• Archives
  • Contact
  • Drawings
  • Meteor Mags
  • Music Albums
  • Paintings
  • PBN
  • Sea Monkeys
  • Secret Origin

Mars Will Send No More

~ Comic books, art, poetry, and other obsessions

Mars Will Send No More

Tag Archives: review

Indie Box: Darwyn Cooke’s Parker Adaptations

21 Monday Feb 2022

Posted by Mars Will Send No More in crime

≈ 2 Comments

Tags

crime, darwyn cooke, donald westlake, first issue, graphic novel, indie box, Indie Comics, parker, review, richard stark, the hunter

Reading The Hunter sheds light on how much Donald Westlake’s series of Parker novels influenced the ultra-gritty Sin City series by Frank Miller. It seems fair to say that the style of Sin City also influenced Darwyn Cooke’s adaptation of its predecessor, bringing it all full-circle.

For example, Cooke sometimes fills a page with a single image and a column of narration on the side, something Miller often did, especially in the first Sin City volume The Hard Goodbye, and which John Byrne later parodied in She-Hulk.

Cooke also shows a fondness for the BAM sound effect rendered in blocky lettering when a pistol fires.

It’s a classic sound that brings to mind Miller’s iconic pages from the sixth issue of The Hard Goodbye where the sound effect becomes the frames for the action, and it reminds us that Westlake’s Parker and Miller’s Marv are cut from the same cloth.

If you crave stories with empowered women, then Parker isn’t for you. Parker’s world is a man’s world. Women are trotted onstage mostly for sex and betrayal. In Cooke’s four volumes, the woman with the most agency and initiative is Alma in The Outfit, since she sets up the heist while having her own secret plans. She wants to be a femme fatale, but her treachery does not end well for her.

Despite depicting a few variations on the female form, Cooke seems to have a default idea about what a beautiful woman looks like, and the faces of women in The Hunter often resemble faces he’s drawn before in his superhero comics. The face of the woman who betrayed Parker could easily be Cooke’s Wonder Woman or Catwoman, and that makes her feel a bit generic.

Oddly, that works for The Hunter, because Westlake built the story around characters who don’t run very deep—whether male or female. They are more like archetypal examples of the tropes of hard-boiled detective and crime fiction, as if they are so primal to the genre that they need little exploration. The Hunter is unconcerned with delving into what makes them unique, remaining entirely focused on the relentless advance of the revenge plot. If you want well-rounded female characters with depth and agency, go read some Greg Rucka or Gail Simone stories—because it ain’t happening in Parker!

This criticism didn’t stop me from being totally caught up in the story. What I love about Cooke’s adaptation of The Hunter is how he chooses when to tell the story wordlessly and when to deliver exposition. We get some narration and one brief line of dialogue on the first page, and then nearly twenty-five pages of story told without a single word or sound effect. But in those wordless pages, all the action is so clear, expressive, and compelling that it comes as a shock when words once again appear on the page.

I also love how Cooke’s stripped-down approach to visuals honors Westlake’s stripped-down approach to prose for Parker. Compared to Westlake’s more lighthearted Dortmunder novels, the sentences in the Parker series are much leaner and tighter. Cooke’s artwork echoes that with a kind of minimalism, a simplicity that only conveys the bare essence of details to create the mood and tell the story. Panels lack borders, and thick shadows and bright light do almost all the work of defining images without lines. Cooke might depict the ironwork on a bridge by only inking its shadows and never drawing the outline of the overall shapes. While I love the detailed linework of artists such as Juan Jose Ryp, Geoff Darrow, or Steve McNiven, Cooke creates compelling environments and people using light, shadow, and monochromatic midtones.

The Outfit relies entirely on purple, and The Score uses a warm, dirty yellow that suits the setting in a hot desert mining town. While Sin City did something similar in a few volumes, those colors were more like occasional highlights than Cooke’s creative midtones.

It would have been fun to see another volume in red. The end of the fourth volume did promise another return of Parker. Sadly, Cooke was taken from us by cancer in 2016 at only fifty-three years old, and we never saw a fifth Parker adaptation.

Volumes two through four had interesting moments. The Outfit abruptly interrupts the established visual style to insert a series of explanations about a series of crimes. We get a multi-page newspaper article about a casino robbery, cartoon guides to horse-race gambling and smuggling cash on airplane flights to pay for heroin, and several pages of how to operate an illegal “numbers” betting operation. Everything I previously knew about “numbers running” came from The Autobiography of Malcolm X, so it was interesting to get Westlake’s rundown on these vintage illegal enterprises.

The fourth and final volume, Slayground, traps Parker in an abandoned amusement park where he comes up with clever ways to use the environment against gangsters who want his money from a job he narrowly escaped. One of his ideas is spraying a blob of paint on every surface in the hall of mirrors, then luring someone in. I’ve seen so many hall-of-mirrors scenes in movies that I hoped to never see one again, but this was a brilliant take that restored my faith in reflective surfaces.

Slayground also delivers powerful moments of cinematic, wordless storytelling such as a four-panel page of a car we just saw lose control on the icy roads on the previous page, and now goes tumbling over our heads into the distance. You can almost feel the impact.

But of all four tales, my favorite is the first: a relentless revenge over a double-cross that made a heist go horribly wrong. It’s harder than hard-boiled and blacker than noir, a morally vacant tale about a repulsive protagonist who gets the job done with his hands.

It’s no spoiler to tell you that Parker makes it out of The Hunter alive. Westlake wrote twenty-four of these novels, and Cooke adapted four. At this point, you go into the series knowing the stakes are not life-or-death for Parker.

That does lower the dramatic tension. If you know the main character can’t be killed, then that lowers your investment in his success. In a series such as Sin City or Criminal, where individual stories are told out of order, a character might very well meet their end in any particular episode—and often does. Investment is high. You never know what’s coming next.

With Parker, we know he is unstoppable. The fun comes not from wondering whether he will live or die, but discovering how he bends circumstances to his will no matter what life throws at him. Parker’s world is a grim place, and he is not a role model nor even likeable. But he is enjoyable as an immovable object in a world of irresistible forces, or maybe the other way around. He possesses a singular focus and physical strength, and a superior insight into his amoral world of crime, lies, and power that helps him make it out alive—and, if he’s lucky, with a bit of money in his pocket.

Collector’s Guide: You can currently get the complete four-volume set of Cooke’s Parker adaptations in digital format for about $40 through Kindle/Comixology. Each volume was also printed in hardcover and paperback editions.

indie box: Metalzoic

13 Wednesday Nov 2019

Posted by Mars Will Send No More in science fiction

≈ 4 Comments

Tags

comic books, DC Comics, graphic novel, indie box, Kevin O'Neill, metalzoic, Pat Mills, review, science fiction

This is the second time a book published by DC Comics has broken the rules and earned a place in my indie short box. This time, it’s Metalzoic by the legendary team of Pat Mills and Kevin O’Neill, and there’s not much about it you can call “mainstream”. Metalzoic takes place in a future where the Earth is ruled by intelligent, mechanical beasts patterned after modern and prehistoric animals — and boy, do they love to fight!

Yes, you just witnessed a brutal showdown between a gorilla with a saw blade on his head, and a lion with a chainsaw for a tongue and metal skis for feet. Do I really need to say anything about the story’s plot, or is that cool enough for you? Two of my favorite pages show a shark attacking a caravan of wooly mammoths during a trek across the ice.

It’s like some sort of psychotic nature special! I can almost hear David Attenborough narrating it for a BBC documentary.

O’Neill always delivers wonderfully twisted artwork, but he pulls out all the stops to illustrate Metalzoic‘s endless mecha-menagerie.

The story is interesting, especially since the main character — the saw-blade gorilla — is a brutal, amoral hell-raiser whose brawn and ferocity might be the only thing standing between the Earth and total destruction.

And just look at him go!

When all this takes place and how it came to be are slowly revealed throughout the story. We don’t get a clear timeline until about 50 pages in. It might have been helpful to see a historic summary earlier in the story, so here it is.

If you’re like me, and you wish Godzilla movies would cut out most of the human-related nonsense and just show more monster fights, then this 64-page epic adventure is the book for you!

Collector’s Guide: Metalzoic; DC Comics Graphic Novel #6, 1986. Though it’s often out of stock at MyComicShop, you can usually find it on Amazon for between $15 and $30.

Son of Big Box of Comics: Turtles, Surfers, and Science-Fiction Mayhem

08 Tuesday Oct 2019

Posted by Mars Will Send No More in science fiction, superhero

≈ 1 Comment

Tags

Avengers, big box of comics, color classics, comic books, deeper and stranger, John Buscema, Paul Chadwick, review, Roger Stern, Teenage Mutant Ninja Turtles, world below

The big box of comics series is a tribute to the fun things I wouldn’t have in my life without the readers of this blog who help me earn store credit at MyComicShop.com or Amazon.com every time they use my handy “Collector’s Guides” links to make a purchase.

It’s a symbiotic relationship — much like when an alien symbiote bonds to your nervous system and drinks your adrenaline for survival.

Actually, it’s nothing like that, but you could read that story in the Spectacular Spider-man TPB #1 by Paul Jenkins and Humberto Ramos.

This month, thanks to readers’ generosity, I put together a run of inexpensive reprints of the original Teenage Mutant Ninja Turtles #2–5, courtesy of IDW’s “Color Classics” versions of early TMNT. A few months ago, readers helped me reunite with the ridiculous majesty of TMNT #6, and I couldn’t go on without reading the preceding issues at least one more time!

Was it fun? Oh, hell yes. But maybe not as great as I remember from my black-and-white collections or the original colorized graphic novels from First. IDW’s coloring is part of that, since they put dark colors over the original Zip-a-Tone midtones, and obscuring the mid-range tends to flatten the artwork and make it less dynamic. Also, one of the pages in one issue seems to be a misprint that duplicates a page from earlier in the story.

AND BRING THE ROBOT TO THE BRIDGE!

But in terms of being an affordable way to read the Turtles’ earliest adventures, these reprints did the job admirably. Because #6 is one of my all-time favorite comics, I enjoyed reliving the outrageous plot that led up to it, and seeing how the storytelling evolved and improved in the early days. As a bonus, I got a few issues from the second volume of Color Classics, including a solo Michelangelo adventure in a kind of Lone Wolf & Cub fantasy of feudal Japan mixed with mystic lizard demons from hell. That issue includes one of my favorite Turtles pages:

Also from the second volume, a color version of an issue of the Return to New York story that’s a favorite of mine. In the black-and-white original, a brain-damaged, dying Triceratops with some kind of plamsa gun kills and burns his way through the New York sewer system for his new friends: a quartet of mutated, intelligent reptiles who are also armored killing machines.

If that doesn’t sound like the greatest scene ever, then you are at the wrong blog!

Along with the batch of ninja nostalgia, I picked up some bargain-priced Fine copies of Paul Chadwick’s The World Below. It’s no secret I love Chadwick’s Concrete series. World Below and its sequel, the four-issue Deeper and Stranger, don’t have the same depth of storytelling and lush rendering as Concrete, but they are a fun romp through Chadwick’s science-fiction imagination.

I like the sequel better than the first series. The sequel uses black and white art with no color, which is almost always how I prefer to see Chadwick’s art. And, the first series suffered from too many flashbacks trying to make me care about characters I never properly met, since the story started right in the middle of the action. Each time a character faced a crisis I wasn’t invested in, the character flashed back to a similar situation in their early life to beat me over the head with how huge an emotional deal it all was. That didn’t work for me.

Also, I could have lived without seeing the characters say, “eff this” and “eff you, you effing effer” instead of using the actual profanity. Those pages in World Below #3 were physically painful to read, and even old-school characters like F@%$ would have been preferable.

It seems to me that if your dialogue depends on using the word “fuck”, then you should just say “fuck”.

The narrative problems (mostly) smooth out in the sequel, which has my favorite issue of the series and an unexpected ending that blew my mind. Deeper and Stranger fulfills the promise of the first World Below and the tagline on those covers: the deeper you go, the stranger it gets!

Finally, this month’s box of comics included a favorite from my Avengers collection that I sold off a few years ago. Recently, someone commented on my old post about the Stern/Buscema/Palmer run on Avengers in the 1980s. It reminded me that while I basically memorized those issues after reading them so many times, Avengers #266 featuring the Silver Surfer really needed to come back to my modest “Avengers favorites” collection.

Let’s get this out of the way right now: the issue is a post-script to one of the most god-awful, tragic dumpster fires Marvel produced in the 1980s: Secret Wars II. Don’t even get me started.

But this issue focuses on two powerful beings—one a respected hero, and one a reviled villain—who need to work together to heal a cataclysmic wound in the Earth before the planet falls apart and kills everyone. All in 32 ad-free pages, in which the fate of the world might depend on one total nerd’s desire to watch sitcom re-runs with his girlfriend instead of letting the disaster take its fatal course. It’s so insane!

This issue has many examples of Stern’s dialogue that endeared me to his Avengers. Namor and Hercules bust each other’s balls like only gods can do, but below their arguing I sense a mutual respect born of the knowledge that they are both beings of power, and maybe they need each other to call each other out sometimes to help keep their rages in check.

She-Hulk isn’t turned off at all by Hercules’ temper tantrums; she flatters him and straight-up asks him to dinner, which is almost as awesome as that time she hooked up with Juggernaut. Jennifer’s a being of great power, too, and she seems perfectly comfortable and relaxed about it.

Hercules’ thoughts on nobility and heroism after the villain supposedly “loses his powers” while saving the Earth — also a lovely piece of internal dialogue.

But my favorite part is the final scene where the villain reveals he never lost his powers at all, and that the hero was complicit in this deception.

But why?

I simply allowed your courage to inspire mine!

The Silver Surfer’s comment on courage and vulnerability really sums up what I love about this Avengers run. Sure, it’s all fun and games in spandex with lots of punching and the fate of the universe at stake, and there’s no shortage of expositional thought balloons. But every now and then, Stern’s humanistic and thoughtful depictions of his characters meld with John Buscema’s and Tom Palmer’s artwork to create peaks of visual literature.

You know what? I might need to reclaim a few more of my favorite story arcs from this run — especially the Kang saga and the assault on Avengers Mansion.

That’s it for September’s big box of free comics, and I am excited to tell you about the October box that is on its way!

more free comics?!

16 Tuesday Jul 2019

Posted by Mars Will Send No More in indie, science fiction

≈ Leave a comment

Tags

big box of comics, comic books, Dreadstar, Eclipse Comics, Epic Comics, Jim Starlin, MiracleMan, Neil Gaiman, review

Just when I’d wrapped up a series of posts about the big box of free comics I got thanks to readers who used my affiliate links to find books at MyComicShop.com, another note from the retailer arrived to say I’d earned an additional $80 in store credit. That same week, I’d found a good deal on eBay to replace one of my favorite (and previously sold) action/crime series, DC/Vertigo’s The Losers, so I was left with very few holes in my collection. The Dark Horse Conan stories I’d like to read again were either too pricey or currently out of stock, so I dug around in my short boxes until it hit me: I still don’t have the complete original Miracleman series!

2096033

Over the years, I’d tracked down affordable copies in respectable condition of issues #1–20, and this quest was aided near the end by Marvel’s reprints of the original series. As Marvel made new, high-quality reprints available, the ridiculous prices for the original books decreased. Issue #15, one of the last gems to enter my collection, used to run from $150 up to several hundred bucks. Now I have a copy in wonderful, though not perfect, condition — and it didn’t cost an arm and a leg.

626593

I didn’t worry too much about collecting issues #21–24 because Marvel reprinted #21 and 22 in their repackaging of Neil Gaiman’s Golden Age storyline, and it seemed that Gaiman was slated to finish the Silver Age story that ended with a cliffhanger and was never completed due to Eclipse Comics’ demise. But here we are, years later, and we still haven’t seen the end of that story. I’m glad for Gaiman’s recent success with American Gods, but it isn’t a project that interests me. The gods I want to read about have “Miracle” in their names!

So, armed with some store credit, I picked up issues #21-23 of the original series, leaving me with only the rare (and still a bit pricey) #24 on my wish list. I’ve read them all before, thanks to scans posted online, but it’s just a different and more satisfying experience to read the physical copies.

627093

Those three books ate up most of my store credit, but I had just enough left over to pick up another story I’ve read before but was partially incomplete in my collection: The Price by Jim Starlin. Sure, I have the color “remastered” version that was the Dreadstar Annual, but I have never seen nor owned the original magazine-sized black-and-white edition, and I just love the black-and-white painted art of the original Metamorphosis Odyssey that appeared in Epic Illustrated and started the whole Dreadstar saga.

939933

The original art reveals just how much the coloring/painting process enhanced the artwork’s mood and the story’s vibrancy. The original feels cold compared to the color version. It lacks the brilliant reds of the robes worn by members of the Church of the Instrumentality, the eye-popping colors that bring various cosmic and mystical energies to life on the page, and the powerful emotions suggested by the reprint’s color artwork.

Dreadstar The Price- (18)

However, the front and back-cover paintings are rendered in their original full-color and full-size glory, unlike in the reprint where they are shrunk and surrounded by additional cover elements that distract from their beauty—a complaint that at least one reader expressed in the original letters column of Dreadstar when the Annual was discussed.

868617

I’m pleased to now have both versions of The Price in my Dreadstar collection, and the original was the one piece I’ve felt was missing over the years. How I assembled, lost, and re-assembled the entire original series four times is a saga of collector triumph and tragedy, but I’m happy to now have every issue I ever wanted from one of my all-time favorite stories in any medium.

Now if we could just see the end of Miracleman, all would be right with the universe.

Thank you, readers and fans of sequential art for visiting this site and using it to find the books you want!

Collectors’ Guide:

Miracleman #1-24 (original 1985 series, Eclipse Comics)

Miracleman (reprint series by Marvel Comics, includes original issues #1-16)

Miracleman Golden Age (reprint series by Marvel, includes original issues #17-22 )

The Price (original magazine-sized b&w edition, Eclipse Comics)

Dreadstar Annual #1 (full-color reprint of the original, Epic/Marvel comics)

Big Box of Comics Part 4: Planetary Omnibus

23 Sunday Jun 2019

Posted by Mars Will Send No More in science fiction

≈ 1 Comment

Tags

big box of comics, comic books, John Cassaday, Laura Martin, Planetary, planetary omnibus, review, Warren Ellis, Wildstorm Comics

This post is part of a series about what was inside this month’s big box of free comics.

Planetary02-13

What can I say about Planetary that hasn’t already been said in the 20 years since its first issue? From the series’ chronic delays of up to years between issues, to the Eisner-award-winning artwork, Planetary has been documented about as thoroughly as the weird events in Elijah Snow’s annual “Planetary Guides”.

The 864-page hardcover Omnibus edition looks like one of those Guides when you remove the slipcover, and that’s just one example of the high-quality design that was a hallmark of the series. People might have waited months or years for the original issues, but when each one finally came out, it looked damn good. So does the Omnibus.

Reading the Omnibus cover-to-cover puts Planetary in a fresh light. I gained a greater sense of the series’ continuity and complexity since I could read each chapter with the previous one still fresh in my mind. I got an even stronger impression of the amazing work by colorist Laura Martin (with assistance from Wildstorm FX). Although writer Warren Ellis and artist John Cassaday usually get the credit for the series, Martin’s contribution is integral to its visual splendor and the emotional effect of every page and panel. Maybe Planetary could have been good without Martin, but I doubt it would have been legendary.

The Omnibus also dissipates the major annoyance I had when I was originally piecing the series together from single issues; namely, a feeling that every installment consisted only of the three main characters visiting a random location where they met a random person who delivered lengthy exposition about a scenario based on pulp fiction or vintage superheroes, and that this exposition filled most of the pages before reaching a vague and hasty conclusion tacked on as an afterthought to the “cool concept” of the issue.

While several chapters do this, they are not as numerous as I remember, and they mostly take place in the beginning of the series. Reading the Omnibus makes it clear how the individual chapters fit into the big picture; it was just difficult to sort all that out with a series that took ten years to publish 27 issues, and because it was challenging to find affordable copies in complete chronological order if you came to the series late like I did.

Though I’ve thought highly of Planetary since the day I discovered a beat-up copy of #5 at a used bookstore, the Omnibus made me enjoy and appreciate it even more.

Buyer’s Guide:

The Planetary Omnibus is sometimes out of stock at MyComicShop.com, but usually available on Amazon.

 

Big Box of Comics Part 3: Teenage Mutant Ninja Turtles

21 Friday Jun 2019

Posted by Mars Will Send No More in dinosaur, indie, science fiction

≈ 2 Comments

Tags

big box of comics, comic books, eric talbot, Jim Lawson, Kevin Eastman, Mirage Studios, Peter Laird, review, steve lavigne, Teenage Mutant Ninja Turtles, TMNT, triceraton

This post is part of a series about what was inside this month’s big box of free comics.

teenage mutant ninja turtles 6 wraparound cover.PNG

The Return to New York story in the original TMNT series #19–21 is even better than I remember. I think I was in turtle overload when I read it years ago, and I’d forgotten much of it. Visually, it’s one of the greatest TMNT stories of all time, with stunningly detailed artwork, creative layouts, extensively choreographed fight scenes, and incredible double-splash pages.

The black & white artwork creatively uses both black and white ink in addition to detailed screentone shading (sometimes called by the brand name Zip-A-Tone). The result is some of my favorite artwork in any TMNT story, and it’s a joy to watch the Turtles hack and slash their way through sewers full of enemies while their new Triceraton friend destroys everything in sight with his blaster.

But I was in for a shock when I read issue #6. It wasn’t just the wraparound cover that’s even more awesome than I remember. It wasn’t just the visual splendor of Turtles and Triceratons in combat. No, the shock was the discovery of just how many ideas I apparently stole from this single issue for my fiction series, The Adventures of Meteor Mags and Patches.

Issue #6 has asteroids, dinosaur-type aliens in a combat ring fighting to the death, a ruling body referred to only as the High Council, silly satire, aliens who dislike mammals (“Shut your face, you puny piece of mammal droppings!”), heroes who insult the dino-aliens (“Where I come from, bozos like you know their place — in museums, displayed as skeletons of long-dead ancient freaks!”), fight scenes that last for several pages with scant dialogue, and a shoot-out while attempting to board a spaceship. Somehow, this mid-1980s masterpiece burrowed so deeply into my brain that I was unconsciously drawing on it for inspiration decades later.

I wasn’t planning on picking up the original ten issues of the series, but after reading #6, I want to read the whole storyline again!

Collector’s Guide: From Teenage Mutant Ninja Turtles #6. Reprinted in: Ultimate Collection Hardcover #1. Also from Teenage Mutant Ninja Turtles #19-21, Return to New York. Reprinted in Ultimate Collection Hardcover #3.

620961

Big Box of Comics Part 1: Concrete

17 Monday Jun 2019

Posted by Mars Will Send No More in indie

≈ 2 Comments

Tags

big box of comics, comic books, Concrete, Dark Horse, Indie Comics, Paul Chadwick, review

This post is part of a series about what was inside this month’s big box of free comics.

concrete-008

Concrete is just as good as I remember, except for the Fragile Creature series in which Chadwick experimented with a Moebius-influenced line story that is less beautiful than his other artwork on the series and lacks the physical weight suggested by a heavy character like Concrete. Plus, I found the story boring compared to the 10-issue series and the six-issue Think Like a Mountain.

Mountain features one of my favorite scenes: Concrete walks underwater along the Pacific Northwest coast. He encounters a shark swarm, a hidden octopus, and a horrific “ghost net”: a fishing net lost at sea that traps fish, birds, seals, and other animals in its inescapable tangle until they die.

Like Mountain and the story about building a sustainable farm, the six issues of The Human Dilemma focus on Chadwick’s ecological concerns, which he discusses in more detail in supplementary articles and responses to readers’ letters. Chadwick does a remarkable job of giving his characters opposing viewpoints to argue and question, so that even if some characters are preachy, it doesn’t feel like the storyteller is preaching.

Instead, the stories reveal the complexity of taking action or even reaching a solid conclusion about environmental concerns (and everything else in life). Characters reach a decision then find reasons to doubt they made the right choice. They change their minds. Characters make bad decisions and suffer the consequences, or even suffer for their more noble actions. Besides telling a damn good story, Concrete invites readers to question, ponder, and re-evaluate.

Chadwick’s art is a delight. Although I liked the full-color art in Mountain, Concrete shines brightest in black & white printings that show off the compositional beauty of every page. Chadwick uses creative points of view in many panels, such as in Dilemma when we see a character through a wine bottle that distorts his image, which is perfect for a scene in which the character’s emotions are out of control and leading him to make a poor decision.

The first six issues of the original series were collected, in pairs, in three slim paperback volumes. The first two paperbacks are worth getting for the additional pages of story Chadwick had room to include in those editions, pages which are not simply “deleted scenes” but enhance the story. I got all three paperbacks and the original single issues because the reprints do not include the original back covers I am so fond of.

I was surprised to find the final two issues of Dilemma were not in the big box. But this is a mistake that turned out well. When I went to MyComicShop.com to order them, I found my missing ninth issue of the original series had become available. Yes! Into the shopping cart! (I even had just enough store credit remaining to pay for them and their shipping. Bonus!) I did not replace some issues of odds and ends, nor the Killer Smile limited series I don’t recall being thrilled with; but aside from the hard-to-find second volume of collected short stories, I’m happy to once again have a Concrete collection that includes the best of the best.

Collector’s Guide: From Concrete #1-10. The paperback reprints of the first six issues are: Land and Sea. A New Life. Odd Jobs. All ten issues are reprinted in Complete Concrete or the Concrete TPB series. Other recommended volumes include: Concrete: Think Like a Mountain, also in TPB; Concrete: The Human Dilemma; Concrete: The Complete Short Stories.

Mars Will Search No More!

Mars Will Stat No More!

  • 6,107,110 minds warped since 2011
Follow Mars Will Send No More on WordPress.com

Mars Will Advertise No More!

My Comic Shop banner

Mars Will Categorize No More!

  • art studio (95)
  • crime (41)
  • dinosaur (222)
  • educational (140)
  • first issue (110)
  • golden age (133)
  • humor (23)
  • indie (182)
  • jungle (58)
  • MeteorMags (11)
  • music (40)
  • occult (77)
  • poetry (56)
  • postcards (34)
  • quarterly report (28)
  • science fiction (404)
  • superhero (435)
  • war (45)
  • western (10)
  • writing (19)

Mars Will Tag No More!

2000AD abstract acrylic advertising Alan Moore Alex Nino alien Al Williamson Amazing Spider-man animal inside you animals art Avengers Batman big box of comics Bill Mantlo birth black and white Black Panther books brains Brave and the Bold Captain America Carmine Infantino Cat Charles Yates Chris Claremont Classics Illustrated collage collection comic book collage comic books crime Dark Horse Comics DC Comics dinosaur dinosaur books dinosaur comics Dinosaurs an Illustrated Guide Dr. Doom drawing Dreadstar dreams EC Comics EC Comics reprints Fantagraphics Fantastic Four first issue Flesh Flesh the Dino Files Galactus George Perez Gilberton Gil Kane Godzilla golden age guitar Harvey Comics Image Comics indie box Indie Comics Inhumans Jack Kirby Jack Kirby art Jim Lee Jim Starlin Joe Simon John Buscema John Byrne jungle Ka-zar Kevin O'Neill Last Gasp library of female pirates Life on Other Worlds lizard Man-Thing Mark Millar Marvel Comics Marvelman memoir meteor mags Micronauts MiracleMan monsters music occult OMAC origin painting pastel Pat Mills pen and ink pirates Planet Comics planets poems poetry postcards prehistoric mammals Prehistoric World Prize Race for the Moon racism Ray Bradbury Robert Kanigher robot Roy Thomas Satans Tears Savage Land science fiction self publishing Silver Surfer sketchbook sundays Smilodon Spider-man Stan Lee Steve Bissette Steve Ditko Steve Rude Strange Sports Strange Sports Stories Strange Tales Strange World of Your Dreams Superman Swamp Thing Teenage Mutant Ninja Turtles Teen Titans Thor time travel Triceratops Turok Turok Son of Stone tyrannosaurus rex underground comix Vertigo Comics VT Hamlin war war comics Warren Ellis Warrior Weird Fantasy Weird War Tales WildC.A.T.S Wolverine writing X-men X-men covers Young Earth Zabu

Blog at WordPress.com.

  • Follow Following
    • Mars Will Send No More
    • Join 935 other followers
    • Already have a WordPress.com account? Log in now.
    • Mars Will Send No More
    • Customize
    • Follow Following
    • Sign up
    • Log in
    • Report this content
    • View site in Reader
    • Manage subscriptions
    • Collapse this bar
 

Loading Comments...