Claw The Unconquered-Conan The Rip Off.by Joseph Gilbert Thompson.
Claw the Unconquered: Cliche and the Perfect Genre Piece
A recent search-and-locate mission aimed at turning up something bad enough to warrant inclusion in one or more Truly Awful Comics columns brought me a number of promising pieces, but only one (New Guardians #1) that really delivered the badness I sought that day. Nonetheless, one piece of considerable potential for that essential "ugh" feeling came out of this particular set of purchases: DC Comics' Claw the Unconquered, from the mid-seventies, a work that strongly suggested that someone had captured every exhausted-by-1975 cliche from the sword-and-sorcery comics of that decade and concentrated them in a single work.
As material for a Truly Awful Comics column, the book mostly disappointed me. Its failures centered around not inspiring interest or imagination, not in induced ill-feeling and the masochistic thrill that a really wonderfully bad piece can produce. So, with a stack of other assorted stuff that managed to suck some eighty US dollars out of my traffic-worn wallet, I set the book aside, only consulting it long enough for a single interested read-through and a quick scan of a Hostess superhero ad typical of the comics of the day.
Some time would pass, and ultimately the realization would occur that, if this very formulaic and derivative piece did not inspire the kind of aesthetic malaise that I sought, rendering it devoid of the right stuff to populate a column for one Quarter Bin feature, it nonetheless had something to tell the world in a different feature.
It struck me that a sufficiently-cliched piece could well serve as a textbook to define a genre or a moment in a comics form, and Claw the Unconquered #1 did this very well.
The Example
We could describe this book with the name Claw the Unconquered #1, although the entire logo reads, somewhat long-windedly, "The World Trembles before the Blade of...Claw the Unconquered." Credits attribute this piece to Ernie Chua (artist) and David Michelinie (writer). The cover date of June 1975 puts it somewhere in the middle of the Ford administration, for those of us so old that we remember both this period of comics and the public events that ran concurrently.
For purposes of synopsis, note the following: Claw wanders into town, where bandits, making the obvious mistake of viewing his 72-inch pectoral muscles as a sign of weakness, set upon him as a helpless out-of-towner, whereupon Claw tosses one of them through a window. A bar-wench of improbable beauty and impractically scanty attire fusses over his red gauntlet, pulling it off and exposing Claw's source of a name: He has one hand that looks somewhat like a cross between a mammalian paw and a reptilian claw. Claw drinks and leaves, coming across yet another set of bandits - obviously operating under orders - who fail to learn the lesson Claw taught the previous set about the correlation between attacking red-skinned strangers with enormous pectoral muscles and getting one's buns kicked.
The leader of the latter, ill-fated band of sword-and-sorcery bagmen adjourns to Castle Darkmorn, where his evil master Occulas of the Yellow Eye - and, sadly enough, king of the joint - awaits news of his failure with displeasure, and has him killed. Then King Occulas flashes back to his exposure to a prophesy about a dragon-handed hero who stands as the only obstacle between him and the inevitable prize of world domination.
Occulas reflects on having killed anyone who got in his way, including Claw's unfortunate father (who bore a mangled hand similar to Claw's own), then points out how his possession of the Eye of Kann (perhaps a joke about Jeannette Kahn), a red fig-shaped gem, makes him invincible.
The bar maid from the earlier scene thereupon leads Claw away from the gangs of assassin-goons and into an abandoned temple of Kann, in which Claw finds a giant plant thing to fight. Claw destroys the eye, Occulas, and his sword all in the process of doing away with a bit of recyclable lawn trimmings in the form of the giant plant, then relieves the corpse of Occulas of the much better sword it bore. Then Claw ditches the babe, gets on his horse, and takes off toward the horizon, not even waiting for a sunset to vanish into.
All in all, such a story provides an excellent model for a seventies sword-and-sorcery concept, even if it became, in an early stage, trite from overused concepts. Nonetheless, it has the things it needs for a proper genre definition to show through; future creators might build something worthwhile on the same kind of derivative platform from which Michelinie and Chua began here.
The Defining Traits
Seventies sword-and-sorcery pieces often used a model of a hero not greatly modified from what would work in Homeric literature. Begin with a hero of great prowess, perhaps connected strongly to a local and reportedly backward culture, not especially loyal to persons of power but frequently attached to a heroic code greater than persons. Take this hero out of his native element and have him act to fulfill a vow or a prophesy, while some older figure, weakened with age or corruption, attempts to undermine the destiny that surrounds the character. Confront the hero with a future that may involve the toppling of the current political order or his own destruction on levels much deeper than the future.
And, for a setting, place him somewhere men resolve conflicts by force of their ability to use hand weapons driven by no more than their own muscles in an environment where magical forces contend for dominance. Populate this place with fantastical and frequently horrifying creatures often shaped or distorted by magical forces and sometimes, but not always, drawn from folklore.
Furthermore, through whatever stretch of storytelling allows it, oppose gangs of steel-clad ruffians for him to overpower, whether through the vehicle of the hero's profession as a mercenary, or the more trite mechanisms of robbers / kidnappers / angry mobs striking out against the inherent tyranny of huge pectoral muscles. Where necessary, insert a scheming and disloyal female faking affection for the hero; perhaps some monster that suggests a grotesque perversion of nature; and possibly a magical weapon that can serve, when required, as deus ex machina in future tales.
Then, with all these components in place, proceed to grow beyond such formulaic genre definitions, or, if inspiration does not appear, mark time within the context of a textbook piece that defines a school of comics. Enthusiasm and talent can, but by no means must, eventually redeem such a piece.
Tyrants, Wizards, and Prophecies
A familiarity with the lore of Conan - either that written in prose form by creator Robert E. Howard and successors in the text version of the character or of the Marvel Comics interpretation pioneered by Roy Thomas and Barry Smith - would make aspects of Claw recognizable as part of a pattern of Conan-borrowings that essentially define the entire character.
For instance, though Conan began as a barbarian from the outlands, deterministic forces (such as the destiny writers can impose upon characters and can subsequently foreshadow for effect) pointed to his eventual assumption of a throne.
Claw's own destiny implied a similar pattern, though this destiny, established from the first pages of the first issue of his short-lived series, pointed to the latter, derivative barbarian as the overthrower and destroyer of tyrants. Said prophesy inspired the antagonistic wizard of the early tale in precisely the fashion that the Biblical king Herod's fears of a coming rival to the crown of Israel, and the ambitious ill-wisher thus sought out the dragon-handed figure fortunes suggested would someday destroy him.
With the lack of foresight typical of the entire species of comic-book villains, across multiple genres, this particular wizard overlooked the possibility of more than one dragon-handed figure coming to haunt him, and he had Claw's father murdered in our hero's infancy, little knowing that the helpless and hapless babe would grow up with a similar deformity which he would conceal in a crimson gauntlet (concealing about as well as might, in a later age, a hand-shaped neon sign).
The Hack-and-Slash Routine
Mythical heroes (or gods) like Hercules or Ogma might make do with a hefty piece of wood with which to club their enemies into some kind of pre-civilized meat paste. Or, as heroic tastes became more refined, the likes of Phoebos Apollo might show his finesse with a bow. However, for the sword-and-sorcery hero, little will do but steel, and plenty of it.
Axes have more visual appeal to the artist in some ways, and thus we might note that Conan frequently appeared with huge curved axes that might well rend an ox in a stroke or two. However, the sword remains the heart of much fantasy lore. Swords played prominent roles in Grail romances; swords appeared in tales of the war between heaven and hell in which the Archangel Michael cleft the rebellious Satan in two; and swords, when one does things with them like make them shine or flame, develop a visual appeal that can, in the right circumstances, outdo the less subtle axe.
Thus, while we might note the choice of a sword rather than an axe for Claw somewhat differs from the Conan formula, it nonetheless keeps the character well within the boundaries of traditional interpretations of the wandering soldier-hero.
The Ungallant Loner
One sequence in an ancient Conan comic from the early seventies sticks in the head. Jim Starlin depicted and possibly wrote the piece (not an unlikely prospect, since he had taken writing assignments on books like Captain Marvel that Roy Thomas played the role of writer-of-general-tenure on). Conan had defeated some wizard whose alchemical experimentation had made a river a source of magically mutagenic pollution, and faced at the end the prospect of making a female he had seduced earlier in the tale his regular lady; instead, however, after slowly walking to take the prize offered by grateful city officials, he shoved said female aside and left with a good horse. This scenario, not without precedent in the defining Thomas - Smith Conan run, nonetheless served much to establish the relationship of Conan to the female of the species, a rather instrumental one of convenience and very little respect. Regardless of the demonstrated eloquence of a hero's requited or unrequited love for a female - from various relationships between the knights of Grail romances back, through the millennia, to Hektor's relationship to his wife Hecuba in The Iliad - the notion of confining a hero like Conan, either in prose or comics form, to a conventional male-female relationship didn't fit the fantasy-hero model of the seventies.
One might suspect that derivative pieces would borrow from this approach. And, indeed, Claw's "love 'em and leave 'em" here - in which he didn't even bother to get around to the "love 'em" portion of the equation typical of the cynical and solitary barbarian hero, points back to the Conan definition.
Such an approach can work, but can quickly degenerate into cliche; at the same time, it forces writers to overlook themes like romantic betrayals (as per the Oresteia) or themes of redemption through reuniting with a lost lover (Orpheus myths and too many other pieces to count). Mostly, one might think, that such an attitude from the hero represents less a concession to the hard pragmatism that attaches to the definition of the character and more a kind of appeal to the commitment-fearing sexuality of overly-hormonal adolescent males, a target demographic much obliged both in generations of comics and in the pulps that preceded them.
An Unabashed Apologia
Iterations on my part of the unoriginal nature of this material should not serve to indicate displeasure on my part; actually, I found this piece, lack of new frontiersmanship notwithstanding, a refreshing detour from the normal diet of superhero books of habit or of pieces bought to sustain currency on a plot thread. I found this piece entertaining on a number of levels, including a kind of innocence.
On the one hand, in the modern form, we find comics so derivative that a reader can point out specific issues of specific titles which the material intends, unashamedly, to suggest. For example, much of what appears in Big Bang Comics, whether original to that title or not, plays a kind of pastiche of styles of artists who defined periods of particular books, combined with a very near approach to certain memorable or significant tales from the Silver Age of Comics. On the other hand, we have some material which so dreads the onus of unoriginality that it dabbles sometimes in the thoroughly incomprehensible, and not always with the kind of aesthetic success or critical acclaim that attach to pieces like Grant Morrison's Invisibles.
This piece, however, somewhat represents an attitude one sees less of in modern comics: It demonstrates a kind of shamelessness about presenting cliched material which comes not from a lack of aesthetic or professional ethics, but from an understanding that comics should entertain without taking themselves so seriously that writers and readers attempt to establish their credentials through such material. Michelinie and Chua did not intend to redefine the medium in this book; nor did they intend to present themselves as the cutting edge of their art. They had a much humbler purpose, which, if the material itself can serve to define it, involved telling a story in a comprehensible (and then-popular) milieu with just enough sword fights, monsters, and scantily-clad babes to keep the reader interested.
I've read better comics. But I don't often read comics trying to deliver fun without consideration for how the piece will look on some future resume of the talents involved; and this work reminds me of a general model of comics that a reader could enjoy without having to use the book as a benchmark for setting standards for the art.
Return to the Quarter Bin.
Claw the Unconquered
One of DC's new "Fantasy-Adventure" line of comics, Claw The Unconquered #1 premiered in May 1975. The issue was written and created by David Michelinie and Ernie Chan. Need I point out that Claw was a shameless Conan knockoff? Shown below is the unpublished splash page from what would have been Claw The Unconquered #13, drawn by penciler Romeo Tanghal and inker Bob Smith.
What could not was conquer or unconquer was comic sales like the charachter,was created imatate Conan.Lets not fool ourselve foolish-oh ,has a claw,Conan dosen't.His name Vulcan,Conan isn't.Those Bite Arruements.
Doc Thompson.
From Wikipedia, the free encyclopedia
You have new messages (last change).
Jump to: navigation, search
Claw The Unconquered
Red Sonja /Claw The Unconquered: Devil's Hands #1. Art by Alex Ross.
Publisher
DC Comics
First appearance
Claw The Unconquered #1 (May-June 1975)
Created by
David MichelinieErnie Chan
Characteristics
Real name
Valcan
Claw the Unconquered is a sword and sorcery /fantasy comic book character created by writer David Michelinie and artist Ernie Chan (originally credited as "Ernie Chua") in DC Comics' Claw The Unconquered #1 (May-June 1975).
Similar in many ways to Robert E. Howard's Conan the Barbarian (and, more particuliarly, Marvel Comics' depiction of him) Claw is a wanderer and a barbarian in an apparently prehistoric age who battles various wizards, thieves, monsters and warriors who cross his path. Unlike Conan however, Claw has a deformed, claw-like right hand, the result of a curse which has been placed on his family.
Editors Note;
I read this guy,when he first out in the 1970's.Hell,I read all the Conan books,Savage Sword of Conan.Red Sonja,Kull and so on.I read Travis Morgan,Ironjaws,Ironwulf.I read Tarzan,Korak,Carson Napier ,David Innes and so on.The difference,was most of Robert E,Howard-not all,but most was quality.Edgar Rice Burroughs was a good storyteller.The thing is,most these other guy Colonel Travis Moron-I Morgan and Claw here were only imatations-which ok,Conan was somewhat imatation of Tarzan and Tarzan,was a heroic adult imatation of Jungle Books Muwgli-but The Warord Travis Morgan and Claw The Unconquonered were also simply bad.And they also simply put assholes,not heroes. Claw here's only out because-A Dynamic Entertainment can't get the right to Conan.B.I'm sure Claws trademark might renueing or something.C.DC Comic or Dynamic Entertainment or whoever smells more Conan dollars out there-booms are like that people.Get used it.
Doc Thompson
Contents[hide]
1 Publication history
2 Character biography
3 Claw II
4 References
//
[edit] Publication history
Claw the Unconquered #1 debuted in mid-1975 as part of the first wave of the "DC Explosion", a period when DC Comics launched a record number of new titles on to the comic book market (16 new titles debuted in 1975 alone).
Claw was one of several of these new series which were set in the "fantasy" or "sword and sorcery" genre, (others titles include Warlord and Tor). At the time DC's main rival Marvel Comics had found success in the genre with their Conan The Barbarian comics, and of all of DC's new fantasy characters Claw most closely resembles Conan in both his character and appearance (save the fact that Claw has a deformed hand).
Claw The Unconquered was published bimonthly up until #9 (September-October, 1976), restarting again at #10 in April-May 1978. The entire series was written by Michelinie (though the never properly published #14 was credited to Tom DeFalco) and Chan remained on the title up to #7, with Keith Giffen taking over pencilling duties with #8. With the addition of Giffen, the series began to incorporate some sci-fi elements, moving away from its pure sword and sorcery beginnings.
The relaunch of the series lasted just three issues, as it was suddenly cancelled with #12 (cover date: August-September 1978) as part of the "DC Implosion" when DC's comics line was drastically cut. The cancellation was so sudden that two further issues of the series had been fully written and drawn. These stories were published in Cancelled Comics Cavalcade #1 in 1978, (however only 35 copies of that comic were ever officially published).
The character was revived in 1981 for a two part back up feature in Warlord #48-49 (August - September 1981) written by Jack C. Harris with art from Tom Yeates. This series tried to wrap up the story of Claw.
Since that time, Claw has appeared only intermittently over the next 25 years, in cameo appearances in titles such as Swamp Thing #163 (1996) and Starman (vol.2) #55 (1999). A modern-day version of the character, also called "Claw" and with a similar appearance and deformed hand, was one of the stars of the shortlived Primal Force series in 1994/1995.
Red Sonja /Claw The Unconquered: Devil's Hands #4. Variant cover by Jim Lee.
In 2006, with the popularity of sword and sorcery comics once again resurgent due to revivals of Conan by Dark Horse Comics and of Red Sonja by Dynamite Entertainment, DC began to publish new Claw material through their Wildstorm imprint.
The character first returned in Red Sonja /Claw The Unconquered: Devil's Hands (March, 2006) a crossover limited series featuring Red Sonja which is co-published by Dynamite Entertainment and written by John Layman and pencilled by Andy Smith.
A new Wildstorm Claw the Unconquered regular monthly title by writer Chuck Dixon and penciller Andy Smith is scheduled to debut in June 2006.
As of December 2006, the Claw monthly series has apparently run its course, ending with Claw enslaved by demons from hell or a parallel universe, and the whole world doomed to demonic possession. It seems clear that Claw somehow either wandered back to his own world of Pytharia, or into some other world entirely, as nothing in the Claw series from Dynamite bore any connection to Howard's Hyborean realms.
[edit] Character biography
Cover to Claw #1, June 1975
Claw's (real name Valcan) adventures took place "in the realm of Pytharia" in a vaguely defined setting which resembled Earth's prehistory.
His first adventure pitted him against "Occulas of the Yellow Eye" an Evil sorcerer and king who it is revealed, murdered Claw's father (who also had a deformed hand like his son). Occulas received a prophecy which predicted that a claw handed man would defeat him, and this is his reason for persecuting Valcan and his father.
Claw's origin was revealed in #9, where Valcan learns that his family is cursed to have demon hands throughout their bloodline as result of a a deal his father made with demons.
In later stories it was revealed that Claw existed on the same world (Pytharia) as the original Starfire II
, which is apparently not Earth. And both Starfire and Claw were revealed as two of the "eternal champions of the Sornaii". The implications of this revelation were never explored as the series ended in a cliffhanger. Presumably writer Gerry Conway was inspired by the Eternal Champion concept of Michael Moorcock.
It is unclear if the new Wildstorm Claw stories feature the original 1970s version of the character or whether they adhere to a new continuity. Red Sonja's current iteration is supposed to be consistent with her 1970s Marvel Comics continuity, and the direct connection between Claw's revival and the crossover with Sonja seems to indicate that these new stories occur on Hyborian Age Earth (where Sonja's stories are clearly intended to occur).
Strictly speaking, the crossover also means that this version of Claw co-exists with Conan (and indeed the Marvel Universe, as Sonja's original appearances did), though this it is extremely unlikely that those connections were ever intended or will ever be acknowledged.
[edit] Claw II
Claw II is a superhero character created by Steven Seagle and Ken Hooper. He first appeared in Primal Force #1 (October, 1994).
An Asian youth from Hong Kong, Claw II has no direct ties to the original Claw, although he bears an identical misshapen hand. Claw II's real name was John Chan (possibly in homage to Ernie Chan).
Chan became the Claw after buying an ancient suit of armour and sword. The Claw of Pytharia, which had been dormant in one of the gauntlets, cut off his hand with the sword and grafted itself in place. The demonic spirit of the claw increased his fighting skills, but made it difficult for him to control his anger.
Claw was a member of Primal Force throughout that series 15 issue run.
[edit] References
The Unofficial Guide to the DC Universe chronology of Claw appearances
"Claw the Unconquered: Cliche and the Perfect Genre Piece" An Essay on Claw the Unconquered #1
Retrieved from "http://en.wikipedia.org/wiki/Claw_the_Unconquered"
Categories: DC Comics superheroes DC Comics titles Fantasy comics
Sunday, October 01, 2006 Christopher Mills is a professional writer of comic books and short fiction in a variety of genres, as well as a DVD reviewer for two pop culture websites. His taste in entertainment clearly peaked when he was about 15, which certainly explains his embarrassing obsession with James Bond, hardboiled crime fiction, comic books, paperback pulps, space opera, Universal/Hammer/Toho Monsters, sword & sorcery sagas, old genre TV shows and vintage B-movies.
View my complete profile
I Like This Comic: Claw the Unconquered
I love sword & sorcery fiction, and am a big fan of the genre in comics, too. Conan, of course, but I also dug all the other S&S comics from back in the sword-slingin' Seventies: Atlas’ Ironjaw and Wulf, Marvel’s Kull, Red Sonja, and Skull the Slayer, DC’s Warlord, Beowulf, Stalker… and Claw the Unconquered.In fact, while black-haired barbarian Claw was by far the most blatant rip-off of Marvel’s version of the Robert E. Howard Cimmerian swordsman (even to the point of being drawn by Ernie Chua, the most prominent inker of John Buscema on the Marvel barbarian book), I always found something distinctive and appealing about the character. Probably it was his grotesque, twisted talon of a right hand, clearly demonic in origin, sheathed in a heavy crimson gauntlet – a unique defect that hinted at great evil in the character’s past and future.In fact, when Conan made his triumphant return to comics, courtesy of Kurt Busiek, Cary Nord and Dark Horse Comics, followed soon after by the successful reincarnation of the flame-haired Sonja by yet another publisher, it looked like S&S was back... big time. Hoping to capitalize on it, I contacted an artist friend of mine about working up a Claw pitch for DC. Simply titled Unconquered, the proposal teamed the raven-maned mercenary up with several other obscure DC fantasy heroes in an Alamo-like last stand against a cosmic necromancer and his unstoppable, interdimensional army of the undead.
Your comment has been saved. It may take a moment for your comment to appear on the site.
2 Comments
Close this window Jump to comment form
Glen Davis said...
I'm really enjoying this series as well. I hoped that this series would be successful enough to cause DC to relaunch their S&S line, but with the failure of this and Warlord, it ain't gonna happen.
6:49 PM
mavericstud9 said...
I like Conan,Kull and that kind Sword and Sorcery,or Heroic Fantasy.Even created a few heroes myself Toreus Rhann-which look my blog to read about.The thing Claw still looks like poor names Conan.You maybe professional comic writer,but if like this kind of crappy team up,well,I don't much what you write,if this what you read.Maybe,it is so called Professional writers,who enjoy junk comics and get into the business,and hacky crap,for hack comic morons of low tastes,is why the level of quality is kind low for years now.Yeah,I’m being harsh.but a lot of fawning fans don’t.Alot of em just about love anything that see’s print.And what you read fellas,comes out in that you write.Garbage in and garbage out-same the computer,your brain will produce quality or crap,bepending what you read,think and see.A great talent,will great works or interperate quality out of crap-while a hack will re-write the mistakes of other-change,name and few things,but re produce the same low quality-like a xerror machine-only it will re-wrote and redrawn,but the efforts are the same.Doc Thompson
8:43 PM
[Photo]I love sword & sorcery fiction, and am a big fan of the genre in comics, too. Conan, of course, but I also dug all the other S&S comics from back in the sword-slingin' Seventies: Atlas’ Ironjaw and Wulf, Marvel’s Kull, Red Sonja, and Skull the Slayer, DC’s Warlord, Beowulf, Stalker… and Claw the Unconquered.In fact, while black-haired barbarian Claw was by far the most blatant rip-off of Marvel’s version of the Robert E. Howard Cimmerian swordsman (even to the point of being drawn by Ernie Chua, the most prominent inker of John Buscema on the Marvel barbarian book), I always found something distinctive and appealing about the character. Probably it was his grotesque, twisted talon of a right hand, clearly demonic in origin, sheathed in a heavy crimson gauntlet – a unique defect that hinted at great evil in the character’s past and future.In fact, when Conan made his triumphant return to comics, courtesy of Kurt Busiek, Cary Nord and Dark Horse Comics, followed soon after by the successful reincarnation of the flame-haired Sonja by yet another publisher, it looked like S&S was back... big time. Hoping to capitalize on it, I contacted an artist friend of mine about working up a Claw pitch for DC. Simply titled Unconquered, the proposal teamed the raven-maned mercenary up with several other obscure DC fantasy heroes in an Alamo-like last stand against a cosmic necromancer and his unstoppable, interdimensional army of the undead.For various reasons, it never made it onto the desks of anyone at Detective Comics Comics (like, for example, the fact that no one at DC has any friggin' idea who I am!), and eventually, thanks to the online news sites, I got wind of a Red Sonja-Claw team-up miniseries (which I still haven't seen), followed by the battling barbarian’s own, brand new solo series from Wildstorm. It was difficult to be bitter about missing the boat, though, as the new Claw series was placed in the skilled hands of Chuck Dixon, a writer I rate very highly. In fact, for my money, he’s one of the top two pure action-adventure writers in the medium, coming in just behind the late Archie Goodwin.Now, as we’ve established in earlier blog posts, I read very few new comic books, but last Friday evening, I happened to be in a comics shop for the first time in about a year, and they had the first four issues of the new Claw the Unconquered still on the shelves.Needless to say, I picked them up.While I thought the first issue was just a bit too Crossgen-lean, the script picked up and filled out with the second issue, and I was ultimately quite impressed and satisfied by the writing. Dixon, as usual, deftly delivered action, mystery and characterization in well-chosen doses, and the plot itself was pure, no-bullshit, Gardner Fox/Lin Carter-styled sword & sorcery. And that’s a compliment.I personally felt that Andy Smith’s art was a little inconsistent (and maybe a bit too imitative of Dark Horse’ Conan book, with uninked pencil art being directly colored on computer; I think Smith would benefit from a skilled inker embellishing his pencils), but overall, it served Dixon’s script more than adequately.Unfortunately, I understand that the series has been cancelled with Issue #6. Hopefully, I’ll be able to get my hands on those final issues without too much difficulty, as I can't count on Wildstorm reprinting this in trade. I still haven’t been able to snag a copy of the last issue of Dixon’s Iron Ghost miniseries from last year, and no trade of that excellent title appears to be forthcoming, either.On a related note, I also picked up the first two issues of the Dixon-written DC title Rush City. You may have heard about this: it’s a co-publishing venture between DC and Pontiac, featuring a heroic wheelman who drives a customized Pontiac Solstice GXP. I was dubious initially, but Dixon’s great at this sort of stuff. With luck, DC will collect this eventually.One has to have hope, right?
posted by Christopher Mills at 10:42 PM on Oct 1, 2006
Leave your comment
Word Verification
Type the characters you see in the picture above.
Choose an identity
Google/Blogger
You're currently posting as mavericstud9 Use a different account
Email follow-up comments to mavericstud9@gmail.com
No comments:
Post a Comment