. It’s a shame Stan chose to place the Wasp in peril just to highlight Giant-Man this issue. The inking is minimal to the point of almost looking un-inked. The sci-fi elements here aren’t bad, though the whole doctor angle is just plain wacky.
Avengers #15. Grade: C-. The Cap vs. Zemo showdown is oddly unsatisfying, as rushed as it is. The stalemate between the Avengers and the Masters of Evil seems forced to foreshadow the need for a leaner, stealthier team in the next issue. The science is typically wacky – the intercontinental jet is traveling over New York so slow that the Masters only have to wait on nearby rooftops and attack it as it passes by.
Avengers #16. Grade: A-. The roster change is contrived (nobody tries to stop Hawkeye from shooting arrows at the butler?), much of the issue is just spinning its wheels, but – those last two pages, with Iron Man talking about what being an Avenger means to him – are genuinely moving.
Avengers #17. Grade: C+. The robot looks great, there is some dramatic build-up to the Minotaur’s appearance, and the near-constant ads for the Hulk’s comic kind of work as simultaneous stories. But do the Avengers really need a clue to look for the Hulk in the desert? And aren’t they essentially running away from the Mole Man at the end?
Avengers #18. Grade: B. One of Stan’s anti-communist propaganda pieces works by showing off the heroes individually, both in battle and in rare glimpses into their personal lives (who knew Wanda could sing, or wanted to act?).
Avengers #19. Grade: B-. I can tell I was supposed to like the Swordsman a lot more than I did. But, boy, what saves this issue is a real humdinger of a cliffhanger! Also, solid inking from Wally Wood begins this issue. Don Heck’s art never looked better!
Avengers #20. Grade: B-. Did Stan just make me like the Swordsman, or does he only look good next to the dorky-looking Mandarin?
Avengers #21. Grade: A. A great example of how a smart villain could easily sabotage a super-team’s public image. The Enchantress is so versatile that she is easily one of the best early Avengers foes.
Avengers #22. Grade: A-. Cap’s solution to their problems is too pat, but the fight with Power Man is great. It’s clear that this guy could have taken down the whole team if he’d wanted to and the fact that he, in the end, doesn’t want to, gives him more believable pathos than his predecessor, Wonder Man.
Avengers #23. Grade: B-. The new Avengers continue to be woefully out-classed, this time with Kang kicking their tails. A good set-up, and cliffhanger, before the next issue.
Avengers #24. Grade: A. The Avengers team up with Kang, of all people, in a clever, exciting tale of love and betrayal. Curiously, most of the action is off-panel and it gets annoying how quickly Quicksilver is getting sidelined in these stories so as not to show-up the other Avengers.