GRAPHIC-NOVEL COLUMN: The Madness of the U.S.A.’s Bicentennial
By Dan Brown As you likely heard, our neighbours to the south celebrated their country’s 250th birthday over the weekend. That got me thinking about a comic that came out the last time the U.S. had a big anniversary – 50 years ago. The 1976 bicentennial was approaching fast. To capitalize on the occasion, Marvel – the comic company that tried to cash in on every trend or craze, no matter how silly or solemn – published a seven-issue arc of Captain America revolving around a plot to destroy the country. Jack Kirby – who had invented the Marvel Universe in the 1960s, then fled to DC to create the Fourth World, then returned to Marvel – was the artist, writer, and editor of that storyline. I also remember the Captain America letters columns at the time explaining how his bosses were allowing Kirby a lot of leeway with how closely he adhered to the Marvel continuity of the day. So Captain America: Madbomb reads like it was always meant to be digested as a single graphic novel. It collects issues No. 193 through No. 200 of Captain America and the Falcon, one of the first extended comic story arcs I would read as a boy. The climax was published to coincide with the July 4 festivities of 1976. The plot: A group of conspirators led by modern aristocrat William Taurey believe that “America’s outmoded Constitution” should be thrown on the scrap heap. “So that’s their new America – soldiers and workers in the service of a ruling elite,” the Falcon, Cap’s soaring sidekick, thinks at one point. These traitors have already created a microcosm of their new society in a sprawling secret underground complex under the Badlands. The device that will allow these Royalist Forces of America to overthrow the federal government is the Madbomb. When triggered, the Madbomb sends out sonic “brain waves” that drive ordinary citizens insane, reducing them to gibbering crowds of animal-minded rioters pitted against their neighbours. “A simulated brain, encased to broadcast madness. It’s a frightening weapon!” one of cap’s allies, General Argyle Fist,” declares.Steve Rogers, as you may know, is America’s super soldier who was injected with a secret serum during the Second World War that turned him into a one-man wrecking crew. He was frozen for decades in suspended animation at the close of the war, and I especially like Captain America issues that emphasize how he is a man out of time. Kirby, who co-created the character back in the day, doesn’t spend a lot of time dwelling on that aspect of Cap’s backstory here. More than once in this book, Cap compares the traitors to the Nazis he (and Kirby in real life) fought in Europe. And if you’re looking for parallels with the current political situation south of the border, you’ll find them: The bomb is hidden in the Taurey Towers Building in Philadelphia, for instance (shades of Trump Tower). And I’m sure extremists on either side of the political spectrum in the U.S. would argue followers on the other side are unthinking nutbars. That’s the thing making the Madbomb itself feel like an outdated sci-fi plot device from the past: Does anyone hoping to harm America in 2026 even need a fanciful explosive to drive the country’s residents crazy? In the modern world, can’t reason be defeated just as effectively with online propaganda alone? That sure feels like the lesson of the past few years to me. Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly Graphic-Novel Group book club.
Supergirl is New To Me
GRAPHIC-NOVEL COLUMN: Supergirl is new to me By Dan Brown I don’t know much about Supergirl. If you’re a regular reader of her adventures, then you likely know more about the venerable character than I do. How unschooled am I on Supergirl? I haven’t yet seen the new movie starring the Maiden of Might, which opened last weekend. And although I’ve had decades, I haven’t ever watched the 1984 feature film that stars Helen Slater in the title role, either. I do remember Supergirl being killed off in 1985 in the legendary Crisis on Infinite Earths miniseries that rebooted the DC Universe. And I did greatly enjoy Canadian writer Mariko Tamaki’s attempt to relaunch Superman’s cousin in 2018 in Supergirl: Being Super. More on that in a moment. So in an attempt to learn more about the Woman of Tomorrow, I picked up the DC glossy magazine that features four “acclaimed” Supergirl issues, each one representing a new stab at bringing the hero back to prominence. One story has the flavour of a vintage sci-fi novel a la the John Carter of Mars books. Another reads like a Twilight Zone episode. In the third tale, she was reintroduced as a secret-agent type operative. And in the concluding instalment, she’s basically a plot device in the relationship between Superman and his frenemy Batman. The multiple efforts to freshen up Supergirl point to an unavoidable conclusion: Comic fans may not find her all that compelling. It’s not like she was the first “Super” spinoff. That distinction goes to Superboy, who appeared in 1945, seven years after Action Comics No. 1 landed. Kara Zor-El wouldn’t depart Krypton’s Argo City until 1959, in the same era when DC introduced a dog, cat, horse and other super-powered survivors of Krypton. Each time, the publisher diminished what made Superman’s origin so poignant. His claim to fame – being the last son of a doomed planet, sent to Earth where its yellow sun would make him invincible – wasn’t so unique anymore. He wasn’t so special. So if you want a collection that tries to square the 1950s/1960s DC weirdness with the current continuity, as well as appeals to modern readers who would rather their comics be grim than silly, check out this magazine. I do love reading regular comics on a larger page. Now, if you want what I consider a superior Supergirl anthology, pick up the afore-mentioned Supergirl: Being Super. In my (admittedly limited) experience, it is the best Supergirl story out there. It effectively evokes the mood of what it would be like living as an alien teenager attending high school in a small American town. In one scene, Kara pops a zit on her chin. A minor problem we’ve all experienced, right? Just temporary grossness. Yet since she’s from Krypton, the zit explodes all over the bathroom, coating walls, floor and ceiling in thick green extraterrestrial slime. As if coming of age wasn’t bad enough. Even better, Being Super is pencilled precisely by Joelle Jones. If anyone reading this column has seen the new motion picture, I’d be grateful to hear your take. Is it good enough that I should see it while the movie is still in theatres? I understand the flick takes many of its cues from the John Carter-tinged Supergirl tale I mentioned above, and its structure mirrors not any comic property, but the classic movie western, True Grit. Is that the right combination of elements to turn Supergirl into a vibrant movie property? And maybe entice readers to seek out her comics? Let me know your answer in the comments! Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly Graphic-Novel Group book club.
Some Light War Reading
GRAPHIC-NOVEL COLUMN: Some light war reading By Dan Brown One of the books I’ve been reading during the U.S.-Iran war is Generation Zero, a 1991 out-of-print collaboration between Pepe Moreno and Archie Goodwin. A good chunk of this graphic novel takes place in the same region where U.S. and Iranian forces are vying for strategic advantage after U.S. President Donald Trump chose to attack the longtime thorn in the side of the United States. It’s not clear as of this writing if the war is on or off, but that doesn’t stop the stylish graphic novel from seeming like the right book for the moment. Generation Zero first appeared in serialized form in Epic Illustrated, Marvel’s answer to Heavy Metal, starting in 1983. The monthly featured creator-owned properties aimed at mature readers. In Goodwin’s words, Generation Zero is a “post-doomsday fantasy adventure.” I found it worth my while to track down online. One of the eight chapters, titled Desert Hunt, takes place in roughly the same area as the Red Sea – which, after a limited nuclear war, has become a desert hell in this alternate future. There’s an eye-popping panel that spreads across two pages of a beached oil tanker on its side – it was travelling on the Red Sea’s waters before the apocalypse. And it turns out, even in the decades to come, oil is still crucial for transportation. The book stars a trio of army deserters who venture from a refuge in Iceland in an advanced aircraft searching for a new home for their burgeoning civilization, the ultimate goal being to re-start human life on a large scale. Along the way, they encounter mutated giant snakes, topless belly dancers, ancient ruins, redheads, and an evil army with war supplies to spare. All of it is drawn (and coloured) gorgeously by the Spaniard Moreno. His art reminds me of a combination of France’s Moebius and Italy’s Franco Francavilla. It’s that strong. The action sequences pop off the page. Although it’s a post-nuclear war story, I think Moreno had another fantasy series on his mind when he created Generation Zero. The concluding chapter relates a battle on a catwalk above a barely-suppressed volcano in which it turns out – in a stunning surprise revelation – the two combatants are members of the same family. Sounds like Star Wars to me. If you’re wondering what Goodwin did, the Marvel stalwart supplied the dialogue and captions. It’s an intoxicating, pulpy mix that I liked when I read it for the first time in Epic in the 1980s, and I love as an adult in standalone form. The difference between Generation Zero and other post-nuclear comics, like Threads from Raymond Briggs, is that it depicts the aftermath of a limited nuclear conflict. The far-fetched notion that the superpowers wouldn’t try to completely annihilate each other was a novel one in the Cold War, as now. Even given that faint glimmer of hope, this graphic novel remains a nightmare vision of a possible tomorrow for humankind that isn’t entirely off the table. Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly Graphic-Novel Group book club.
GRAPHIC-NOVEL COLUMN: Latest Volume of Palookaville is Classic Seth
By Dan Brown Palookaville 25 is classic Seth. The newest book from the father of Canada’s autobiographical comics school has three parts. It opens with the latest instalment in Nothing Lasts, based on Seth’s coming of age in Southwestern Ontario, then eventual move to Toronto. Next is a section about a sculpture Seth fashioned that sits by a bus stop just outside the Art Gallery of Guelph. It ends with Owen Moore, a fictional account of Dominion’s most celebrated painter, which originally appeared in serial form in the Walrus. You may know by now how Dominion is sort of like Seth’s version of the Marvel Universe. It’s a Canadian city of the 1950s that never existed, yet which we can all recall fondly. It’s the playground for the comic creator's imagination and nostalgic impulses. You might think, because the bookends of this volume are one true story and one fictional tale, that they have little in common. Fact is, they are both equally constructed. Nothing Lasts kicks off with an affair Seth had with an older woman at a Tilbury restaurant where he worked in his teen summers. It then transitions into a reflection on how he felt when he first moved to Toronto in 1980. The mostly small, cramped panels narrating his doomed puppy love give way to larger, more open frames that reflect the vibe of the big city. And funny thing, when Seth relocates to the Big Smoke he stops obsessing about his summer romance, if you can call it that, as he falls for Canada’s biggest city. What I especially appreciate about this chapter of his life story is the manifold footnotes he includes at the bottom of each page. They remind me of the explanatory material Marvel was notorious for packing into its comics in the 1970s to keep readers informed of connections they may have missed between other characters and plots. He also points out that the act of putting his memories on the page is fraught with complications. “I remember nothing,” he mentions at a crucial point in his narrative. He questions his own recollections at another point by saying, “It’s a muddle.” He contradicts himself, expands and explains his memories, revises them, then invites the reader to stop reading if they don't like his fragmented style. “Here, in this comic memoir, I can ramble as much as I want. Digress to my heart’s content,” he concludes. “And if you don’t like it, well, don’t let the door hit you on your way out.” In Owen Moore, which is made up of 10 one-page chapters, Seth creates an equally detailed history – of a person who never existed. Moore, we learn, painted Dominion street scenes. He had little success when he was alive, and by the time he had been discovered he was too far gone in his mental decline to provide answers for eager interviewers. Seth informs readers that Moore grew up in Corktown, a satellite community that was eventually swallowed up as Dominion grew. The character became an artist after experiencing a “vision of cosmic mundane perfection” while sick as a child in 1909. He grew up to be a Sunday painter who worked as a streetcar ticket taker during the week and was devoted to his indifferent mother. “He never married,” the narrative voice tells us, “That is, if his diaries are to be trusted.” None of this is real or true, of course. Just the result of Seth’s pure imaginings. Seth sets up Owen Moore as Dominion’s most famous artist, but the truth is much more complicated than that because it’s Seth himself, and not any of the characters he’s created, who is the most famous artist to come from Dominion. Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly Graphic-Novel Group.
Monster of the Abyss artist Eric Olcsvary visits with GNG
By Dan Brown SPOILER WARNING: This column contains plot details. If you value surprise, stop reading now. You’ve been warned! The L.A. Mood Graphic-Novel Group met Saturday, April 11, and had a special guest, Tillsonburg artist Eric Olcsvary. This is a brief outline of our discussion with him during our hour-long meeting. The book: The first two issues of Monster of the Abyss, written by Scott Wojcik, and illustrated by Olcsvary. The discussion: Eric gave us a look into his creative process, his background, and his partnership with Wojcik, who is also a local creator. Olcsvary says Wojcik is an idea machine! Wojcik’s kids Ashton and Hayden helped the writer come up with the story for Monster of the Abyss. This comic series follows the adventures of Sleepy Joe, who is a “magical and unique” stuffy brought home from a store in the “Eatons Mall.” Over the two issues he undergoes a drastic transformation, and Olcsvary said Joe being able to think but not talk (his mouth is stitched shut) is a key part of the character’s personality. Oh, and although many readers have asked the creative team about this, Sleepy Joe is not a reference to former U.S. president Joe Biden! By issue No. 2, Sleepy Joe has become Creepy Joe after being pulled into the underworld and having his persona changed. L.A. Mood co-owner and GNG member Gord Mood said the entity that forcibly transforms Joe, the Gloom King, is a Nietzschean kind of being. “Even the strong-willed can be broken, their resolve crushed,” it tells the toy. “Friendship is a lie, when darkness rises they’ll leave you to rot. You’re better off embracing your true nature. You are a creature of fear, destined for darkness.” If you haven’t guessed by now, Monster of the Abyss is a horror story. Olcsvary explained to the group’s members that although he is a metalhead when it comes to music, he is not a big horror guy – he just keeps getting offers to draw horror books! The part of the book where Joe is in the black pit also prompted a digression among the group about brainwashing. To what extent can a person (or even a fabric toy) be induced to do things that are outside their normal moral sphere? We had wide-ranging opinions. Another point we spent a decent chunk of time talking about is the colouring of the book. The first printing of Monster of the Abyss No. 1 was in black and white, which was followed by a colour version with colours by Payton Atkinson. We agreed as a group that we enjoyed the coloured version more. Olcsvary has described his own lines as a “bouncy, ink-heavy art style full of movement and unique composition.” He told us on Saturday that inking is his favourite part of the comic-making process! You can find Monster of the Abyss on the rack reserved for work by local comic creators. L.A. Mood’s Graphic-Novel Group meets the second Saturday of every month. Next month’s selection is Mouse Guard: Dawn of the Black Axe by David Petersen and Gabriel Rodriguez. Be warned, I am a HUGE Mouse Guard fan! We’re set to meet May 9 at the gaming tables in the store at 11 a.m. All are welcome to join the discussion! Dan Brown has covered pop culture for more than 33 years as a journalist and also moderates L.A. Mood’s monthly Graphic-Novel Group.
Goon References Please GNG
By Dan Brown SPOILER WARNING: This column contains plot details about Eric Powell’s Goon, so if you value surprise, do not continue reading. Stop now! The L.A. Mood Graphic-Novel Group convened on Saturday, March 14. Here’s a brief account of our discussion. The book: The Goon: Bunch of Old Crap Volume 1, which collects the character’s earliest stories. The discussion: Most of us appreciated the Goon, even if it wasn’t really our thing. Me, I loved it. I knew little about the Goon before this. I had a vague awareness of the long-running comic, and its supernatural flavour, but I had not actually read any of the his adventures. What can I say? Powell’s heedless spirit, which imbues the book with a unique energy, bowled me over. The collection was pitched by GNG member and L.A. Mood employee Matt. Much of our discussion centred around the book’s many references to the original source material that fired Powell’s imagination. For those who are new to the antihero, the Goon’s first issue came out in 1999. I found it to be a blend of ingredients that I have not seen in any other comics. One of Powell’s biggest inspirations is clearly Mad Magazine. You can feel the fun, anything-goes, slightly gross vibe in every panel. The protagonist – who looks like a giant boxer of old – is a former circus worker who becomes an enforcer for a mob boss. The twist, which comes fairly early in the chronology of the series, is the mob boss doesn’t exist – the Goon is himself the brains of the operation. He is accompanied by his homicidal sidekick Franky, who has eyes that lack pupils. Shades of Little Orphan Annie. It takes place on Lonely Street in a burg that is reminiscent of Central City, home to Will Eisner’s Spirit. The bane of the Goon’s existence are the zombies that keep popping up, only to be dispatched by his fist or a blast from a revolver. There are many other monsters rampaging about, like the sea creatures that evoke H.P. Lovecraft. There’s even a gigantic lizard-type baddie created by Powell as a way to express his love for such rubber-monster movies as Godzilla. Powell was also clearly influenced by Jack Kirby. The Goon often appears in action-packed spreads that unfold over two pages. Another source is the films noir of the 1940s. Franky is always seen in the duo's bar hangout trying to romance one dame or another. Even better, it’s so much fun to watch Powell cycle through so many different styles of illustrating. He never stops evolving. And for fans of old-school comics like yours truly, the throwback sound effects are a delight: Klang! Slap! Krash! Pow! I was in my glory. There are several more omnibus volumes of the Goon to enjoy, and I intend to get all of them. L.A. Mood’s Graphic-Novel Group meets the second Saturday of each month. Next month’s selection is from London comic creators Scott Wojcik and Eric Olcsvary, we are reading issues 1 and 2 of their Monster of the Abyss series. The group is set to meet next on Saturday April 11 at 11 a.m. at store’s the gaming tables. If you're interested in comics or graphic novels, we’d love to have you join us! Dan Brown has covered pop culture for more than 32 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
