Favorite Modern DETECTIVE COMICS Covers! Vol 2!

Generally speaking, the 2nd volume of DETECTIVE COMICS which ran 50+ issues was not great. It began questionably and ended questionably. However in between there was some very good work done with cover design and typography. Here then are the best covers from that brief run!

GREAT Comic Book covers from the 2nd Volume of DETECTIVE COMICS!

Detective Comics #27ADetective Comics #30ADetective Comics #31ADetective Comics #32ADetective Comics #33ADetective Comics #34COMBODetective Comics #35COMBODetective Comics #36ADetective Comics #37ADetective Comics #37BDetective Comics #38ADetective Comics #38COMBO

Detective Comics #39ADetective Comics #40COMBODetective Comics #41ADetective Comics #42A

 

If you like or are missing any of the above issues and would likre to purchase them, feel free to use the handy great link below! You’ll get great books, and earn a couple of pennies for this blog. Also don’t forget to like and share this post if you would like to see more like it! Thanks!

https://www.mycomicshop.com/search?TID=22331625&AffID=200301P01

4 Best Youtube Channels of the Day! 8 July 2019!

 

 

 

 

 

 

Stop by and give all 4 of the channels above some love.

And to support this blog, buy stuff from my sponsor at the link below, and earn this blog some pennies! Happy Monday!

https://www.ebay.com/sch/aseller99/m.html

 

Playhouse 90’s A TOWN TURNED TO DUST aka Echoes of the current political landscape!

“We didn’t know he was guilty.

We strung him up, to satisfy the mood.”

 

“There’s the hunger for the niche.

I wanted to be somebody.

So I decided who the victim should be.

I pointed to an old man.

I led the mob.

I wanted to be somebody.”

— Playhouse 90 A TOWN HAS TURNED TO DUST

 

Those quotes from 1958, written by one of our great writers to highlight a mindset of ignorance and prejudice and lynchings, are oddly and shamefully relevant. Being that here 60 years later the current occupant of the white house stole into the office, on such rhetoric of hate and stupidity and intolerance.

Invaded the most powerful office in the world, swept in on the unreasoning bellows of the mob.

I love Amazon Prime for making available these forgotten and overlooked pieces of cultural and cinematic history.

 

Today I watched from the early days of television, PLAYHOUSE 90s A TOWN THAT TURNED TO DUST.

Directed masterfully by John Frankenheimer, written by Rod Serling, starring a stellar cast including Rod Steiger, William Shatner, Fay Spain,  Eugene Iglesias, Mario Alcade and James Gregory.

From 1958, when Jim Crow and Lynchings still infested large swaths of America, this live production is unfortunately again relevant in 2019, will always be relevant as long as there are masses who want to blame their lives on others rather than taking responsibility for their lives. And ready, these masses, to be led by the loudest voice of hate, rather than the more thoughtful voices of reason.

Watch it now courtesy of Amazon Prime (search for it under the title AN EVENING IN THE ZONE). This is a film that deserves to be owned on DVD/Blu-Ray. Deserves to always be readily available, and not at the mercy of ephemeral streaming  contracts and whims.

I would like to think if Americans were raised on films like 1936’s FURY by Fritz Lang and 1943’s THE OX BOW INCIDENT by William Wellman and this one by John Ftrankenheimer, if these films were required viewing, we would stop repeating the same mistakes and committing the same attrocities and empowering the same hate mongers. To the point where the occupancy of the White House would be different.

There is nothing sadder than history and mistakes not learned from.

Haul / Ebay Unboxing and Why Variant Covers are destroying the Comic Book Market / Experience!

THE BEST OF DC WAR COMICS AMERICA AT WAR  Edited by Michael Uslan

One of the great discoveries of 2018, in addition to me getting back into old back issue comics, and purchasing my first Golden and Atomic age comics, is my jumping into conflict or combat or war comics, with both feet.

The first conflict title that really grabbed me was OUR FIGHTING FORCES STARRING THE LOSERS. I have been reading comics for decades and somehow I managed to remain largely clueless to these comics. I mean I had seen war and western comics as a kid, and had no interest in them as most kids of my age at the time.

I think those books are very much something you have to grow to appreciate, much like the art of Jack Kirby.

But here many decades removed from that kid, this year I stumbled across the amazing run of Joe Kubert covers for OUR FIGHTING FORCES, and they just blew me away.

In an age where a lot of morons are using gimmicks like variant comics to sell multiple copies to a dwindling reader base , and publishers are playing into the gambling aspect of the speculators, who don’t even read the comics, they just oooh and ahhh over what amounts to pinups on the cover, rather than in the book where they used to be.

To the point where you have covers that are completely devoid of typography. Typography is part and parcel, of what makes s great, iconic cover. Another part of being iconic, is there being only one image,  per issue, a popular shared point of reference that an entire public can reference.

If you say Amazing Fantasy 15, or X-men 94, or Hulk 181, what makes all those issues so iconic, is they  bring up one agreed upon, and shared image in the minds of the audience.

Now covers have a minimum of 2 variants and often 10 times that many. At that point you have stopped selling stories, and are in the business of selling pin-ups. And if all you want is a pin-up, just download the damn cover images. Do not get me wrong there are some wonderful images being created for these ‘variant’ covers. But they are pin-ups or posters, they are not covers. They act against the very idea of a cover, which is a single, memorable image you can identify with that story. You weaken your own product, by dilluting and muddying the waters, with multiple covers, or multiple endings, or multiple versions. Plurality being the enemy of the iconic.

It is the reason modern comics are a speculator’s bubble, poised to burst. The whole market, much like the 90s, is built on speculation, and chasing the very transitory and ephemeral nature of what is hot. A lot of it is forced or manufactured rarity. Ooh this issue had a curse word in it, ooh this issue had a possibly risqué or controversial image.

It is completely manufactured market, based on very superficial minutiae, than in any way on content or quality.

DEATHSTROKE is consistently one of the best books DC comics is producing. Christopher Priest month in and month out delivering fantastic writing, with fantastic interior art.

Unfortunately all the speculator’s comment on is the cover variant.

While no doubt the creators are glad to have the numbers, having the readers is the real goal of this medium, and the real satisfaction of being a creator.

It is one reason that older comics, particularly from the Bronze Age, are getting so popular. The storytelling, the typography, the beauty, the singularity of vision, all stands out, especially in comparison to the lack of all of those things in most modern comic books.

Joe Kubert I really have grown such a HUGE appreciation for his story-telling, particularly his covers. He is such a master artist, and no-where is that more obvious than on his long and fruitful run in Conflict Comics.

Here without further ado are just a few of the must own LOSERS Joe Kubert covers (the complete essential run goes from OUR FIGHTING FORCES 123 TO 141. 19 issue run of AMAZING covers. And even though Kubert keeps doing the cover art till 151, I would say 141 is a good jumping off point for individual issues collectors.  After 141 DC would go for a more conventional , less experimental style, and those later issues lend themselves to just picking up in a collected trade format.

The more boring covers seems to coincide with the switch of Editors from Joe Kubert to Archie Goodwin. And then it would quickly bounce to Jack Kirby and Finally Murray Boltinoff who would see the series to its demise at issue #181. The series at its strongest, and the individual issues worth collecting, are issues 123 to 141.

Buy your issues here:

https://www.mycomicshop.com/search?tid=180611&pgi=101&AffID=200301P01

Use the link above, and get great deals, and help this blog keep putting out content.

 

Thanks!

 

You heard it here first!!! Forget about paying a fortune for the first issue of new book BATMAN DAMNED, a flash in a pan overpriced at cover price, book. And get something with real staying power, Joe kubert’s 1970’s run on OUR FIGHTING FORCES issues #123 to141!!

 

THE LAST WORD: Joe Kubert’s BEST Comic Book Covers!!(Some of them)

I have an appreciation for the late, great Joe Kubert here in 2018 as an adult, that I really didn’t have for him as a kid. And much of that is down to exposure, as well as a broader scope of reading material.

As a kid, comics that interested me were what interested most kids of the latter 20th century. We were children of Stan Lee and Jack Kirby, Chis Claremont and John Bryne, Marv Wolfman and George Perez, David Kraft and Keith Giffen, Bob Haney and Jim Aparo. The very exciting and colorful, but delineated world of Superhero comics.

The Brave & The Bold #84 - Neal Adams

But then the late 80s happened, and creators like Alan Moore and Frank Miller and William Mesner Loebs created works that seemed to challenge and expand the horizons and genres and tropes of the medium. They were following in the footsteps of late 70s pioneers such as Doug Moench and Paul Gulacy, and the aforementioned creators, who all had their moments of scripting comics with an Indy sensibility before the term existed.

And now as an adult, having explored much of the growth of the mainstream comic industry from their golden age roots, to their big screen interpretations, here in 2018 I am revisiting some work that was largely before my time.

Namely the westerns and horror books and combat books, of the late 60s and early 70s.

https://i0.wp.com/comicbookdb.com/graphics/comic_graphics/1/230/105485_20071213140823_large.jpg

And this deep dive into this world (I mean I have gone deep in 2018), has solidified and cemented and revealed somethings. Most notably is 1/ The western comic books of Marvel Comics, the 12cent and 15 cent, etc comics, RAWHIDE KID, TWO-GUN KID, GUNHAWKS, MARVEL WESTERN, by mostly Larry Lieber, and Stan Lee, and Jack Kirby, and Gil Kane, and Herb Trimpe and John Severin are masterpieces. And these books are MUST OWNS. And many have not been reprinted. And while MARVEL COMICS were hands down producing some of the best Western Comics, some other notable comics in this genre are the painted cover LONE RANGER comics by Dell and Gold Key Publishing, and DC’s TOMAHAWK–

(Brief interuption to gush on Kubert’s TOMAHAWK. The last 25 issues or so of TOMAHAWK go from Neal Adams covers to the final ten which are Joe Kubert covers, from issues 131 to 140. There are not many people who can follow Neal Adams on covers, and be able to equal him.

When Neal Adams does a run of covers, those become the definitive sought after covers, especially during this period of the 60s and 70s in DC. Whether BATMAN or DETECTIVE or SUPERMAN or SUPERBOY, to this day the definitive covers for all those titles, are the ones drawn by Neal Adams, and with good reason. Neal Adams is a master artist.

So it is no small compliment to say not only does Joe Kubert’s ten issue cover run on TOMAHAWK equal the work of his good friend Neal Adams, they surpass them. As someone who just acquired those ten books this year, listen to me when I say they are INCREDIBLY undervalued, sporting both stunning covers and interiors, and no true fan of comics should be without them. If you can get them in high grade for $10 a book, that is a steal.

Get those issues at the link below. You get great comics AND you earn a few pennies to keep this blog’s lights on.

https://www.mycomicshop.com/search?tid=181351&pgi=101&AffID=200301P01

)

–and ALL STAR WESTERN & WEIRD WESTERN. All fantastic and I will be doing a bit on Western Comics in an upcoming post.

 

https://i0.wp.com/comicbookdb.com/graphics/comic_graphics/1/798/374435_20160819181122_large.jpg

 

And 2/ where the Marvel Comics  of yesterday ruled the WESTERN genre, the WAR or COMBAT genre was ruled by DC Comics. Largely because of two names the great Robert Kanigher and the great Joe Kubert. Both men master story tellers, one with words and one with images, and both men incredibly prolific and productive. My favorite TEEN TITANS story of the silver age is by Robert Kanigher, my favorite FLASH stories by Robert Kanigher. So I always meant to pursue Kanigher’s work into his combat/conflict/war books of the period, and I am finally getting a chance to do that in 2018. And what immediately sells these books is the iconic covers and visual storytelling by the late, great Joe Kubert.

Joe Kubert’s cover art on Our Fighting Forces #135

His work, especially pre the mid 70s, where his covers got to play with the typography and marrying that to the cover image… gold. Absolutely gold. To the point where covers for OUR FIGHTING FORCES and OUR ARMY AT WAR for a brief period in the late 60s, early 70s are cover art truly raised to the level of Art with a capital A. Why anyone would pay $4, $5, $6, and $7 for a brand new comic book (that can be found in the $1 bins or reprinted in a much better quality trade in a few months), when you can take that same money and get a classic issue from this period of comics… is beyond me.

It is work you are typically not going to see unless you go looking. Not many people are showing off 50 year old war comic book covers. In 2018 I have gone looking.

Let me show you some of what I’ve found. We will start with a taste of his unconventional and relatively rare Superhero work and move onto his more prolific genre work.

 

 

 

flash_189.jpg

GI_Combat_88.jpg

SYFYWIRE’s Matthew Funk says it best when they say…

“G.I. Combat #88

Kubert’s contributions to the visual language of war stories can’t be overstated, and this cover proves as much. This is very Stanley Kubrick-style imagery, but the comic predates Full Metal Jacket by 26 years. Kubert was creating iconic, haunting, and cinematic images of war that would influence generations of storytellers.”

weird_war_tales_6.jpg

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When you think of great, iconic cover artists, the names Gil Kane, Neal Adams, Jim Steranko, Nick Cardy, and more recently Alex Ross come to mind. And all deservedly so. But one that arguably has gotten overlooked by the masses is Joe Kubert, and this is largely because he worked mostly in genres that did not get the attention back in the day. But now as an adult and getting into genres of Western and War and Horror, I am getting exposed to the work of great artists such as Joe Kubert, I am seeing much of it for the first time, and it is…. ASTONISHING. What really amazes me about Kubert is when he gets to play with Typography in his covers, and make that part of his story-telling, those are absolute game changers. Such as the above, and many of his Combat books.

 

https://static3.cbrimages.com/wp-content/uploads/goodcomics/2012/08/kubertcover6.jpg?q=35&w=400&h=601&fit=crop

https://static1.cbrimages.com/wp-content/uploads/goodcomics/2012/08/kubertcover18.jpg?q=35&w=400&h=596&fit=crop

SGT ROCK

G.I. Combat (Volume) - Comic Vine

Our Army At War 254 - Sgt. Rock - Joe Kubert

Cover

Ready to own some of these great comic books?

Then use the link below and start ordering:

https://www.mycomicshop.com/search?q=our+army+at+war&pubid=&PubRng&AffID=200301P01

 

Today’s Comic Book and Book Recommendation of the Day! BLACK COMIX RETURNS

I’ve already said that THE SIGNATURE ART OF BRIAN STELFREEZE by Boom Studios was my favorite art book of 2017. Just a stunning, masterpiece of a tome in terms of content and book design.

Today I received an early contender for best Artbook of 2018, from LION FORGE and THE MAGNETIC COLLECTION I received Damian Duffy and John Jennings BLACK COMIX RETURNS.

https://s15-us2.startpage.com/cgi-bin/serveimage?ref=https%3A%2F%2Fdoomrocket.com%2Fwp-content%2Fuploads%2F2018%2F02%2F6266876-01.jpg&ua=TW96aWxsYS81LjAgKFgxMTsgVTsgTGludXggaTY4NjsgZW4tVVM7IHJ2OjEuOS4xLjcpIEdlY2tvLzIwMDkxMjIxIEZpcmVmb3gvNTguMA&uadata=cf9debef56fa965b769e72c56b27148c&url=https%3A%2F%2Fdoomrocket.com%2Fwp-content%2Fuploads%2F2018%2F02%2F6266876-01.jpg&sp=0bf754d25485da820bce7d78c288509e

I didn’t know much about this book going into it, except it was edited by the prolific John Jennings, and after seeing this creator interviewed on Youtube,I was on a mission to pick up his work. BLACK COMIX RETURNS is a ten year old followup to the sold out first volume (which iI delayed picking up, and is now out of print, and the copies that are availabl;e are selling for 3 figures).

I was eager to get this volume, and finally received today, it is stunning. I didn’t know what to expect, what I got was a curated overview of the creators who are putting out some great and very individual works. Similar to David Roach’s MASTERS OF SPANISH COMIC BOOK ART, but where that is a look back, BLACK COMIX RETURNS is a look at creators who are currently redefining the medium, one passion project at a time.

Get any of the books recommended in this post at the links below:

https://amzn.to/2Grs4GK

https://amzn.to/2uwPlFq

https://amzn.to/2GoYXaX

https://amzn.to/2IkuqYa

Also this book, like that aforementioned Brian Stelfreeze artbook, is simply massive and gorgeous. A lot of collectors today concentrate on variants and rarity, I like to call it manufactured rarity, and I tend to not have a use for it. I remember the bubble of the 90s, and much of that had to do with variants and speculation of value, the illusion of scarcity and value, and when the music stopped people had paid lots of money for books that no one wanted, and were now worthless.

https://s17-us2.startpage.com/cgi-bin/serveimage?url=https:%2F%2Fwww.bleedingcool.com%2Fwp-content%2Fuploads%2F2017%2F02%2FBlackComixReturns-600x346.jpg&sp=76cf8ecc82f33d3b9ff061cab835bcde

BLACK COMIX RETURNS should firstly be bought because it is a fantastic and informative and  stellar addition to anyone’s library (showcasing fantastic artists such as Paris Alleyne, Gregory Anderson Elysee, Dawud Anyabwile, Eric Battle, to name a few) , however it should also be bought because it is a map to true, underground, and often scare and underseen comics and their diverse and talented creators.

And as the first BLACK COMIX shows it should thirdly be bought because quality hardcover artbooks,  particularly regarding populations of color, tend to go out of print, and become in themselves… rsrities.

For all these reasons BLACK COMIX RETURNS is my book of the day!

https://amzn.to/2uwPlFq

https://s17-us2.startpage.com/cgi-bin/serveimage?url=http:%2F%2Fteamradio.net%2Fwp-content%2Fuploads%2F2015%2F01%2FBlack-Comix-Festival.jpg&sp=9b3d91ef240c48da88b1d532f88223c3