It’s time to talk about the second half of Mr. T and the T-Force, but first I thought I’d bring up the trading cards. Most issues would come shrink-wrapped with Mr. T and the T-Force cards. They would tend to show either cover art or a choice panel on the front while the back would include a quick explanation of how Mr. T is awesome in the light of his environment and a quote from T himself. Here are a couple of them for you.

Note: Mr. T and the T-Force has zero mention of racism.

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I was sitting here thinking about what I wanted to go up on the site today and drawing a blank. I have several posts in progress, but none I really felt like finishing tonight. A couple need more research, another would require some scanning, and I’ve had a long day. I threw on the Akira blu-ray I picked up the other week and had been putting off watching.

I think it’s safe to say that Katsuhiro Otomo’s Akira was the first anime I ever watched, barring translated stuff like Puss-n-Boots and a few other fairy tales. It had to have been ’90, or ’91. I know I was living at my grandparents’ house at the time, and my uncle picked it up from the local video store. It was Akira and Fist of the North Star, and then Ninja Scroll a few years later, that ran my anime world. (FotNS was important to a much lesser extent than the others–my grandmother walked in on a headbusting segment and I didn’t see the end of that movie for a couple years. By the time I got back to it, I’d discovered Ranma and probably Tenchi Muyo. The animation looked stupid by then.)

The opening sequence of Akira got me thinking. Frank Miller’s Sin City burned a love of crime stories into my brain. I think that Akira, a movie I definitely saw before I turned ten, ruined me for science fiction.

I’ve briefly mentioned my problems with a lot of sci-fi stories on here before. I’ve never been into the super sleek Star Trek stuff. It’s too clean, too boring. Star Wars came a little closer, but still tended toward the shiny. Too much sci-fi indulges in utopianism, or at least some kind of frontierism, and I think that’s where the break happens. I’m not enough of an optimist to believe in anything utopian, I guess. It all rings false. The future isn’t going to be shiny.

No, the future is Neo-Tokyo.

The city design in Akira, movie or manga, is fascinating. There are pipes that spiderweb around the city. Dirty alleys lurk around the corner. Glitzy neon signs litter slums. The city is confused, with a ton of brick and stonework next to jury-rigged pipes and metal. It hints at rapid, unchecked expansion. Otomo’s incredibly detailed artwork makes the buildings look real, or at least real enough. There is depth and weight to them, and when they begin falling, it’s like the end of the world. After the rise of the Great Tokyo Empire, you can look and see how the ruins came from a real city. The city makes sense, which is something that is vital in establishing a setting or mood.

The thing about Otomo’s future is that it isn’t the far-flung future. There is technology beyond our capabilities, and it is clearly not the present day. It’s tomorrow. And the thing about tomorrow is that it looks a lot like today. Today? It looks a lot like yesterday. We wear our clothes a little different, we talk a little funnier, but society doesn’t change that much. The visions of the future from the World’s Fair or science-fiction didn’t come true. Our cities don’t walk on wheels, our cars don’t fly, and we don’t eat pills for breakfast. Well, most of us don’t. Our buildings are taller. Our roads are the same. There’s just a different layer of dirt on everything.

That’s Akira. Neo-Tokyo isn’t ugly. It looks normal, but just a little different. There’s a certain beauty in its crowded, cluttered landscapes. There’s something to it that reminds me of Moebius’s work on Silver Surfer: Parable or Geof Darrow’s Hard Boiled. They all show history through a weathered building or clusters of trash in the street.

What I like about it is that there’s been a clear progression from now to then. It looks like what the future might actually look like one day. It looks like Tomorrow Plus. A little dirty, a little dingy, but clearly the future. No utopia, no grand sense of exploration, and no sleek, sex toy-esque cars. The lasers are bulky and unwieldy. The backgrounds are dirty and old.

I think I like the future, but only when it looks like an older version of tomorrow. Akira works for me. Star Trek doesn’t. Maybe that’s Otomo’s fault.

I don’t have a lot of comics this week. Captain America/Black Panther marches on and Thanos Imperative gets going. Check a preview of Thanos Imperative here, and then read my Marvel Cosmic recap. Preview Cap/Panther here.

Also notable is the Kathryn Immonen/Tonci Zonjic joint Heralds. Immonen is a delight (read Hellcat, oh wait, you can’t, because it’s a DM-only trade) and Tonci Zonjic is a dope artist. It’s about the return of Frankie Raye, formerly known as Nova and the only character with a cooler name than “Moses Magnum.” I talked a little about Frankie Raye’s demise a couple years ago.

Not comics: The complete boxed set of The Wire is on sale for like 90 bucks on Amazon. I’ve got one episode left on my rewatch of The Shield, so The Wire is looking mighty tempting. Payday is tomorrow, so dare I risk it?

What comics are you buying and what’d you think of them?

Thunderbolts 144 was written by Jeff Parker, drawn by Kev Walker, colored by Frank Martin, and lettered by Albert Deschesne. It was an excellent read, and a good introduction to the new team and status quo. I thought about doing a full blown review, but how boring would that be? Instead, I’m trying something different. Maybe we can make this a regular thing. Here are four things the team behind Thunderbolts 144 got right.

Luke Cage knows people. Luke spent most of his almost forty years in the game toiling in obscurity. He had a long-running series that ended in the ’80s, a couple of less-than-good revivals in the ’90s, and spent the first five years of the 2000s playing street level crime games. A nice side effect of his middling career is that Cage built up a strong network of friends. The Fantastic Four, Spider-Man, Daredevil, and several other heroes have interacted with and befriended Cage over the years. He has a reputation and he’s got a deep Rolodex. While Spider-Man and Ben Grimm built their varied friendships off the back of Marvel Team-Up and Marvel Two-in-One, Luke’s time as a nobody ended up being an asset.

Cage went from penny-ante hood to grown man gone straight to framed for dealing heroin. He was technically a fugitive when he began his Hero for Hire business. He took on the trappings of superheroes to make a little cash. The only thing that kept him from being Black Booster Gold is that he was after money, rather than fame.

Despite his inauspicious beginnings, Cage ended up being a great hero. He hooked up with several street level heroes and started fighting crime to do good. He cleaned up his building and his neighborhood. Later in life, he joined the Avengers and soon found himself leading the team. He spearheaded a charge for the Avengers to do more than fighting world-class villains. When Captain America came back and found himself in charge of the superheroes in the United States, he had one choice for the guy to help rehabilitate the villains on the Raft: Luke Cage.

Think it through: the man who is the equivalent of Superman in the Marvel Universe, with all the prestige and respect that role entails, goes to Luke Cage to get the job done. Steve Rogers respects the hustle.

Steve Rogers gives speeches. Tony Stark is arrogant. Thor is stuffy and pompous. Spider-Man is obnoxious. Wolverine is gruff and borderline rude. Hank Pym is eager for approval. Songbird is judgmental. Luke, though? Luke’s a man of the people. He’s casual. To the point, sure, but Luke’s genuine. There’s no artifice, no trickery, and no drama. He’s not your average superhero. If there’s something to say, he just says it. No beating around the bush. Real talk, no gimmicks.

Luke is fearless. Scared money don’t make money.

Spoilers below the cut.

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I realized, my friends, that while I know much about Barbara Gordon, Stephanie Brown, and Cassandra Cain, my knowledge of Bette Kane, the first Batgirl, is almost nonexistent. 

And so I’m asking for Bette Kane stories, sites, and trade recs and resources.  Got anything worth saying about Bette Kane?  Say it here.