HE-MAN MINICOMICS 1986

"THE FLYING FISTS OF POWER!" | "ROCK PEOPLE TO THE RESCUE!"
"KING OF THE SNAKE MEN" | "THE TERROR CLAWS STRIKE!"
"ESCAPE FROM THE SLIME PIT!" | "THE MENACE OF MULTI-BOT"
"THE WARRIOR MACHINE" | "EYE OF THE STORM"
"THE FASTEST DRAW IN THE UNIVERSE" | "THE HORDES OF HORDAK"
"BETWEEN A ROCK AND A HARD PLACE!" | "SNAKE ATTACK!"
"THE ULTIMATE BATTLEGROUND"

Writers: Tim Kilpin. Gayle Gilbard, Larry Houston, Steven Grant,
Eric Frydler, Tina Harris, Jim Mitchell, & Phil White
Artists: Jim Mitchell, Larry Houston, Bruce Timm, Chris Carlson, Mike Van Cleave, Greg Brooks, Mike Vosburg, Peter Ledger, & Red Grant
Inks: Steve Mitchell, Bruce Timm, Todd Kurosawa, Tom Luth, Red Grant
Letters: Stan Sakai | Colors: Charles Simpson & Tom Luth
Editor: Lee Nordling | Art Director: Ron Cook

A year with more cooks in the kitchen than ever before -- just check out the number of writers and artists involved in the production of these stories -- somehow brings with it the tightest continuity since the very first four minicomics. Behold...

The saga kicks off with the Sorceress bestowing on He-Man the gift of "The Flying Fists of Power!", a magical battle technique to aid him against the forces of evil. In reality, Flying Fists He-Man was a brand new action figure with a different outfit than the normal He-Man, but the comics simply depict our hero as his normal self when he uses the power. Following from this comic, He-Man calls on the power of the Flying Fists a handful of times throughout the year's remaining stories. Also, at one point he uses the Thunder Punch, which readers may recall was bestowed upon him by Castle Greyskull in the 1985 series (and, unlike Flying Fists He-Man, the Thunder Punch figure was depicted in his alternate costume during his first appearance -- but now looks just like the standard garden variety He-Man).

HE-MAN MINICOMICS 1985

"SKELETOR'S DRAGON" | "THE BATTLE OF ROBOTO" | "SPIKOR STRIKES"
"THE STENCH OF EVIL!" | "GRIZZLOR -- THE LEGEND COMES ALIVE!"
"LEECH -- THE MASTER OF POWER SUCTION UNLEASHED!"
"MANTENNA AND THE MENACE OF THE EVIL HORDE!!"
"HORDAK -- THE RUTHLESS LEADER'S REVENGE! | "THE TREACHERY OF MODULOK!"
"THE POWER OF THE EVIL HORDE!"

Writer: Christy Marx
Artists: Larry Houston, Peter Ledger, & Bruce W. Timm
Inks: Charles Simpson & Michael Lee
Letters: Stan Sakai | Editor: Lee Nordling

Following from a set of 1984 minicomic offerings that did their best to hew to the Filmation TV series' continuity (even though that show was still in the development phase when most of the comics were produced), 1985 brings us an odd hybrid of the Filmation universe existing in sort of a parallel world. The comics continue to maintain most of the Filmation trappings, and as we'll see below, even bring in the character of Orko, who originated on the show. As well, the cartoon's character designs continue to be used for the most part. However, 1985's comics also introduce a number of characters to the minicomic world, complete with origins in many instances (which were pretty universally eschewed in '84), even when the same characters were presented with alternative debuts in the animated series.

I'd like to note that the credits I've been presenting for all these minicomic posts are assembled to the best of my ability. Many of the earlier comics, going up through 1985, had no credits at all, while others had only artist signatures on the covers, or occasionally writer/penciler/inker signatures. I've done my best to search online and fill in blanks, but I can't speak to the complete accuracy of these credits. For example, Christy Marx wrote a number of 1985's comics, but there's no way to tell whether she penned every single one -- and in fact it seems pretty likely she did not -- however since no other writers are listed, she's the only one I can mention here even if she wasn't the sole scribe for the year.

ODE TO AN ANIMATED SERIES

So last week after posting my little BATMAN 232/"The Demon's Quest" mash-up picture, I decided I wanted to write a bit more about BATMAN: THE ANIMATED SERIES. Since my son's birth a couple months back coincided with La La Land Records' release of their BATMAN: TAS Vol. 4 soundtrack album, I found my interest in the series piqued, as is periodically the case, and as a result I spent more than a few late nights rocking the baby to sleep while streaming random episodes on my iPad. I thought it would be fun to write about them -- nothing in-depth, mind you; you can't spit on the internet without hitting a full-blown TAS retrospective series -- but at the very least, I wanted to compose one post boiling down exactly what it is I like about BATMAN, and what makes it so enduring for me personally.

I still vividly remember the very first BATMAN: TAS episode I saw. Somehow the series' premiere had slipped past my radar, so I missed the first few installments. Thus my initial exposure to BATMAN was the episode "It's Never Too Late" which, according to the internet, aired September 10th, 1992 as the seventh episode broadcast. It might be a good thing this was the first show I saw, because it immediately demonstrated to me what the animated Batman was about. This was not the Adam West version or the Hanna Barbera or Filmation iterations I had known on TV up to that point.

"It's Never Too Late" is a character study of an aging gangster at the end of his career, struggling to defend his crumbling empire from the younger competition. It tackles drug abuse -- something typically taboo in kids' animation back then except for the occasional "very special episode" -- but only in passing as part of the larger story. There are no colorful, costumed villains. The antagonist of the piece is Rupert Thorne, a character I knew at the time from a couple issues in my dog-eared GREATEST BATMAN STORIES EVER TOLD trade paperback, and he and his goons use conventional firearms rather than the laser blasters I'd become accustomed to in my normal weekday afternoon fare.

"It's Never Too Late" may not be the greatest of the animated Batman episodes, but it's a solid entry and holds a special place for me personally as the one that won me over that Thursday afternoon twenty-four years ago.

THE UNBOXING - MARCH 2014

This may be my smallest box ever from Discount Comic Book Service: two books. It was supposed to be three, but the CAPTAIN AMERICA EPIC COLLECTION: DAWN'S EARLY LIGHT volume dropped off my order to ship next month instead, due to a shortage from the supplier. I had no plans to read that book any time in the immediate future, however, so I'm fine waiting another month. Thus, without that sole Marvel offering, all I have this time are two volumes from DC -- and just as receiving only two books is a first, so is having my entire order be in the form of DC volumes.

First is BATMAN: MAD LOVE AND OTHER STORIES, a trade paperback collecting most of the Batman comics by Bruce Timm and Paul Dini set in the universe of BATMAN: THE ANIMATED SERIES, along with works from some of their other BTAS collaborators. I have most all of these stories in comic book format (I read the cover off of the single issue MAD LOVE when I was a kid), but this is the first time I will have purchased them as a trade. I believe this book came out a while back in hardcover format, but I passed it up. The trade may in fact have been released previously as well, but when this edition came up for pre-order a couple months ago, I jumped on it.

SUPERMAN: THE ANIMATED SERIES - ORIGINAL TELEVISION SOUNDTRACK

In the early nineties, the Warner Brothers television animation department was in the midst of what would eventually be dubbed a "second golden age" for cartoon musical scores. Programs like TINY TOON ADVENTURES, ANIMANIACS, and BATMAN: THE ANIMATED SERIES featured original scores for each and every episode, crafted by a variety of talented composers and performed by a full (roughly 30-piece) orchestra. BATMAN was followed a few years later by SUPERMAN: THE ANIMATED SERIES, from the same creative and musical teams.

Helming the musical side of these DC superhero shows was the great Shirley Walker. Walker came up with the recurring themes and motifs to be used for the majority of the series' main characters and villains, and she contributed many complete scores to both shows herself, but scoring as many episodes as Bruce Timm's production team created was unfeasible for one person. So Walker also trained and supervised a group of younger composers, which eventually shrunk to her core regular group: Kristopher Carter, Harvey R. Cohen, Michael McCuistion, and Lolita Ritmanis.