15:55
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Monday, 3 September 2018
THE POWER PACK OF KEN REID - NOW IT CAN BE TOLD...
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| An early cover rough from before Ken's son became involved. At this stage, I was unaware which intro was for which vol, hence NP's name instead of SH's |
Received my 'free' slipcase edition of The POWER PACK Of KEN REID a while back, but I've sat on my thoughts about it until now. Having actually contributed my services (unpaid) to the production of this two volume set, my 'free' copy perhaps doesn't fit that category, but let's not get bogged down in pedantic detail at this stage. (That'll come later.) So, how do I rate this collection of Ken Reid's entire output for WHAM!, SMASH!, and POW! (three of the five POWER COMICS), published by ODHAMS PRESS back in the '60s?
Overall it's quite impressive as reprint collections go, but, as is always the case in these matters, the devil is in the detail. Does it qualify as the 'ultimate' collection of these particular strips? Well, to be honest - no. The reason why is because some of the QUEEN Of The SEAS and DARE-A-DAY DAVY strips were originally printed in colour, whereas this collection renders them in black and white. Forget the rationalisation of the publisher for doing this (to present them more like the way Ken drew them) because it's nonsense. It was done for reasons of expense and expediency, because it would've been too costly and taken too much time and trouble to tidy up scans of the colour pages in their original form for reproduction.
I don't know about you, but I prefer to re-experience stories from my childhood in the same way as I first encountered them; that way, the memories and associations are 'truer' and more accurate. Readers who never saw the original colour stories won't miss them of course, and will appreciate the art for what it is, but to those who remember their first presentation, their recollections are compromised to a degree. There's also the matter that when colour stories are presented in monotone, some line-work is lost under a muddy mess. There are instances in the book where some captions are virtually unreadable because the murky fog that was once a colour obscures them.
Another thing that bothers me about the books is that much of the grey wash that graced the FRANKIE STEIN and JASPER The GRASPER strips is practically 'washed out' due to the contrast being upped in an attempt to clean them up a tad, with only the merest hint of it remaining. There are a few exceptions where the wash is more evident, thank goodness. Then there are instances where type-set 'next issue' captions have been removed in some strips, but not in others. Whatever happened to consistency? Again, I want to see the stories as they were originally presented, not messed around with at the whim of the publisher.
Nope, I'm not finished. Half-page adverts have been replaced with grey line illustrations, but the ones which bleed off the page are too overwhelming in my estimation. There are a few where there's a margin left around them and they're confined to within the original dimensions of the replaced ad, and they're much more effective and less distracting. In the previous paragraph I mentioned consistency, and while some of you may think I'm being too pernickety, I find it annoying that the space between the line 'The Power Pack Of Ken Reid' (at the bottom of each page) and the page number is often inconsistent from one page to the next. In my view, this marks the difference between a professional and an amateur publication, and despite all that is good about the two volumes, they still have one foot squarely set in the amateur camp.
So what did I do on the books, and why didn't I get a mention? I hand-lettered the cover logo (Ken Reid's name in the jaggy blurb, deliberately reminiscent of the Wham! logo without being an exact copy), hand-lettered the stylised 'signature' of Ken on the slipcase, proposed the name 'The Power Pack Of Ken Reid' (and produced the spine, utilising the comic logos from an ad in FANTASTIC #1, and providing the Power Comics emblem), wrote the copy for the back of the books and slipcase, proofread, edited, amended and added to the introductions (though with NIGEL PARKINSON's, all that was required was highlighting some words in bold), and suggested the chosen fonts (and sizes) of the characters' names on the covers, which were a bit underwhelming in their appearance, due to the publisher's readiness to accept whatever his designer came up with. 'Twas I who recommended that Nigel should be contacted and invited to provide an intro, and persuaded the publisher to ask Ken's son ANTONY to do likewise, thereby facilitating permission for use of the Reid archive.
I'm still not happy with the cover to volume one as, despite my earnest entreaties for symmetrical spacing on either side of the 'Vol. 1: Frankie Stein and Jasper The Grasper' lines, it's still out of balance. (As is the 'With Introductions by' text.) I would've preferred to have hand-lettered Frankie's and Jasper's titles, but time was against me and it now takes me days to do things that once would've taken me only an hour or two. (A combination of failing eyesight, ailing health, diminished stamina, and being long out of practice, alas. That's why I'd never be able to pursue it as a career nowadays.) Add to that having to look after an elderly and infirm relative, and it's a miracle I was able to do anything at all.
It got to the point where I became so disappointed with the publisher's unwillingness (or inabilty) to aspire to the same standard I did, that I requested that he remove my name from the project and I stopped promoting it. Although, given his failure to correct a mistake on the back cover of volume one (which I informed him of in plenty of time), I suspect my name was never in that 'thank you' list to begin with. After all, if he couldn't be bothered to change 'strips' to 'scripts' (as I had originally written, the distinction being important), then I doubt he'd have gone to the bother of removing my name - after all, that would require action on his part. As would replacing my first Ken Reid 'signature' with an improved version I supplied, and which I was assured would be implemented. It wasn't (at least not in my copy - perhaps it was a 'tryout'), leading me to conclude that he simply told me whatever he thought necessary in order to fob me off, all the while content to take the easier route. So why claim credit now you might be wondering? Well, my annoyance has subsided somewhat and, overall, I'm quite pleased with my contributions so there's no reason to continue concealing my involvement.
There are other deficiencies with the books, but I'll spare you the tedious details. Having said that however, the publisher does deserve a pat on the back for initiating the project (though the ultimate pat should go to Ken Reid himself) - but the books could (and should) have been even better than they are.
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| An even earlier cover rough with my version of the already completed art |
Another thing that bothers me about the books is that much of the grey wash that graced the FRANKIE STEIN and JASPER The GRASPER strips is practically 'washed out' due to the contrast being upped in an attempt to clean them up a tad, with only the merest hint of it remaining. There are a few exceptions where the wash is more evident, thank goodness. Then there are instances where type-set 'next issue' captions have been removed in some strips, but not in others. Whatever happened to consistency? Again, I want to see the stories as they were originally presented, not messed around with at the whim of the publisher.
Nope, I'm not finished. Half-page adverts have been replaced with grey line illustrations, but the ones which bleed off the page are too overwhelming in my estimation. There are a few where there's a margin left around them and they're confined to within the original dimensions of the replaced ad, and they're much more effective and less distracting. In the previous paragraph I mentioned consistency, and while some of you may think I'm being too pernickety, I find it annoying that the space between the line 'The Power Pack Of Ken Reid' (at the bottom of each page) and the page number is often inconsistent from one page to the next. In my view, this marks the difference between a professional and an amateur publication, and despite all that is good about the two volumes, they still have one foot squarely set in the amateur camp.
So what did I do on the books, and why didn't I get a mention? I hand-lettered the cover logo (Ken Reid's name in the jaggy blurb, deliberately reminiscent of the Wham! logo without being an exact copy), hand-lettered the stylised 'signature' of Ken on the slipcase, proposed the name 'The Power Pack Of Ken Reid' (and produced the spine, utilising the comic logos from an ad in FANTASTIC #1, and providing the Power Comics emblem), wrote the copy for the back of the books and slipcase, proofread, edited, amended and added to the introductions (though with NIGEL PARKINSON's, all that was required was highlighting some words in bold), and suggested the chosen fonts (and sizes) of the characters' names on the covers, which were a bit underwhelming in their appearance, due to the publisher's readiness to accept whatever his designer came up with. 'Twas I who recommended that Nigel should be contacted and invited to provide an intro, and persuaded the publisher to ask Ken's son ANTONY to do likewise, thereby facilitating permission for use of the Reid archive.
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| A quick 'cut & paste' to illustrate what I wanted for the placement of the characters' names and 'Introductions' text. Both publisher and designer seemed incapable of comprehending what I was on about, and couldn't see the difference 'twixt this and what became the published version |
I'm still not happy with the cover to volume one as, despite my earnest entreaties for symmetrical spacing on either side of the 'Vol. 1: Frankie Stein and Jasper The Grasper' lines, it's still out of balance. (As is the 'With Introductions by' text.) I would've preferred to have hand-lettered Frankie's and Jasper's titles, but time was against me and it now takes me days to do things that once would've taken me only an hour or two. (A combination of failing eyesight, ailing health, diminished stamina, and being long out of practice, alas. That's why I'd never be able to pursue it as a career nowadays.) Add to that having to look after an elderly and infirm relative, and it's a miracle I was able to do anything at all.
It got to the point where I became so disappointed with the publisher's unwillingness (or inabilty) to aspire to the same standard I did, that I requested that he remove my name from the project and I stopped promoting it. Although, given his failure to correct a mistake on the back cover of volume one (which I informed him of in plenty of time), I suspect my name was never in that 'thank you' list to begin with. After all, if he couldn't be bothered to change 'strips' to 'scripts' (as I had originally written, the distinction being important), then I doubt he'd have gone to the bother of removing my name - after all, that would require action on his part. As would replacing my first Ken Reid 'signature' with an improved version I supplied, and which I was assured would be implemented. It wasn't (at least not in my copy - perhaps it was a 'tryout'), leading me to conclude that he simply told me whatever he thought necessary in order to fob me off, all the while content to take the easier route. So why claim credit now you might be wondering? Well, my annoyance has subsided somewhat and, overall, I'm quite pleased with my contributions so there's no reason to continue concealing my involvement.
There are other deficiencies with the books, but I'll spare you the tedious details. Having said that however, the publisher does deserve a pat on the back for initiating the project (though the ultimate pat should go to Ken Reid himself) - but the books could (and should) have been even better than they are.
Back Issue Box: Darkstars #34
In her own title, Supergirl is heading into space to investigate Rogol Zaar.
Here at Comic Box Commentary, I have been informally reviewing past stories of Supergirl heading into space. Last month I reviewed Green Lantern #65, the second part of the crossover storyline The Siege of Zi Charam.
As luck would have it, I also have Darkstars #34, the middle chapter of the same arc. While Supergirl doesn't have much to do here, she is part of the Titans/Darkstar team-up trying to stop the Progenitors from overwhelming another system. For good or ill, these are the only two chapters I have of this arc. My sense we get much more Supergirl-centric action in chapter four. I also have heard from people who have read the whole story that I am not missing much. I always am looking though.
Writer Jan Michael Friedman and artist Mike Collins accomplish just what a middle chapter should do. They push the story forward, filling in some information with exposition, throwing in some action to keep people engaged, and setting up the finale. Friedman tries to include some character moments but the bulk of the story is told by aliens enmeshed in the action rather than the team. I buy this book for the Darkstars and these guest stars, not to see three alien races I know nothing about debate what to do. And pages are devoted to the other subplots within this title; I suppose for those collecting the title, this should happen.
Mike Collins art is cartoonish in places. It is muddy in others. In particular, his alien races are rather bland and flat.
But Supergirl is in space and she is trying to solve problems. So off we go.
Strangers in a Strange Land starts out right where Green Lantern #65 ended. The Progenitor ships hover over the Kolion planet.
Should the Progenitors land, they will exterminate all life on the world, taking over. Then they will move on to the next.
Faced with this decision, the Titans do the right thing. They try to disable to Progenitor ships.
But can even this team of stop them?
I suppose the purpose of the Darkstars and the Green Lantern Corps is to stop interstellar crime. The Progenitors are, in essence, a genocidal race. They will threaten more worlds. So stepping in seems like the heroic thing to do here.
Each of the members try their best. Blasts from Green Lantern and Donna Troy do no damage to the existing shields. Terra throws meteors harmlessly against them.
And even direct damage done by the fists of Supergirl and Minion are meaningless.
I always like the idea of Supergirl being the muscle on a super-hero team. The best example of that is probably the James Robinson legacy-led Justice League book.
It is clear that the Titans need to retreat and think of a better plan.
Using their powers strategically, the pierce through the Kolian force shield to meet with the natives in peril.
The Kolians are large greenish aliens who at first think the Titans are a vanguard for the Progenitors. But luckily, one in the leadership court recognizes them as possible allies.
It is clear the Kolians are sort of paralyzed. They know they can't fight the Progenitors. So they are in hiding awaiting the inevitable.
Odd that in this team of some heavy hitters, it is clear that Arsenal in running things. He seems the de facto leader, even over Donna.
Despite the need for allies, the Kolian rulers are against accepting help from the Titans. It goes against their culture.
Thankfully, one of their numbers rises and says that the Kolians will fall if they don't accept help. Not only can the Titans help, but they can bring along more allies. He asks the Titans to take him to the Council of Planets on Gon'aa. There he will plead for help from all the system's worlds. After all, the Progenitors will eventually turn their eyes towards someone else.
I guess the Titans are pretty lucky that this one progressive thinker was around on the day they hit the planet.
In the ship, the accrued aliens all bicker. They might hate the Progenitors a lot; they still hate each other. But remember, the enemy of my enemy is my frenemy.
Here Supergirl has to hold back an Uruumite from fighting with the Kolian. Both accuse the other of back-dealings and ill wishes.
Hooray, a Supergirl sighting!
She does seem pretty cartoony here with those big eyes and lips.
At the Congress, another alien race is able to convince the participants that the Progenitors are a threat to them all. His race have been developing an biological warfare weapon that will end the Progenitor threat. The problem is the final pieces are scattered to the wind and dangerous to proceed. Maybe only our heroes can help.
In a trope classic since the earliest days of the JLA, the team split into pairs to hunt down the 4 pieces.
Supergirl gets paired with Mirage. Hmmm ... I guess Supergirl will be doing the heavy lifting here.
Terra and Donna Troy pretty easily round up their piece, an animal on the frigid planet of Pyria.
What is the weapon? What does it do? Why do they need this varmint? I guess someone else will need to tell me.
So maybe I do need to work harder to track these other issues down. In the meantime, it was good to see Supergirl as a team member and in space. This is of the least importance to a Supergirl collection.
Overall grade: C-
FANTASTIC FOUR #1 FACSIMILE EDITION...
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| Images copyright MARVEL COMICS |
If you've long-yearned to own an original issue of FANTASTIC FOUR #1, unless you win the Lottery, the closest you're ever likely to get is this amazing facsimile edition just released by MARVEL COMICS. It even reproduces the original adverts in a stunning clarity that avoids the poor photocopied look of the earlier (1990s) MARVEL MILESTONE edition. As well as the complete original issue, there's a bonus section in the back of the mag with lots of extra goodies. This is a 'must have', and you should buy your copy now before the price escalates to ridiculous levels on the collectors circuit.
Number 2228: Hanna-Barbera’s Addams Family
I am a fan of Charles Addams and the cartoons he drew for The New Yorker. I watched the sixties television show when it debuted, but had not heard of the 1973 Saturday morning cartoon series by Hanna-Barbera until I ran across the Gold Key Hanna-Barbera Addams Family comic book. What I found out is it’s an adaptation of the first episode of the Hanna-Barbera series. It is drawn by Bill Ziegler, a longtime comics professional who worked on comic strips (Mary Worth, for one), and had done a lot of work for Dell, then Gold Key.
Of course, animated cartoons made for Saturday morning television will never have the insinuation of the bizarre and horrible like Addams’s originals.
Something I noticed immediately in the comic book is the officer at the toll booth is a caricature of Addams. Addams had a very distinctive long nose. It tells me artist Ziegler may have known Addams.
To me this comic book is more of a curiosity, although if I were a youngster watching the animated series I probably wouldn’t know Charles Addams’s work. And despite the lightened tone of the comic book, removing it far from its original inspiration, Addams didn’t have any problems signing the checks he got for projects like this. He led a lifestyle of the rich and famous, even though he was not especially rich, just (in)famous. Having a collection of rare sports cars and hanging out with folks like Jackie Kennedy took a lot of $$$.
From Hanna-Barbera The Addams Family #2 (1975):
