Superhero vs. superhero. Over the past couple years, it’s almost become the new status quo in the Marvel Universe and still gets a good amount of play in DC here and there. Whether it’s hatred, misunderstanding, bureaucracy or mind-control, it’s everywhere. With things like Daredevil vs. Punisher, Civil War, World War Hulk and pretty much any inter-dimensional crossover like Marvel vs. DC, JLA/Avengers and Captain Atom: Armageddon there are many miniseries based on the simple idea of our favorite heroes duking it out with each other.

It makes sense. There’s a certain feeling of bragging rights and uncertainty that comes from these fights. If there’s a story about Superman fighting Parasite, then there isn’t much mystery. We know Superman is going to come out the winner because Superman is our heroic protagonist. But toss him in against another heroic protagonist like Captain Marvel, Martian Manhunter or Green Lantern (on a good day) and we don’t know what to expect.

Originally conceived as an Olympic tie-in until the US pulled out of the Moscow Olympics, the Contest of Champions was not only the first hero-on-hero miniseries, but it was the first big crossover miniseries. This is the comic that would set the trend for Crisis on Infinite Earths and Secret Wars. It was only three issues and normal-sized, but I’m sure at the time it seemed really epic. Even now, I’d say the first issue had that feeling. I can only imagine what it would be like back in the 80’s to see all these superheroes together in the same room.

The writing credits go to Mark Gruenwald, Bill Mantlo and Steven Grant with Romita Jr. doing the art. So it’s got that going for it.

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A couple weeks ago, Marvel Zombies vs. Army of Darkness finished off. Marvel Zombies 2 has just been solicited for October. With that in mind, it’s about time I laid out my thoughts on the whole Zombieverse.

It all started back in 2005. Mark Millar was in the midst of his Ultimate Fantastic Four run and he started making some hints at a certain special story arc. From the looks of things, the Ultimate Marvel Universe was about to make a crossover with the mainstream universe Marvel 616. I wasn’t paying attention at the time, since I wasn’t reading Ultimate Fantastic Four, but I can only imagine people were annoyed as hell. Not only did this defeat the purpose of the Ultimate continuity, but Millar probably didn’t garner all that much faith going into what would be such an important story.

But the evidence was there. The story was titled “Crossover”. One of the variant covers for the first issue showed Ultimate Reed exchanging a shocked glance at an older Reed with snazzy white hair tufts. The second issue of the arc showed a more mainstream version of Magneto manhandling the Ultimate Fantastic Four. The first issue builds up to this meeting, including a scene where the two Reeds discuss the differences between their worlds. Older Reed — shown via hologram — mentions the Avengers and his children Franklin and Valeria.

Truly, this had to be the Ultimates/616 crossover we’d been dreading.

Or not.

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Garth Ennis is known for a few things. Blood, curse words, comedic facial deformities, sex jokes, a mild hatred of superheroes, and more blood and then a few more curse words. On the good side, he’s a pretty solid plotter, he knows his strengths, he does great dialog, and he’s the best war writer since Kanigher and Kubert.

Just in case you aren’t familiar, he’s written comics where a demon named Baytor becomes master of hell, Nick Fury strangles another dude with his own intestines, an alien sex pervert becomes a British diplomat and gets eaten by a tiger while dressed in a corset with an orange up his butt, a soldier constantly tries to trick his superior officer into kissing him by faking death, a guy gets his nose swapped with his penis and vice versa, an Australian pope has sex with nuns and curses, the Saint of Killers shoots God, a short man with glasses has sex with a giant statue made out of meat, superheroes are depicted as a bunch of people who are completely worthless human beings (and sex perverts), a dude has sex with himself and then shoots himself in the face in front of his son, and– actually, this is a pretty good sampling of the stuff he’s known for. Plus, this is going to completely ruin the search terms on this site.

Anyway, Ennis has got something of a rep. He’s done his fair share of gross-out comics, though it’s usually played for humor. But, I’ve been noticing something in his comics. He keeps sneaking in these little things that make a scary amount of sense. I don’t necessarily agree with Ennis on the religion front, but he makes good points about how to live life. Sexism, racism, whatever– it’s all stupid. It doesn’t matter. Leave it behind and just do right.

The quote up top is from The Boys #8, a series about some humans whose entire job consists of smearing and then beating the snot out of superhumans, who are all sex perverts and callous jerks. We’ve seen a bulldog have sex with another, smaller dog, and a Teen Titans-alike have a screwed up coke orgy. The book opens with a guy swinging around with his girlfriend like they were in a movie, only a superhuman comes crashing down and basically explodes her on impact, leaving the guy holding her severed arms. There’s also a dude who lives below a comic shop who basically calls Will Eisner a punk. And despite all this grisly stuff, you get little scenes like the one in that image up there.

Punisher: The Slavers dealt with white slavers. On the one hand, it’s a wish-fulfillment fantasy. We, the reader, get our revenge on the rapist and slavers of the world through Frank Castle’s actions. He kills quite a lot of them, and the series ends with him lighting a local boss on fire on video, looking into the camera, and saying “Don’t come back here.” He sends the video back to Eastern Europe with one of the allies of the slavers. On the other hand, though, I can’t remember the last time I saw the aftereffects of rape and kidnapping in a comic. One of the cops featured in the story actually quits the force, because she believes she can do more good helping track and assisting the girls who were kidnapped. The last two pages of The Slavers are heartbreaking. You don’t have the full context here, obviously, but I think the pages are worth sharing. Check out the softcover or the hardcover (B&N link) if it catches your interest. The softcover’s like ten bucks, it’s worth it. I cut out the pages where Cristu was burned alive because they aren’t 100% relevant here.

For reference: Viorica lost her daughter to the slavers.

(words by ennis, art by fernandez)

“All she can do is live with what life they left her.” Ouch.
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Oh… that is so wrong.

We’re back for part two of our look of WWF Battlemania. Before starting, I should point out that Sensational Sherri, who was featured in the last article, has passed away at the age of 49. That’s a huge shame. Add another line to the list, I guess.

On a happier note, I’d like to mention that the Wrestlecomics part of 4th Letter got featured on the Wrestling Observer (twice!) and Figure Four Weekly Online. That’s pretty sweet, as Wrestling Observer is like the wrestling equivalent of Newsarama, only with maybe a shuffled step higher.

Continuing on issue #3 of Battlemania, we get to a story involving the Ultimate Warrior that I thought was actually pretty good. It’s shocking. Even more shocking was when I discovered the reason it was so good. Dwayne McDuffie of all people wrote this thing. That’s right. The guy who will soon be writing Justice League of America wrote a story about the Ultimate Warrior. I’m not knocking the guy in any way, and I do understand that you write what you can get, but I think it’s just such a random realization. Next you’re going to tell me that this guy wrote a Double Dragon comic.

Huh? He did? Oh. Well, now I know what I’m reviewing in the future.

“Follow Your Spirit”: Ultimate Warrior’s Workout
Ultimate Warrior vs. Sergeant Slaughter

We start the story with neither the Warrior nor Slaughter, but a battle royal in a second-rate gym filled with generic no-names. One of these generic guys is Ben Bradford. While the announcer mentions that Ben is a bit unorthodox in his wrestling style, he continues to dominate the match. In the front row is Lewis, Ben’s little brother. Lewis is confined to a wheelchair and is a major wrestling fan and art enthusiast.

Ben wins the match and is announced the winner. As a special surprise, his trophy and prize money are delivered by the Ultimate Warrior himself. Warrior holds Ben’s hand up and congratulates him on his victory.

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The last comic I read, there was a lot of rape and crying. Kinda harshed my boner for fun, you know?
–Casanova Quinn, Casanova #2

Casanova (words by Matt Fraction, art by Gabriel Ba) can be explained in two lines from a Wu-Tang song:
Yo, too many songs, weak rhymes that’s mad long
Make it brief son, half short and twice strong
–The GZA (Genius), “As High As Wu-Tang Get”

That’s on Wu-Tang Forever, by the way.

Those two lines describe Casanova perfectly. Casanova has, save for the first issue, 16 pages per issue. The average comic has 22 pages. The missing pages are given up to behind the scenes-type text pieces and art showcases. In addition, the series so far is seven issues long, and each issue is a complete story unto itself. One complete mission for Casanova Quinn. The seven issues connect in an overarching way to form the first arc, Luxuria.

Casanova is one of the greatest comics of all time.

I’m trying to review this without ruining it for you, but I think the first issue may end up being a casualty of war. You see, Casanova Quinn is a thief. He’s suave, sophisticated, he’s like Han Solo but more honest with himself. He’s having fun living the life, but everything goes wrong.

Cass has a sister, Zephyr. She dies on a mission, which causes Cass to reconnect with his father Cornelius, the head of EMPIRE. Zephyr was the good twin, so to speak, and the jewel in her father’s eye. Where Cass went left, she went right. Both Cass and his father loved her… because she was not Cass.

After that, Cass’s world goes upside down. He ends up in a parallel universe, one where he died on a mission and his sister, Zephyr, is still alive. Only– things are different. Here, Zephyr is the evil twin. She works for Newman Xeno, noted criminal and head of WASTE. Newman Xeno wants an inside man in EMPIRE, and who better than the evil alternate universe twin of the son of EMPIRE’s top dog?

That’s right. Evil Twin and Evil Twin versus Daddy. What’s the word for that? Ultraoedipal?

Casanova’s dialogue is sharp and pop culture infused, but not in that kind of annoying too cute for it’s own good way that Joss Whedon does it. The characters have real motivations, and these are motivations are ones we can relate to. Cass doesn’t want to save the world, he just wants to do right by someone important to him. Zephyr loves thrills. Cornelius? He gets a good moment where he reconnects with his son.

Casanova has assassin pop stars, hyper-advanced cultures, robots, sex, a dude who creates robots to have sex with, and tons of other mad ideas– but it’s all about the character moments. The ending is real- everything that’s been building up throughout the series comes to bear and zigzags at the last moment, but in a way that feels right. The relationship between Cass and Zephyr alone is a complicated one, and veers from simple sibling rivalry to outright malice, but in this weirdly familial way.

Gabriel Ba’s art works, too. There’s a few panels that are just pitch perfect. The scene where Cass attempts to kidnap a certain man who may or may not be a god is poetry in motion, from eye-opening to “I don’t believe in you.” There’s a panel of someone crying really late in the book that yanks your heartstrings something fierce.

This, along with David Aja’s work in Iron Fist, is some fine, fine work that really brings things to a newer or more experimental level. There are a lot of scenes that really could’ve come off like crap under a less skilled pen. The god scene, yeah, and there’s also a scene where Cass is pretty much reduced to a two-dimensional being and the art totally sells it. He turns into non-toned black lines with no shading at all, and you instantly get the point. Writing-wise, there’s an issue where each page is one of three moments in time and they cycle throughout the issue. Easily could’ve fallen flat– but it works. The art sells it and it ends up working.

Casanova is a brave comic, dense, and better for it. Matt Fraction and Gabriel Ba took a chance and poured distilled quality into sixteen pages. It never stops being interesting, because each issue is like an infodump of fictional and real information. The “savages” from one issue of Casanova are loosely based on a real people, the last living vestige of neolithic society in the modern day. An island of the past sitting in the present.

Casanova is half short, almost, and twice strong. It’s a strong work, and the recently released hardcover is definitely worth your purchase. It’s got more stuff in it than Marvel’s Civil War megahitblockbusterpieceofcrap. Even better– it’s fun.

edit, the next day: I screwed up and forgot to talk about the text pieces from Fraction and art showcase from Ba. Anyway, in exchange, Fraction love from back in the day: Perfection in Slices and A Few Good Comics, wherein I do talk about the backmatter a little.

But, you know what? They really ain’t that bad, either! Onward!

It’s those kids. That’s what’s different. He’s got sidekicks. Maybe if I get a couple of punk kids. Picked ’em up off the street and taught them what I know. Mothboy or Lepidoptera Lad or…
–Killer Moth, Batgirl: Year One

You reading any good comics right now? What’s that? You’re reading comics you don’t like? Pfft and *smh*. Read good comics, okay? Treat the problem, not the symptom.

Good Desktops

Playing with a new format today. First up, some desktops. I can’t promise that these are properly formatted, but they are a few of the 221 desktops in my DocumentsDesktops folder so they’re appropriate. Two are related, the others are just cool. We’ve got art from Marcos Martin, Michael Lark, Darwyn Cooke, and Talent Caldwell.

These desktops are Good.

Good Comics

These comics are good.
Mighty Skullboy Army (by Jacob Chabot)
I was sent this one by a buddy who knows the author, so I guess this is my first comp copy of a comic! Sweet! Of course, I received the book in Aprilish, so this is way late and I’ve got no excuse really! Sorry Kevin.

And what a comic it is! Did anyone out there ever watch Dexter’s Lab? I used to love it dearly. Mighty Skullboy Army reminds me a lot of Dexter’s Lab, not in content, but in tone. It’s got that same kind of slick sense of humor that both kids and adults can appreciate. The art is very sharp, too. It’s very cartoony, but a lot of fun to look at. The scenes involving the monkey are, in my ever so humble opinion, some of the best in the book.

MSA is, essentially, about a young supervillain (Skullboy) who is in way over his head. You see, he’s a young fella… and he’s got to go to school. You can’t very well conquer the city, nay, the world, from a school desk. He’s got a few assistants in the form of a monkey, a robot, and an intern. One problem: they’re all imbeciles and/or too flighty.

Mighty Skullboy Army is whimsical, but in a good way. It’s a respite from the super serious, or faux serious, stuff I usually read. I hate to invoke the name of the almighty Calvin & Hobbes, which is the Greatest Newspaper Strip of All Time To Which There Are No Contenders, but it is fun like C&H is fun. If you like good comics, MSA is up your alley.

Batgirl: Year One (words by Chuck Dixon and Scott Beatty, art by Marcos Martin and Alvaro Lopez)
I got my copy for 17.99, it’s 19.99 on Amazon pre-discount. Weird.
Anyway, DC was, at one point, running the Year One concept into the ground. Hard. They whooshed hard on what Year One stories should be and pumped out some pap. And then, Chuck Dixon and Scott Beatty come along and get it right, not once, but twice. Robin Year One, which I believe was drawn by Javier Pulido, and Batgirl: Year One, by Marcos Martin/Alvaro Lopez, hearken back to the noir asthetic of Batman Year One in art.

Batgirl: Year One isn’t quite perfect. Dixon and Beatty seem to love tossing in little knowing nods to DC continuity, including a few too many references to Cassandra the Oracle, and a scene where someone tells Batgirl that heroes tend to end up crippled and stuff like that. It ends up being too cute by half and distracting.

On the other hand, the art and overall story are nearly flawless. It tells the tale of a young Barbara Gordon, a young lady who has just begun to pull on the tights. There are a lot of little character touches that are great. Babs Gordon is short for her age, thin, and not particularly chesty (cf. her current portrayal which is a bit busty and statuesque, ugh). She’s headstrong, impetuous, and very teenaged. She makes a lot of dumb decisions, despite being very smart. It’s practically a Marvel story, to be honest. Babs is flawed, and her flaw is her pride. She’s got to prove she’s better than everyone else expects her to be.

I just kind of realized that Babs Gordon, as written in Batgirl: Year One, is a slightly more responsible version of Veronica Mars. No wonder I like this book so much! Not to mention that it isn’t afraid to be silly.

More tomorrow. I’m trying to get back into the swing of things!

Welcome to the world of WWF Battlemania.

Unlike the WCW comic, Battlemania holds some sense of nostalgia with me. While I only owned one issue as a kid, the series takes off right as I started watching. I recall first catching onto the WWF during January of 1991. The Ultimate Warrior was in his final days of being WWF Champion, before losing the title to Sergeant Slaughter at the Royal Rumble. The Hart Foundation, Jim “The Anvil” Neidhart and Bret “Hitman” Hart, were tag champs, destined to relinquish their titles at Wrestlemania to the Nasty Boys. Months earlier, the Undertaker had made his debut, already showing signs of the monster push they were giving him towards the main event. So there is a stronger feel of familiarity with me.

In fact, there are many differences between the WCW and WWF comics. They’re like comparing apples and oranges. The WCW comic is just a bad comic. Battlemania is merely a sad comic. Don’t get me wrong, it’s far more competent than WCW’s ink and paper production in both writing and art. The thing is, that’s one of two reasons why Battlemania is depressing to see exist.

Battlemania was a production by Valiant Comics and half of the stories in the series are drawn by one Steve Ditko. Yes. That Steve Ditko. The guy who co-created Spider-Man and Dr. Strange. The man who came up with the Question and Captain Atom and the Creeper and Speedball. This guy was stuck working on a comic book about a wrestling corrections officer brawling with a wrestling zombie in the middle of a funeral home. It’s kind of disheartening.

Also depressing is the roster. Despite all the wrestlers in the WCW comic, only Rick Rude and the barely-there Brian Pillman are no longer with us. For a comic that only ran for five issues, WWF Battlemania has a harsh list of dead wrestlers. Not counting cameos, nearly every issue features at least one wrestler who has passed away.

One strange thing about the series is the complete lack of Hulk Hogan. For about the entire run, Hogan was the company’s champion. Not only does the Ultimate Warrior get the more marquee showing, but Hogan isn’t even mentioned once. I’m going to guess this comes from the legal issues based on his name and Marvel’s Hulk.

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Gavok note: We have a special guest appearance by SDShamshel, who reviews the bad wrestling comic I won’t read for the simple fact that I can’t read it. Enjoy.
—

Japanese comics have always had a strong relationship with the world of professional wrestling. In its heyday, Kinnikuman was read by every young boy, and both Tiger Mask and Juushin Liger started off as manga characters before their personas were adopted for real-world squared circles. However, as great and exciting as those wrestlers may be, this article is about something greater.

Yes, that’s right. It’s Hulk Hogan THE MANGA. Published by “Special Volume Ace Five Comics,” Pro Wrestler Superstar Biographies: Hulk Hogan tracks Hogan’s life from the beginning of his career to his time in Vince McMahon, Sr.’s World Wide Wrestling Federation. The comic utilizes an interesting version of kayfabe (the wrestling term for “the fourth wall”), with events in Hogan’s life both inside and outside of the ring depicted with the utmost seriousness one expects from biographical comics about pro wrestlers.

As the comic begins, we find Hulk Hogan as the lead guitarist for a band. He flashes back to a time where as he was watching a match, a man approached him and suggested that Hogan become a wrestler. A mustache-less Hogan decided against it, and even tried to instead become a professional boxer. However, after the concert, as he’s watching a televised match between Muhammad Ali and Antonio Inoki, Hogan’s life changes forever.

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We’re finishing off the trilogy of World Championship Wrestling articles here at 4th Letter, but first I want to talk about blame.

Ever since the moment I picked a couple of these issues up at New York Comic Con, my fellow 4L guys and my comic-reading friends all asked me the same question: why? Why would I do this to myself? Why am I always the guy on this site willingly reading comics I know are going to be lousy? The truth is, it’s all hermanos’ fault.

He and I are similar in terms of comic-reading background. He and I read stuff in the 90’s, only to break away from comics due to the Marvel Cloneslaught disaster. He got back in the game before I did and had more reading experience. He would be the one who would suggest comics that I would eventually follow obsessively. He suggested I read that Deadpool issue where he Shoryukens Kitty Pryde. He told me to read Kingdom Come. He told me that the Giffen/DeMatteis Justice League is good stuff. And I won’t even tell you how many times I had to hear him push Flex Mentallo in my direction before I submitted.

A problem arises from that. It gets annoying discussing things when he’s read pretty much everything I’ve read and more. Where’s my upper hand?

So I had to dig deep in the opposite direction. Has hermanos read the comic where Venom fights Carnage inside the internet? What about the one where Skeletor controls Superman’s mind and makes him beat up He-Man? Did he read Super-Villain Team… wait, hold on. Super-Villain Team-Up turned out to be pretty great. But he didn’t read the Tekken comic, did he?! And he’s a better person for it because that thing is a stinking turd on the level of the Doom comic.

But the Tekken comic review will be for another day.

I think I’m just stalling because the cover of issue #9 features the Steiner Brothers with the blurb, “The Steiner Brothers are cruisin’ for a bruisin’! Part 2 of 4!” At least Jesse Ventura is in the upper-corner logo. That’s as good a reason as any to keep moving forward.

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We continue our look at the adventures of our Friendly Neighborhood Steve Borden. First, another wrestling history lesson.

This Ghoul storyline looks like it’s really meant to be a mix between two “mystery man” storylines WCW had done a year or so before the comic came out. The first was the infamous Black Scorpion storyline. WCW had done Sting vs. Ric Flair to death. They needed to give Sting a new rival. They came up with the Black Scorpion, a masked man with a distorted voice that would appear in taped segments, taunting Sting. He would bring up their past and how intimately they know each other. Then he’d do magic tricks because, you know, he’s mysterious and stuff.

WCW didn’t actually have any good ideas of who the Black Scorpion would turn out to be, so in the end, they just made him Ric Flair, thereby totally defeating the purpose of this storyline.

The other “mystery man” storyline involved a wrestler called the Halloween Phantom, who defeated the Z-Man at the pay-per-view event Halloween Havoc before unmasking. The following issues are more in tune to this one.

As any wrestling fan can tell you, most of these stories turn out to be convoluted messes by the time they’re done. Kind of like the Clone Saga, now that I think about it.

The next issue (we’re on #4, if you’ve lost track) begins with the new tag team of the Diamond Studd and Stunning Steve going up against the fictional cannon fodder Jersey Jerry and Mangy Matt. First a little something on Stunning Steve.

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