He was introduced to comic books in 1961 in Superboy #81 as “Superboy’s Big Brother”! Visually, his costume was the reverse of Superboy and since he possessed the same powers as Superboy, he was thought to be from Krypton as well. Therefore, the name, “Mon-El” – he arrived on Earth on a Monday and El is Superboy’s family name! At the end of the story, Superboy indadvertedly poisons Mon-El with lead but ‘saves’ him by sending him into the Phantom Zone (where Krypton imprisoned their worst criminals) where he remained till freed by the Legion of Super-Heroes in the 30th century.
Mon-El would join the LSH and become a key member, marrying Shadow Lass in the process. He was my favourite Legionnaire and he always seemed to me, a better character than Superman. But sadly, due to DC’s decision to start fucking around with their continuity (which is still going on to this day) in the mid-80s with Crisis on Infinite Earths, Mon-El’s character (and the LSH overall, to be fair) was altered irreversibly and his origins were ret-conned (damn I hate that word) and he was renamed “Valor” (fucking awful!) and then later “M’onel” (even worse!).
The character has been ret-conned so many times now – he even became a Green Lantern at one point in time (!) – and this is one of the many reasons why I have stopped reading superhero comic books. That said, I will always remember the Mon-El I once loved – and that is something Detective Comics Comics cannot take away!!
Marvel’s Original Sin mini-series wrapped up with issue #8 and raised even more questions than providing definite answers to the questions raised earlier in the series. But then, that’s typical super-hero comic book fare, isn’t it? At its core was the mystery of the Watcher’s murder, which as it turns out was brought about by Midas and Nick Fury but not in the way first suspected. The hook of the series was the discovery of hidden secrets that once revealed would have a massive impact on the Marvel Universe (where have we heard this spiel before, erm?) and to a certain extent we did. Fury – now an old man, like Captain America – acted like the Men in Black, taking care of external threats to the Earth in clandestine manner and had to take appropriate action to keep the truth from coming out. At the very end, Fury is seemingly dead (or is he?) and Bucky Barnes takes over Fury’s mantle. Presumably, this will allow Fury’s son – an African-American – to be the de facto Nick Fury in the Marvel Universe? Yup, that’s about the sum of those 8 issues. And Deodato’s art design was cool. NEXT!
SIN CITY: A DAME TO KILL FOR Directed by Robert Rodriguez & Frank Miller. Starring Mickey Rourke, Jessica Alba, Josh Brolin, Joseph Gordon-Levett, Rosario Dawson, Bruce Willis and Eva Green.
I loved Sin City. Frank Miller‘s ground-breaking comic book series, that is. Miller stripped down film noir to its bare essentials and presented them in cutting edge fashion, winning several Eisner & Harvey Awards in the 90s as due recognition.
However, when adapted to film, the very noir elements that made the comic book innovative in the 90s look positively banal and farcical now. Granted, this approach seemed fresh (to the average film goer) in 2005 when the first Sin City movie was released but it has certainly worn out its welcome.
The voice-over narration (a staple of film noir, of course) comes off the worst in this sequel when the characters give flowery descriptions of people, objects and events we can see clearly, without the need for embellishment. All irony and contrast is totally lost in this context.
Everybody seems to be over-acting and this becomes unintentionally comical after a while – any scene with Jessica Alba comes across as ridiculous – even while she is cutting up her face! Eva Greentitular (emphasis added) characterization is a failure – though she is definitely nude most of the time, her ‘wicked’ demeanor makes her deception of the men around her utterly implausible.
Overall, Sin City: A Dame to Kill For is a disaster – you might enjoy the movie for its visual style, the unintentional laughs and maybe its star power but that only lasts a very short time before you start hoping for the film to end.
Sin City: A Dame to Kill For is in the cinemas now with a R21 rating.
A book about superheroes from one of the most iconoclastic of comic book writers, Grant Morrison. To sum it up, Morrison provides an analysis of over 70 years of the superhero mythos whilst at the same time dovetailing the subject matter into some kind of meta-autobiography.
I suppose I am a bit late to DC’s New 52 concept which rebooted the company’s entire superhero line but the very idea repulsed me back then, so you will forgive me if I decided not to indulge when it all went down in 2011. The direct-to-video animated movie, Justice League: War, represents the first movie adaptation of the New 52 series (in particular, Justice League) and thus, I thought it would be an appropriate time to give my 2cts worth on this latest reboot.
Most PoP visitors will be aware of my ambivalence towards contemporary superhero comics. But every now and then, a series will appear that promises an intriguing take on the much maligned ‘genre’. Writer Mark Millar is a fairly big shot in the world of superhero comics and the Scot is best known for his work in The Authority and The Ultimates (not to mention Kick-Ass). Artist Frank Quitely has made his name working mainly with Grant Morrison on well-received titles like The New X-Men, All-Star Superman and We3. Last time these well-regarded creators worked together was on the aforementioned The Authority but this time, this creator-owned property gives them both a chance to let loose on the superhero mythos to fairly good effect.
Funny how Thor (the mightiest Avenger) is probably the weakest and least interesting character amongst the stars of the Marvel Studio flicks. The first movie spent time introducing Thor and like most origin stories, the interest was kept at a respectfully high level most of the time with the key being the character development of Thor himself.
This is where the sequel falls flat. Once you understand that Thor is arrogant, brash and headstrong (and loves Jane Foster), there is nowhere else to go unless you spice things up and the writers of Thor: The Dark World fail to do that completely. Thor is utterly boring (despite Chris Hemsworth’s best efforts) and predictable – lacking any edge whatsoever. Thor’s flaws and weaknesses (evident in the first movie) are glossed over and somehow he becomes the least interesting character in his own movie.
Fans of The League of Extraordinary Gentlemen will be excited to find out that creators Alan Moore and Kevin O’Neill have delivered a spin-off story not long after the end of the Century trilogy. Published jointly by Top Shelf Productions and Knockabout Comics, this is how the publishers have summarized the plot for your easy consumption —
It’s 1925, fifteen long years since Janni Dakkar first tried to escape the legacy of her dying science-pirate father, only to accept her destiny as the new Nemo, captain of the legendary Nautilus. Now, tired of her unending spree of plunder and destruction, Janni launches a grand expedition to surpass her father’s greatest failure: the exploration of Antarctica. Hot on her frozen trail are a trio of genius inventors, hired by an influential publishing tycoon to retrieve the plundered valuables of an African queen. It’s a deadly race to the bottom of the world — an uncharted land of wonder and horror where time is broken and the mountains bring madness. Jules Verne meets H.P. Lovecraft in the unforgettable final showdown, lost in the living, beating and appallingly inhuman HEART OF ICE.
As usual, Moore strings together characters from various fictional universes (in the public domain, of course) to weave his own distintive story. This time around, we find ourselves in the pulp fiction world of the 1920s, when science-adventurers captured the imagination of its reader. Moore uses his 56-page allotment economically, setting up the conflict quickly and resolving the same with a deft touch. It’s basically one big chase scene across the frozen wastes of the South Pole before both pursued and pursuers get their minds blown by the horrors torn from the pages of Lovecraft’s In The Mountains of Madness.
These frightful conjurings are brought to life by O’Neil’s wide-eyed angular illustrations. The grizzled features of Janni’s henchmen contrasted greatly with the relative youth of the young Captain. And once the crew slips into Lovecraftian territory, O’Neil is adept at delivering horrific representations of these classic monsters as well.
Good pulp-ish fun all round in the grand LOEG tradition. Not to be missed!