Written by Roy and Dann Thomas, Infinity, Inc. #30 is illustrated by Todd McFarlane and inked by Tony DeZuniga. Roy Thomas, of course, created the series (and in that era had the run of DC’s Golden Age heroes) and McFarlane was well on his way to becoming the Todd McFarlane we know today. Veteran artist DeZuniga was a good match for him on inks.
Locke & Key creator Joe Hill has this to say about writer Ed Brubaker and artist Sean Phillips’ recent collaboration: “Reckless is an absolute rush: on the same level as golden age Travis McGee novels and the hardest-hitting Richard Stark stories. This one comes at you as fast as Steve McQueen in a souped-up Mustang and as hard as Charles Bronson with a baseball bat. You gotta have it.”
This volume collects Weird Science #12-15, and #5-6, though if you can follow the numbering sequence on this title you’ll want to consider joining our Overstreet Advisors group. The series had previously been known as Happy Houlihans, Saddle Justice, and Saddle Romances, and after #23 would be known as Weird Science-Fantasy, again ostensibly continuing the numbering. These sorts of changes were generally done to avoid the cost of purchasing another mailing permit, which were a premium expense against the thin margins of publishing comics in those days.
Geiger #19 puts a spotlight on one of the recurring characters, The Glowing Woman, Ashley Arden, another person seemingly afflicted in a similar fashion to Tariq Geiger. As we’ve seen in her appearances to date, she has a very different demeanor than Geiger, and she definitely has her own agenda. This story demonstrates that and offers insight as to how she got that way.
Decades ago, Paul Barry’s deep sea exploration crew was lost under inexplicable circumstances, and he’s spent the intervening years plagued by guilt and not knowing what happened. Now not only has their vessel been found, the crew is alive and they appear not to have aged a day in the interim. It’s a massive mystery, one that unfolds beautifully in the hands of writers Jimmy Palmiotti and Justin Gray, artist Tony Aikins, and colorist Paul Mounts.
It seems simultaneously both not that long ago and forever ago, the heady period of the early 1990s with Marvel’s Spider-Man #1 and X-Men #1, Image’s Youngblood #1, and the launch of Valiant by Jim Shooter, Barry Windsor-Smith, David Lapham, Don Perlin, JayJay Jackson, Bob Layton, and others. In those days, comics were selling
Corto Maltese: Under the Sign of Capricorn, the initial offering of the imprint, was the first of 12 volumes which collected writer-artist Hugo Pratt’s seminal work. The first book collects Pratt’s first six interconnected short stories: “The Secret of Tristan Bantam,” “Rendez-vous in Bahia,” “Sureshot Samba,” “The Brazilian Eagle,” “So Much for Gentlemen of Fortune,” and “The Seagull’s Fault.”
It’s very hard to replicate the impact, however, of the 1976 collaboration of DC Comics and Marvel Comics on their first high profile crossover, Superman vs. The Amazing Spider-Man. In those days, such a thing was just about completely unheard of. It’s impact was bigger than it’s Treasury-size format.
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The first chapter of a four-issue mini-series from writer-artist Howard Chaykin took on three seemingly impossible tasks and made them look easy. While it took until the last page of this issue to show it, it brought The Shadow from the 1930s to the then-present (1986) and did so convincingly. It set the stage for an origin tale that combined many of the disparate story elements – many of them conflicting – that had been sown over the years and pulled them into one story. And it made a whole new generation of fans aware of just how cool The Shadow could be.
