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Tag: Marc Silvestri

Comic-Shop Memories: All About Books & Comics (Part I), 1986-87, Phoenix, Ariz.

I don’t know how quickly I was able to discover All About Books & Comics after moving to Arizona, but it was pretty quick, likely within a month or so after arrival.

The shop was farther from home, about 16 miles from home or a half-hour each way in the car, at 535 E. Camelback Road. Like most comics shops, it was in an unremarkable building, albeit one that had bright letters and even characters at times painted on its street-facing windows.

It would be an understatement to say I was impressed when I first walked into the store. Not only was the space large, but it was crammed to the gills with new and back issue comics — more than I’d ever seen in any other shop. And, I quickly learned, there was lots more in the back. If you couldn’t find what you were looking for, just ask, and they’d come back shortly with the book you needed in fantastic shape. I have a stone-cold mint copy of X-Men #147 I acquired from the “back room,” and an equally nice copy of X-Men #142.

What impressed me most at first was the back issue selection, which was deep. I checked out the X-Men selection and — just in the box — they had just about every issue back to #143, the end of the John Byrne run. The issues before that were prominently displayed along the walls in mylar sleeves for “exorbitant” prices that ranged from $10 to $30 for most except the earliest issues of the “new” X-Men run. Every other title was stocked just as deeply, if not more so, since those early new X-Men issues were the hottest thing going at the time and there were no reprints. So to read them, you had to get the originals. Classic X-Men had just started and it was going to be a while before it got to the Dark Phoenix issues.

A later printing of the first X-Men trade paperback, with a great cover by Bill Sienkiewicz.

I say that with one exception, that applies directly to this visit. While checking out a rack in the corner, I came across the first X-Men trade paperback, published in 1984, collecting issues #129-137, for the cover price of $7.95. I had to have this book, but couldn’t afford it at the time. Luckily, Christmas was coming up, and I told my parents this is what I wanted. So my dad drove me down to the store again, we bought it — I was sure it would be gone by that point — and it went home to be wrapped awaiting Christmas morning. I remember reading it that Christmas Day of 1986 and absolutely loving it. I’ll have to do a whole post on that book another time.

The following May, I graduated high school and was due to attend the University of Arizona in Tucson starting in the fall. My dad was working for a personnel company that had a temp business that served American Express, which had extensive operations in the Phoenix area. So he got me a summer temp job at one of their call centers, answering a national informational toll-free number for the Amex business card. The hotline was advertised in USA Today and other high-profile places, so my job was to answer these calls, answer basic questions about the card, take down the caller’s information and pass it on so that an application would be sent to them, or — if they were a larger company — a sales rep could contact them. It was boring and easy. Most of the calls came from the East Coast, so the afternoons slowed to a crawl and I’d read sci-fi books I borrowed from the library at my desk until I was done at 4:30. The perks included being able to look up cardholder addresses in the computer — few comics folks seemed to have Amex cards, but I never stopped putting their names in the system — and a fantastic deli in the complex called The Duck and Decanter, which is still there and makes the most incredible sandwiches. And it was located at 16th Street and Camelback road, just nine blocks down the street from All About Books & Comics!

So 4:30 would hit and, about twice a week, I’d make All About my first stop. I had this summer job and sufficient financial aid to pay for university, so I felt free to spend a little money on comics. I was in full-on X-Men fandom mode at the time, and so these trips were used primarily to raid those deep back issue bins. I’d grab four or maybe five issues per visit, adding in a few other back issues to series I still had holes in — The New Mutants and Alpha Flight in particular. When I started frequenting All About, my X-Men collection ran back from the current issue (around issue #220) back to about #174, with a couple of older issues in there. By the end of the summer, I’d filled it in all the way back to #141, plus annuals. I’d also brought up to date my run of The New Mutants.

I was really interested at the time in the issues from Dave Cockrum’s second run as artist, which I was reading for the first time. They were very different in tone and style than the stuff that hooked me on X-Men: issues Claremont produced with artists Paul Smith, John Romita Jr., John Byrne and Art Adams. But the more I read the Cockrum stuff, the more I really came to love it fully and completely, faults and all.

I also started trying out more comics, still mainly Marvel. Favorites included: Avengers by Roger Stern, John Buscema and Tom Palmer; West Coast Avengers by Steve Englehart and Al Milgrom; and Silver Surfer by Englehart and Marshall Rogers. All About was well stocked, and you could pick up at cover price, new off the racks, the last six or so issues of these titles plus any recent annuals. And new comics cost 75 cents at the time, so it was not terribly expensive to try out six or so issues of a new series.

I recall flipping through a copy of an issue of Batman: Year One and not buying it — which was, again, really dumb. I did later acquire those originals for a very reasonable price.

As I mentioned in my previous post, I had been getting my subs through Fog Hollow Comics until it closed, and then those subs were transferred to a shop called AAA Best Comics. On Fridays, I would often hit All About and then drive up to Fog Hollow for my subs and then home. It took an hour in the car in Phoenix summer heat — without air conditioning. But this was my thing and I was all in. I almost always went for a swim as soon as I got home to refresh my sweaty self and remember for a moment what it was like to be cool.

The day before I was scheduled to drive down to university with my parents and move into my first apartment with a roommate I had yet to meet, I wanted to get my new comics from All About. It was new comics day, but in those days that was far less of a weekly event than now. The books came in and sat in piles on the counter throughout the afternoon as the staff worked to verify quantities before they could be put on sale. So I waited. For quite a while. I looked through back issue bins. I checked out the small section next to the comics where All About stocked used paperbacks and discount comics. Finally, the new books were freed and I picked up my comics, including X-Men #224, and began the long drive home in the late-afternoon heat.

Cover to X-Men #224 (Dec. 1987). Cover art by Marc Silvestri and Bob Wiacek.

If you’ve ever been to Phoenix in the summer, you know it gets really damn hot. And when the monsoons come, it gets worse because the humidity goes up from nothing to something. This was a monsoon day. I could see the thunderheads building up in the mountains, and was driving toward them as our house was near the foothills of the McDowell mountains. I had sweat through my clothes several times over in my AC-less VW Beetle. And then I got a flat on Hayden Road, just north of Via de Ventura. I pulled off onto a side street and, having no working spare, found a nearby pay phone to call for help. Which took a very long time to come because it was rush hour and our other car was otherwise occupied. So I found some kind of shop to sit in, with my comics, and read them until I got some help and could get home, wash off the day with a dip in the pool and try to prepare for the next day’s events. But I had my comics. That made me happy. And since I had an apartment, I did take with me my collection — about three long boxes at this point.

On to Tucson, and another town of new comics shops.

Reviews: Hulk #1, DD #5, Cold War #1, Last of the Greats #1, Aquaman #2, Justice League #3

The Incredible Hulk #1 was better than I expected. Not having read the book in years, I missed out on and don’t understand most of the Red Hulk stuff or what mental state Bruce Banner and the Hulk are in these days. I therefore expected to be confused, but wasn’t, though I’m sure it helped that I recognized the Mole Man’s underground minions. Writer Jason Aaron did a good of job of putting it all together and making sure there was some actual action in a first issue. The art by Marc Silvestri et. al was quite good — definitely Silvestri’s distinctive style but amped up with some nice detail that came through quite well in the inks and was well-complemented by Sunny Gho’s colors. That said, I”m not interested enough in the Hulk to make this a regular read at $3.99 a pop.

Daredevil #5 is another terrific issue from Mark Waid and Marcos Martin. This reads very, very smoothly and is clear enough that I think the average reader could pick it up and understand pretty much the whole thing. It looks incredible, too. Martin and colorist Javier Rodriguez deserve very high marks for making such a great-looking book.
Cold War #1 is a new, period espionage thriller from John Byrne that I was mildly disappointed with because I thought Byrne had done such a great job on the revived Next Men series. This isn’t quite as good as that, as it’s just a bit too restrained and dated. The dated part is on purpose, as though this is a series Byrne has wanted to do for decades, i.e., a time when this kind of thing would have been much more relevant. It’s still a nice modern Byrne comic, though, with solid art and decent storytelling. It just doesn’t have the kind of zip that a book like this should have.
The Last of the Greats #1 by Joshua Hale Fialkov and Brent Peebles is for me a tough one. I like the concept, which is that seven alien beings came to Earth and used their powers to solve many of mankind’s problems in return for demanding control and fealty from the people of Earth. People then turned on them, and all but one were killed. The issue begins with six humans coming to the last of these aliens, dubbed the “Greats,” and asking for his help with a fairly big problem. But I think the execution is talky and exposition heavy, and think this could have been much more compelling by show more than telling.
On to the DC relaunch books, Aquaman #2 was about the same as the first issue — a story that’s slick and commercial if not particularly deep — but it was the cover that struck me the most. My first thought was it was a recolored version of the cover to Star Wars #64, my least-favorite issue from the original Marvel series. It’s close enough to be an homage — or a swipe if you’re so inclined — but it’s far too distracting for me and I don’t know I will remember much else about this particular issue.
Justice League has been getting better with each issue and #3 is the best yet. Finally, we get to meet Wonder Woman, and she both charms and kicks ass. The action kicks into high gear with a huge invasion from Darkseid’s minions, while writer Geoff Johns delivers a nice chunk of the ongoing Cyborg origin subplot. It’s interesting to note the ways in which Jim Lee’s art has evolved as well as the ways its stayed the same. The finale’s introduction of Aquaman gives him a hairstyle, facial hair and costume straight out of 1996. Some other details, like the cops on the first page also look a bit dated. But the way Lee draws his heroic figures — both men and women — has improved tremendously from his days on The Uncanny X-Men, with anatomy and posing that’s overall more realistic and more solid looking. Wonder Woman here is a far cry from the somewhat plastic looking sexy Psylocke from way back in the day. Anyway, issue #4 looks like it’s going to be a barn-burner.
That’s only a fraction of the stack I’m looking to get through, so I may just stay up late and read funny books until my eyes pop out of my head to get a look at more New 52, the Fear Itself epilogues and more X-Men: Regenesis.

Christmas Comics: The Uncanny X-Men #230 (June 1988)

“’Twas the night …”
Writer: Chris Claremont
Pencils: Marc Silvestri
Inks: Josef Rubinstein
Colors: Glynis Oliver
Letters: Tom Orzechowski
Editor: Ann Nocenti
Editor in chief: Tom DeFalco

When they reprint classic merry mutant tales, they usually omit this one (more on the more popular X-Men holiday stories soon). Perhaps because this tale is tied into the Australian outback era of the The Uncanny X-Men, which is both admired and reviled, depending on who you listen too. This is easily the goofiest X-Men Christmas story, but it’s also not without its charms.

The story begins with the X-Men on a typical training session in the outback town they took over in the previous issue from The Reavers. But Longshot is absent, lured to a room filled with “haunted treasure” that wants to return to the owners The Reavers “liberated” it from. This is a weird idea, that these objects have some kind of sentience and, even more, an emotional attachment to their owners. This is ascribed to Longshot’s power of psychometry, which was an ability outlined in his original 1985 miniseries. Haunted by the pleas of these items, Longshot’s tales prompt the X-Men to try to return every item to its rightful owner.

The ridiculousness of the idea is commented upon extensively in the story — Claremont’s halfway successful technique for selling the idea to an audience most likely too “cool” to take the concept at face value — with Havok and Wolverine noticeably scoffing at the idea. But like most good Christmas stories, the season’s good points melt away the skepticism and everyone joins in whole-heartedly. Even Wolverine gets in on the act, wearing a Santa hat and carrying a big bag of gifts over his shoulder — all of which is pretty out of character and most likely not “cool” with the average late 1980s X-Men reader, but it is Christmas.
Amid all of this, there are a couple of subplots. One has Rogue trying to connect in some way with Gateway, who at this point is still a silent mystery. The other has Dazzler trying to come to terms with her new, non-glamorous life living with the X-Men in the outback and craving the missing comforts of books, TV, music and fun in general.

The general hokeyness is complemented by a some quite nice little moments in which people surprisingly recover treasures long thought lost. I particularly liked a four-panel scene in which a couple of kids catch Dazzler in the act and she claims to be one of “Santa’s special helpers.” There’s also a nice little nod to The New Mutants, who at this point believe the X-Men dead and are in mourning, as Storm gives them some weather worthy of an extra Christmas carol.

That all this happens on Christmas is fairly obvious, but not overtly commented upon until fairly late in the story, when the X-Men make a gift to Dazz of the super-trendy motorcycle she’s had her eyes on. (Presumably, it was one of the gifts that had no signature for Longshot to register.) Rogue also gets a subplot resolved as her attempts to connect with Gateway.

The art is an interesting mix. This was the pre-Image Silvestri — lots of mood and emphasis on setting with a slightly sketch and abstract style. I was always conflicted about Rubinstein’s inks, which are polished but also add a soft and slightly cartoony feel that clashed with the usually over-serious approach of Claremont’s stories. Faces in particular were not as expressive with this art team — Silvestri’s sketchy style lacked some range in this area, and Rubinstein flattened out and distorted things a bit.

I remember buying this issue off the stands and thinking it a bit of a throwaway issue — one of those quiet issues Claremont would use to emphasize character after a big change in the status quo. One of these every so often worked nicely, but there was a definite hunger to see the new Australia direction take off. This had come after the resolution of Fall of the Mutants in #227, a fill-in tale in #228, the establishment of the new direction in #229 and there would be one more character-oriented fill-in in #231 before things got back to the meat of things with the return of the Brood in an action-packed three-parter starting in #232. This was obviously never going to be a pivotal issue in the X-Men canon, referred back to via footnotes for as long as they used footnotes, but something about this kind of simple, all-in-one holiday story evokes a fondness for those days when comics could tell stories outside of serialized trade collections and mega-crossovers.

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