A longtime showbiz journalist and fan's thoughts on comic books, movies and other cool stuff.

Tag: Raiders of the Lost Ark

Comic-Shop Memories: Spinner Racks and Corner Stores, Edmonton, Alta., 1973-1985

I realize the biggest gap in what I’ve written so far is that I haven’t explained my earliest experiences with comics.

My first memory of comic-book material was on television. When I was about 4 — around 1973 — one of the local TV stations in Edmonton aired episodes of the various 1960s DC animated series at about 12:30 p.m. each weekday, right after The Flintstones.

(A side note: The Flintstones ran every weekday at noon on CFRN-TV in Edmonton for pretty much my entire childhood. It was how we measured lunch, as the morning session at school ended at 11:45 a.m. You got home just in time to grab your sandwich or bowl of soup and sit down to watch The Flintstones, and then head back to school after it was over. School resumed about 12:55 p.m., so you usually had a few minutes on the playground before class resumed. I remember visiting Edmonton in the mid-1990s, and The Flintstones was still playing at noon!)

These DC toons alternated, with Superman, Batman, Superboy, and Aquaman all getting a day to themselves. I think Superman may have aired twice.

Then there were the 1960s Spider-Man cartoons. Because this show was produced in its first two seasons by Toronto-based Grantray-Lawrence Animation, the show counted as Canadian content. Even back then, the Canadian government required broadcasters to fill a certain percentage of their airtime with shows produced in Canada. Since Spider-Man qualified, and it was popular, it was in constant re-runs from the 1970s well into the 1990s — usually on the independent channel, CITV-TV.

We had cable back then, but it was minimal compared to what we now think of as cable TV. We got via cable all the local Edmonton broadcast channels, plus the broadcast channels from Spokane, Washington. This included an independent channel, as well as the CBS, ABC, NBC, and PBS affiliates — effectively doubling the number of channels we had. There was no cable box, but every channel from 2 to 13 had something on it.

It was through these channels that we got American Saturday morning cartoons. My earliest memories of Hanna-Barbera shows like Scooby-Doo and Speed Buggy, packages of classic Warner Bros. shorts, and, eventually, Super Friends. For years, getting up to eat cereal and watch cartoons was the best and only way to spend Saturday mornings without exposing yourself to dark and freezing winter conditions.

Before we got Super Friends, there was Shazam! This was a live-action show, made super cheap (not that I knew that at the time), and paired with a second superhero show, Isis. But what grabbed my imagination was the transformation sequence where Billy Batson yelled “Shazam!” and turned into Captain Marvel.

Opening credit sequence to the 1970s Shazam! TV series.

Which lead directly to the first comic book I remember owning: A Shazam! treasury edition I later came to know as Limited Collector’s Edition #C-27. I particularly remember one Captain Marvel Jr. story in which Freddy Freeman was captured at a circus, gagged, and left in a guillotine. He managed to loosen the gag enough to shout “Captain Marvel!” in time to transform — the guillotine blade broke on his neck. Cool stuff!

I didn’t buy that comic — or any others for a while — myself. But there always were comics around. We spent summers at various lake cabins with other families with older kids, and comics were just all over the place. There were plenty of Harvey Comics, Archie Comics, Gold Key Comics, Marvel Comics (especially Millie the Model), and DC books (Batman was popular). With no TV, comics were just what we all curled up and read when it rained or you were just tired from running around outdoors all the time.

When I got a little older, the corner store loomed large in the lives of all the kids in our neighborhood. We were constantly asking our parents for a quarter or two to fund a trip to “the store.” The great thing was you could get just about anything you wanted for a couple of quarters: a chocolate bar, pack of gum, bag of chips, small box of candy, a pack of trading cards (with gum), a bottle of pop, or a comic book.

The store did a lot of business with the neighborhood kids, so the candy and comics — displayed in a classic spinner rack — always were upfront. Located at 12305 63rd Ave., the store did not have a name that I can recall. It was a standard neighborhood convenience store that sold basics like bread, milk, canned goods, newspapers, magazines, and cigarettes. It was owned by a family that came to Canada from Lebanon, and they frequently seemed to sell it to a cousin or brother or uncle — but it always stayed in the family, and they always were very kind to the neighborhood kids.

Such stores were everywhere. Every neighborhood had one. And every one of them had a spinner rack of comics. Comics also could easily be found alongside racks of paperback novels at a drug store, and sometimes in supermarkets. Pretty much anywhere you could stop in for a pack of smokes, a newspaper, or a pack of gum was a place to get comics.

Most of the comics I bought were at “the store.” I remember stopping in one night with my dad, who let me buy a Superman and a Spider-Man — likely The Amazing Spider-Man #162 (Nov. 1976) since I pretty clearly remember Nightcrawler on the cover.

Science fiction was popular at the time, with reruns of the original Star Trek in full swing, so I bought several issues of the Gold Key Trek comic off the racks. I also liked Space: 1999 and The Six Million Dollar Man, and bought the Charlton comics based on those shows. I distinctly remember the story in the John Byrne-drawn Space:1999 #6 — and had no idea he lived just down the road in Calgary at the time.

Star Wars, of course, changed everything. I didn’t see the movie until June 1977, and the first Star Wars comic I saw was issue #3. A friend of mine had a copy of #2, and I managed to score a copy of #1 — the first comic I expressly went looking for — one day at Mike’s Newsstand on Jasper Avenue in downtown Edmonton. Actually, what happened is I spotted the comic there while visiting with friends and, having no money, pleaded with my Dad to go stop by from his office on the way home the next week and buy it for me. And he did!

The treasury editions that Marvel and Whitman published were easy to find, and that’s how I and most of my friends read the adaptation of the movie. Over, and over, and over. They had better printing, too, than the original comics, and were what we now would call oversize.

In the fall of 1977, I bought a copy of Star Wars #7 — the first original Star Wars comic book story. And that was it. I was on the hunt for all the issues after that. I missed #8 and #9, though friends of mine had them and I borrowed or read their copies while hanging out at their houses. Starting with #10, I figured out that Star Wars comics showed up about the third week of the month, usually on a Tuesday. I started timing my searches and successfully bought just about every issue from there through #31. Then there was a stretch where the store stopped carrying comics for a bit, then brought them back in time for Star Wars #39 and the adaptation of The Empire Strikes Back.

The other book I read at the time was Marvel’s Battlestar Galactica. I wanted the TV series to be good, but too many episodes were disappointing fill-in episodes using old Western movie sets. The comic, however, started to get really good after the show was canceled. Walt Simonson took over writing and drawing, and his talent in both disciplines was evident.

The last year of my early comics reading was 1981. The Battlestar comic was canceled. I read Star Wars through #54. And I also had the Marvel Super Special adaptation of Raiders of the Lost Ark, which was the hottest movie of the year. I don’t remember making any conscious decision to stop reading comics, I just moved on to other things.

Marvel Super Special #18 cover.

Fall of 1981 was when I started junior high school, began to earn money by delivering newspapers after school, and became more interested in music and sports — particularly soccer and hockey. Edmonton was then a new addition to the NHL with the Oilers, and had this young hotshot named Wayne Gretzky who played for them. Gretzky and the other young stars of the Oilers were not much older than me — I was 12, they were around 20 — but their on-ice heroics made them appear almost like real-life superheroes who lived in our midst.

I don’t think I bought another comic until 1985, when I dug out my stack of Star Wars comics and rediscovered them. That lead me to the 7-11 and my purchase of Star Wars #96 — and I’ve never stopped buying comics since.

The Further Adventures of Indiana Jones (Marvel) #1-34

In the past month, as promised, I’ve read the entire run of Marvel’s The Further Adventures of Indiana Jones (Jan. 1983-March 1986). I completed reading the run in time to brush up on Indy’s past in 1984’s Indiana Jones and the Temple of Doom, and the brand-new feature Indiana Jones and the Dial of Destiny.

Harrison Ford in Raiders of the Lost Ark.
Harrison Ford in Raiders of the Lost Ark.

I’ll start off by saying that Raiders of the Lost Ark is one of my perfect movies. I love it unconditionally, and have since I first saw it at the Westmount Cinema in Edmonton in the summer of 1981. At the time, Alberta’s movie ratings system required a parent or guardian to attend with kids under age 16. So, I had to talk my Mom into taking me the first time. She expected to be bored stiff, based on the title, but thanked me afterward for making her see the movie. I saw the movie at least a half-dozen times that summer — sometimes by buying a ticket for Superman II and then sneaking in to see Raiders. Sometimes, I got caught, and sent back to watch 10 minutes or so of Superman II before re-sneaking in to Raiders.

Marvel Super Special #18: Raiders of the Lost Ark. Cover art by Howard Chaykin.

Unlike Star Wars, Raiders didn’t inspire a flood of merchandise. I don’t remember there being any Raiders toys, though I did have some action figures from Clash of the Titans, which came out around the same time. There was a novelization, which I read and enjoyed, and Marvel Super Special #18, which adapted the movie. The really enjoyed this adaptation, which was written by Walter Simonson, penciled by John Buscema, and inked by Klaus Janson — all under a terrific painted cover by Howard Chaykin.

I stopped reading comics shortly thereafter. I was 11 going on 12, about to enter junior high school, and toys and comics were giving way to hockey, rock music, and secret crushes on the girls in my class. So I missed Marvel’s continuation of Raiders, which started in the fall of 1982 and roughly spanned the period in my youth when I didn’t collect or read comics.

Somehow, over the years, I acquired the full Marvel run, but had never sat down to read it until now. The series is wildly uneven, and mostly unremarkable. It never really achieves the kind of high points that Marvel’s Star Wars found, even with plenty of top-notch creators involved.

The difficulty in doing an Indiana Jones comic in 1982 was apparent right there in the first issue, which featured a story and layout by superstar John Byrne, who also contributed a plot and layouts to the second issue before leaving the title to make room for Alpha Flight. Byrne’s story is quite talky — more like a Sherlock Holmes story than anything.

David Michelinie had the longest run on the title, taking over with issue #4 and writing most everything through issue #23. This was roughly concurrent with his run on Star Wars, which produced some of the best Marvel issues set in a galaxy far, far away.

But Indiana Jones was a tougher nut to crack. For one, the character operated in a more realistic world than most comics. It was difficult to find distinctive villains that weren’t retreads of the Nazis. And it was more difficult to create plots where a “finder of rare antiquities” could play the hero. And incorporating the pulp fiction-style supernatural elements was even more difficult.

For most of the series, Indy went on missions for his pal Marcus Brody on behalf of the National Museum, based at Marshall College in Connecticut. Marion Ravenwood showed up and Marcus hired her as a publicist for the museum, assigned to tag along and document Indy’s adventures to promote the good work the museum was doing. At least she did until issue #25, when she abruptly left the series and never returned. This was around the time Temple of Doom, in which she didn’t appear, was released. Short Round made a brief appearance in one issue, but that was it.

The style of action Raiders delivered also was difficult to recreate on the comics page. The workhorse artist of the series was Herb Trimpe, a true comics journeyman who brought a more conventional style of art to the character.

But nothing really works. Even when artists like Chaykin and David Mazzuchelli contributed to the series, it was flat and dull. The covers from Terry Austin, Chaykin, and Michael Golden were the best part of the series,

Sometime after Indiana Jones and the Temple of Doom was released in 1984, there was a shift at Lucasfilm that affected both the Indy and Star Wars comics. Interest seemed to evaporate, with both titles eventually being demoted to bimonthly publication for their final year before cancellation.

The later issues of Indy’s comic, however, were some of the better ones. Linda Grant took over writing the series, and Steve Ditko drew a number of the later issues. The results were more entertaining, though still falling short of anything that inspired further reading or required the continuation of the series.

I think Indiana Jones definitely could work as a comic. It takes so much inspiration from the serials of the 1930s, which in turn took inspiration from the pulp fiction mags that preceded comics and the great adventure comic strips of the era. Terry and the Pirates is as close to a blueprint for Indiana Jones as you’re ever likely to find. Tapping into Milton Caniff’s approach would seem the obvious way to make good Indiana Jones comics.

I know Dark Horse published many Indy comics in the 1990s and beyond. I think I’ve only ever read one of them, and it must not have made any impact on me as I never read any more. If there’s a good one I missed, let me know.

Harrison Ford in Indiana Jones and the Temple of Doom.

Back to the movies to wrap this up: My friends and I bolted out of school the Friday Indiana Jones and the Temple of Doom opened to get in line for a screening at the Paramount Theater on Jasper Avenue in Edmonton. We’d heard about the bugs scene, and one pal brought a pack of Goodies candy to toss from the balcony during the bug scene. I don’t remember being able to see any kind of reaction, but it was fun.

I still love the Temple of Doom. It’s not as good as Raiders, but I love the freaky energy, the pulpy thrills, the strangeness, the dark plot, and even the tension with Willie Scott and the friendship of Short Round.

I’m not as thrilled with Indiana Jones and the Last Crusade, which I saw opening weekend with my girlfriend at the time in Scottsdale, Arizona. Temple of Doom had been roundly criticized as being too dark for kids, inspiring in part the creation of the PG-13 rating. So Last Crusade played it safe, following the pattern set by Raiders for its plot, and injecting some humor with Sean Connery arriving as Henry Jones Sr. It should have worked, but it played more like this was a character brought in to prop up the ratings in the third season of a TV series that was running out of gas. I felt pandered to, at least a little bit.

Sean Connery and Harrison Ford in Indiana Jones and the Last Crusade.

I know I saw Indiana Jones and the Kingdom of the Crystal Skull when it came out, but remember only the chase sequence at the start of the film and Indy’s silly hiding in the fridge to avoid being nuked scene.

Harrison Ford and Cate Blanchett in
Indiana Jones and the Kingdom of the Crystal Skull.

So, that brings me to Indiana Jones and the Dial of Destiny. I’m a bit predisposed to liking it because I have interviewed director James Mangold and came to enjoy his work: Copland, Walk the Line, 3:10 to Yuma, The Wolverine, Logan, and Ford v. Ferrari. I liked the movie a lot — it’s not as good as Raiders, and probably not quite good enough to knock out Temple of Doom as my No. 2 favorite, but it has enough style and nostalgia to feel like a real Indiana Jones movie. And in this day and age, that’s enough.

Phoebe Waller-Bridge and Harrison Ford in
Indiana Jones and the Dial of Destiny.

Thanks for the thrills, Indiana Jones!

Indiana Jones and the True Believers of Marvel Comics

Not a bad title, eh? I’d watch that movie.

Raiders of the Lost Ark movie poster.

I was 11 going on 12 in the summer of 1981. I loved movies, but knew nothing about Raiders of the Lost Ark until some friends of mine who’d seen it told me how great it was. I pestered my Mom into taking me and a friend to see it at a matinee, which was required by Alberta’s movie ratings system of the day. She thought it was going to be a boring movie about Noah’s Ark or something, and I didn’t know enough about the movie to tell her otherwise.

So me, my friend, and my Mom all headed to the Westmount cinemas in Edmonton one summer afternoon in 1981 to watch Raiders of the Lost Ark. We all loved it. I mean loved it. My Mom said after: “Why didn’t you say it had Han Solo in it!” I really didn’t know.

Seeing Raiders was a big deal that summer. I think I saw it six times in movie theaters — most of them requiring me to buy a ticket for Superman II, which started 10 minutes before Raiders, and then slipping into the other theater. I got caught once or twice, sent back to Superman II, and then usually slipped back into Raiders.

Marvel Super Special #18 cover.

Unlike Star Wars, there wasn’t much in the way of merchandise for Raiders. I read the novelization, but preferred the Marvel Super Special adaptation, which Marvel later split up into three standard comic book issues the same way they had done with Star Trek: The Motion Picture. The magazine-size edition had a great painted cover by Howard Chaykin, whose name I recognized from Marvel’s adaptation of Star Wars.

I wasn’t reading comics in 1982 when Marvel finally launched its new series The Further Adventures of Indiana Jones, and it took more than 20 years for me to come back around and collect this 34-issue run. Even then, I don’t know if I read them all. Some of them seem familiar, others not.

Unlike Star Wars, Indiana Jones struggled to adapt to comic books, which seems strange in retrospect given how much Indy borrows from comics classics like Terry and the Pirates.

For me, Indiana Jones is a frustrating movie franchise, in a way. I consider Raiders of the Lost Ark to be a perfect movie. I can watch it anytime and each viewing is as thrilling and as fun as the first.

From there, it’s a direct downhill slide.

My and friends stood in line to see on opening day Indiana Jones and the Temple of Doom at the Paramount Theater on Jasper Avenue in Edmonton. It’s not as good as Raiders, but I still find its freaky energy entertaining and original. I love that it’s gross and dark and weird —  qualities major movie franchises no longer have.

Indiana Jones and the Last Crusade is a further step down. If Indy was a TV series, this would have been a fifth-season episode that proved it was time to wrap it up. Sure, Sean Connery is great (I met him once), but this movie plays it very safe, with imitations of Raiders and goofy comedy bits that would be more at home in a sitcom.

I know I saw Indiana Jones and the Kingdom of the Crystal Skull in the theater, and I have a copy on DVD somewhere, but I can’t remember much about it save an early sequence where Indy locks himself in a refrigerator to protect himself from an atom bomb test.

I’m looking forward to Indiana Jones and the Dial of Destiny. I overall like James Mangold’s films — in particular Cop Land and Ford vs. Ferrari — and enjoyed interviewing him for the DGA magazine at his office when Logan came out. (He had a large blown up poster of Marc Silvestri’s art from the cover of The Uncanny X-Men #251 on the wall, and a huge collection of classic vinyl albums in his office at Fox.) But we’ll have to see if Dial of Destiny can defy the downward spiral after so many years away.

I’ve been re-reading the old Marvel series and will try to post some highlights here in the lead-up to the new movie. Based on the early issues, it may be rough going, but we’ll see if we can find some comics treasure in this largely forgotten comic serial.

‘Secret Six’ Stumbles in Its Second Outing

“Secret Six” #2 (July 1968). Art by Nick Cardy.

“Secret Six” #2 (July 1968) is, unfortunately, less memorable than the first issue. The cover is the best part of the comic, featuring a stylishly paranoid illustration by Nick Cardy that makes good, abstract use of the limited color palette available at the time.

The story involves a convoluted plot to protect the plans to the nation’s top new weapon by, of course, stealing them. Said weapon is revealed on page one to look exactly like a SR-71 Blackbird — best known in comics as the X-Men’s preferred jet during Chris Claremont’s run  — thought here it’s dubbed the XB-107 and said to be ale to remain in flight for six months, reach speeds of mach 4.5 and capable of delivering a nuclear attack anywhere in the world. Page two does a decent job of summing up every member of the group with a ton of text, before the caper heads to the Pentagon for its first phase.

Page 5

The story by E. Nelson Bridwell and Joe Gill is more difficult than the first for artist Frank Springer to give any visual zest, and there are more than a few questionable art decisions. Panel three on page six tries to add some zing by putting what I think is an extreme closeup of a soldier gripping the rifle in the foreground of the panel, but the full figure of the soldier that’s clearly several feet away is drawn with his helmet overlapping the weapon’s strap, giving the entire composition an unintentional M.C. Escher quality.

The better art sequences come later in the story, with King Savage scaling a hotel in moonlight and advancing the plot by paying unusual attention to the necktie collection of his absent target, a Soviet agent distracted by the charms of Crimson Dawn.

There’s also a bit of fun in a street brawl in a bazaar in an unnamed Middle Eastern city that evokes in a small way the basket chase sequence of “Raiders of the Lost Ark.” The story ends with an unconvincing nuclear explosion caused by two wires being connected incorrectly — all of which costs the Soviet agent his life.

Page 20

There’s a placeholder letter’s column in this issue that features a strange caricature of Dick Giordano, officially now the series’ editor, in which he promises a new direction for “Secret Six” and the other titles he edits at DC. It’s as close as Giordano came to aping Stan Lee, signing off by writing, in all caps, “THE BEST IS YET TO COME!” And after issue two, it was going to be difficult for him to be proven wrong.

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