Marc Guggenheim, the Overwatch author and executive producer of Arrow, will be appearing at Long Beach Comic Expo on February 28th and March 1st. Find out more about his panels and get your tickets here.
Tremendously excited for the first issue of The Black Hood, which will be available the same week as Duane Swierczynski’s new novel, Canary!
Today’s the last day to call up your local comics store to ensure that they’ll have a copy waiting for you on February 25th.
You were going to buy this book anyway, so why not sweeten the deal? Click here for details on how to submit your proof of pre-order.
B&W, Comics Format
Eternity Comics, 1989
Beneath a nicely-designed cover, this comic reprints four adventures of Leslie Charteris' Simon Templar, a/k/a The Saint, originally published within the pages of the popular character's eponymous comic book series back in the late Forties.
The first story, "Suite Number 13," (The Saint #7, 1949) solely credited to Walter Johnson, finds the legendary gentleman adventurer and his muscular sidekick, Hoppy, at a French Riviera resort, where he tangles with a sultry baroness, duels with a snotty count, and recovers a stolen treasure – all in 8 pages. The story is typical pulp, and the artwork is rather pedestrian, with a constantly smiling, square-jawed Templar. In fact, he rather presciently resembles actor Roger Moore, who took on the Templar role some years later on British television.
The second story, "The Blackmail Beauty," (The Saint #7, 1949) appears to be the work of the same creators, and has Templar back in London, involved with sexy blackmailer. Story number three, "The Diamond of Death," (The Saint #5, 1949) is the work of a different, better artist, one who's clearly influenced by Milton Caniff. In fact, the Oriental femme fatale of the tale is a dead ringer for Terry And The Pirates' Dragon Lady.
The issue wraps up with "The Saint Breaks A Spell, "(The Saint #5, 1949), which features yet another artist and an energetic, two-fisted Templar with a perpetual toothy grin – even in the most inappropriate situations. The Saint is pitted against an evil cult out to scare an heiress to death.
The four stories in this comic are pretty standard, unremarkable Golden Age stuff, with decent art and serviceable writing. But they don't hold a candle to The Saint newspaper strip (which Eternity also reprinted some of in their Private Eyes title), which was witty as well as exciting.
I found this in a bargain bin for 50¢, and don't regret picking it up, but I wouldn't recommend making an effort to hunt down a copy, unless you're a die-hard Saint completist and can't afford the 40's originals.
There was at least one more issue of this title, but I don't have a copy.
Two Out of Six Bullets.
The original miniseries - along with a previously unpublished sequel, Wintersea, by the same creative team, was recently published in trade paperback form by IDW Publishing, and Dixon has followed that collection with a new, ongoing Winterworld comic book series. I've only read the first issue, but it was terrific, and I wouldn't hesitate to highly recommend both the trade collection and the new series to fans of hard-hitting action and adventure tales.
Here are the original Eclipse miniseries covers by Zaffino.
It was enjoyable stuff, but highly derivative. Fortunately, DC had the good sense to hire comicdom's premiere spy artist, Paul Gulacy, to draw the dynamic, eye-catching covers. Check them out:
Illustrated By Victor Toppi
3-Issues, B&W Comics Format
Eclipse Comics, 1992
Chuck Dixon has written a lot of crime comics. Most of them, though, have headlined such spandex-clad characters as Batman, The Punisher and Catwoman.
Mad Dogs, however, is a straight-up, no bullshit crime story; dark, brutal, action-packed, and with nary a cape nor cowl in sight.
Guy Brennan, an ex-cop booted from the force for rule-breaking and excessive force, is charged by the Philadelphia D.A.'s office with forming a special, quasi-official anti-crime unit. He proceeds to recruit four more loose cannons like himself and one sexy "Dirty Harriet," before setting his sights on bringing down an Asian drug dealer named Billy Lin. Without badges or warrants, his team swings into action, and before long, bullets are flying, blood is spraying, and it looks like his new team's days are numbered.
This is some hardcore stuff. When we first meet Brennan, he's sucking on the barrel of a .45, about to eat a bullet. Pretty much every member of his team is responsible for at least one dead criminal before they even join his squad, and the depiction of gang violence in the series is disturbingly realistic. Dixon's dialogue is tough and convincing, and characters are skillfully and economically established in a minimum of pages, leaving plenty of space for the elaborate action sequences.
Toppi's art is the very definition of "gritty," with intricately detailed linework bringing considerable texture and atmosphere to the urban jungle setting of Dixon's tale. The crumbling slums and dilapidated crackhouses are so lovingly rendered that you can almost smell the rot and decay.
On the down side, Toppi's storytelling can get a little muddled at times, and in a few places, poor placement of word balloons by the letterer made following the dialogue a little confusing. Overall, though, the book is nearly as satisfying visually as it is narratively.
According to Dixon: "The genesis of this series is interesting.
"I was creating new properties for a Swedish publisher and they specifically asked for a very violent police thriller. When I handed it in they were horrified. They paid me but never published it. I offered it to Eclipse and they picked it up."
Mad Dogs is a mean, violent crime story with interesting – if not necessarily likable – characters that deserved a sequel (or two). Too bad that never happened. But in many ways, this feels like a warm-up for the tales Dixon would go on to tell in mainstream books like The Punisher, and those are worth reading, too.
Four out of Six Bullets