Monday, August 9, 2021

Heavy Metal: The Movie

Heavy Metal: The Movie
August 7, 1981
The film Heavy Metal, featuring animated shorts based on comics originally published in the magazine, was released on August 7, 1981. 

Back then I didn't go to see it, mainly because a couple months previously I had bought my very first car, a 1974 Ford Gran Torino Brougham, and it was a Piece of Shit Car that was sucking up every dollar I had to my name.

I recently paid $4 to rent Heavy Metal on amazon and settled down to watch it. And I watched it with the attitude of someone seeing it for the first time in 1981, 40 (!) years ago, to be fair to the animation technology, and the pre-Woke era sensibility, of the film. 


Below are my remarks on Heavy Metal: The Movie.

[Because Amazon Prime won't let you take screenshots from any video being viewed on your PC screen, I took photos of the film as I watched it on my TV.]

The opening sequence, 'Soft Landing', is a Heavy Metal classic and will be familiar to all readers of the early years of the magazine. 


The next sequence, 'Grimaldi', introduces the film's framing motif, centered on a glowing green orb called the 'Loc Nar' that serves as a transition device linking each episode.


We then segue to 'Harry Canyon', which certainly resonated with 1981 audiences in its depiction of a future New York City as a hellhole of crime and decay.........I was surprised to hear a mellow little tune by Donald Fagen, titled 'True Companion', as part of the soundtrack for this segment. Fagen is a science fiction fan, which is reflected in the song's lyrics. 'True Companion' was his initial effort at a post Steely-Dan solo career.

What can I say, you learn something new every time you sit down with Heavy Metal......!


Next up we have 'Den', which stays true to the visual stylings of Richard Corben.....before you laugh at the mental picture of early 80s stoners rapt with the on-screen depictions of nude, D-Cupped women, remember............. this was before the internet, which made porn ubiquitous.


Then we have Wrightson's 'Captain Sternn', one of the best strips to appear in the early years of the magazine. The onscreen version brings out the quirky humor of the comic.


This is followed by 'B-17', about a bomber crew threatened by supernatural phenomena. This part of the film features Don Felder's song 'Heavy Metal (Takin' A Ride)' in the soundtrack.

Next up is 'So Beautiful and So Dangerous', based on Angus McKie's sci-fi comic. The emphasis is on more R-rated content, this time between a well-endowed secretary with a uniquely 80s hairstyle, and an amorous robot..........

The film's last and longest segment (at 30 minutes) is 'Taarna', the heroine who appears on the movie poster. 

The initial minutes of this segment feature plenty of blood and gore before moving to an extended sequence designed to unveil our heroine in all her nubile glory.

Even as a non-Woke person, I have to agree that the film goes overboard with the T & A objectification during 'Taarna', but it's also true that anyone who went to see Heavy Metal knew ahead of time that they were going to be treated to T & A. So there. 


At the completion of my viewing of Heavy Metal I decided that the film has its merits. In some circles, it has become a touchstone of Pop culture


I do recommend that it be viewed while stoned, as it is tailor-made to appeal to those with an altered perception of reality.

Will those who are not Baby Boomers find Heavy Metal worthwhile ? It's difficult to say. 

In this modern era of computer generated imagery, the animation used in a 1981 film is going to seem crude and underwhelming, and the film's themes to be trite and decidedly un-Woke. Be that as it may, the more adventurous sci-fi and fantasy fans under 40 may want to see the film, if only to get a sense of where things were 40 years ago, and where they might be going. 

Friday, August 6, 2021

Book Review: Lambda I

Book Review: 'Lambda I and Other Stories' edited by John Carnell

3 / 5 Stars

'Lambda I and Other Stories' (175 pp.) was published by Berkley Books in February, 1964. The cover illustration likely is by Richard Powers.

The seven stories in this anthology first saw print in the UK magazine New Worlds during the interval from 1961 - 1963. In his Introduction, editor Carnell (best known as the editor of the New Writings in SF series) remarks that this anthology is an opportunity to acquaint the American readership with new material coming out of the UK. Accordingly, the stories represent the status of sci-fi writing just prior to the advent of the New Wave. 

By my experience with these Carnell anthologies, despite their advancing age, there usually are in each volume a couple of stories that remain effective examples of the genre. 

My capsule summaries of the contents:

Lambda I (novelette), by Colin Kapp: in the near future, instantaneous teleportation through the physical obstacle of the Earth has replaced most forms of travel. But what the teleportation companies don't like to talk about are the problems that sometimes arise.......the initial pages of this novelette show promise, but the narrative too quickly becomes burdened by melodramatic prose and contrived plot developments. 

Basis for Negotiation (novelette), by Brian W. Aldiss: it's July 1st, 1970, and the Third World War is about to start between the Communist Bloc and the U.S. Vacillating British politicians resolve to keep their country neutral, a fact that enrages Sir Simon Challington, an academic, and a staunch supporter of a united West. 

There is much argumentation among the lead characters, a vehicle through which the author pontificates upon geopolitics; the sci-fi content takes its time emerging, but when it does, it concludes the story on an unexpected note. All in all, a slow-moving, but competent, tale from Aldiss.

Quest, by Lee Harding: Mr. Johnston is alienated by the unrelenting steel and concrete of the Future City, and resolves to find the final redoubt of untrammeled Nature...... this story is perhaps a bit too earnest and allegorical to be effective.

All Laced Up, by George Whitley: Peter and Sally, a young British couple, decide to install a decorative piece into their home; it turns out the piece has very unusual properties. A humorous tale that well stands the passage of 60 years.

Routine Exercise, by Philip E. High: when Captain Harvey's nuclear missile submarine surfaces, he discovers that the ocean his vessel is traversing is not the North Atlantic........an action-centered story with well-written naval combat sequences. 

Flux, by Michael Moorcock: a near-future European Union is danger of collapsing due to squabbling among its party states, a calamity with implications for the welfare of the entire planet. Ace troubleshooter Max File is recruited to travel a decade forward in time, and learn if a proposed solution does, indeed, work. A reasonably effective homage to H. G Wells and The Time Machine by Moorcock.    

The Last Salamander, by John Rackham (pseudonym of John Phillifent): in a coal-fired UK power plant, the workers make a startling discovery. An imaginative story from author Phillifent and the best entry in the anthology.

Summing up, like any anthology, 'Lambda I' has its underwhelming selections, but the stories by Whitley, High, Moorcock, and Rackham qualify this book for a solid three-star rating. 

Wednesday, August 4, 2021

Wild Things by John Workman

Wild Things
by John Workman
Metro Comics, 1986
West Virginia-born John Workman began his career illustrating and lettering comics in 1972, and from 1977 - 1984 he worked as the Art Director for Heavy Metal magazine.

In 1986 the short-lived indie publisher Metro Comics compiled Workman's black and white 'adult' comics, done for a variety of magazines (including Heavy Metal ), into two issues of 'Wild Things'.

I can't say that these issues are worth a special search, but if you see them available for an affordable price, then picking them up is a good idea.

Below I've posted 300 dpi scans of 'Martelaine', which appeared in 'Wild Things' issue two. It originally appeared in Heavy Metal in August 1981.

What can I say ? Forty years after it first appeared, it's still a great comic, one that melds the visual styling of a traditional romance comic with a note of pathos. And, just maybe, a carefully crafted hint of creepiness. All within the span of three pages !

Monday, August 2, 2021

The Bros of 1984 and 1994

 The 'Bros' of 1984 and 1994

'He told me that he wanted a magazine that teenage boys would whack off to.'

Recently, I've been looking through my collection of 1984 and 1994 magazines, of which Warren published 29 issues from June, 1978 to February, 1983 (after a complaint from the George Orwell estate, James Warren changed the name to 1994 with issue 11). 

Under the guidance of Warren editor in chief Bill Dubay, 1984 and 1994 didn't just try and exploit the objectification of women........they reveled in it !
How 1984 came about is unclear. According to 'Warren: Ends and Beginnings', an interview between Jon B. Cooke and James Warren that was published in The Warren Companion (2001), Warren claimed that the genesis of the magazine was Pow, an aborted effort to publish a comic magazine with content more 'adult' than that of Vampirella, Eerie, and Creepy.

In response to claims that 1984 was issued to capitalize on the success of Heavy Metal magazine, Warren responded:

Heavy Metal was structured on a totally different financial level. It was slick, it cost more, it had to have newsstand reps going around to make sure it was placed properly. We didn't have that kind of set-up.....But I knew that they had taken a page out of Warren Publishing's book and moved with it. And moved very well.

.....1984 was not produced because of Heavy Metal. It was produced because it was our genre. 

In contrast to Warren's memories of starting the magazine, in his deposition in January 2018, as part of Ben Dubay's plagiarism lawsuit against Stephen King, former Warren staffer Jim Stenstrum claimed that James Warren was at best a reluctant backer of 1984

Q: Thank you. In 1977, did Bill Dubay approach you and Gerry Boudreaux about adapting some stories?

A (Stenstrum): For, yes, "1984 Magazine." It wasn't called "1984." It didn't have a title then. He said there's a science fiction magazine that he wanted to put together and he finally – we had been talking about that for a long time. We had all -- Bill and I had been talking about putting together a science fiction magazine over at Warren for a long time. We had horror, we had war, but we didn't have science fiction and Jim Warren apparently was reticent. He didn't want to do it. He didn't think that was going to be a seller but Bill did manage to finally talk him into it. 

*********

BY MR. COX: Did Bill Dubay ever talk to you about his knowledge of science fiction?

A (Stenstrum): Oh, yes, absolutely. I mean "1984" was a science fiction magazine and we had discussions – in fact, early on when we were putting together "1984," he had wanted to enlist some high profile authors to do stories or at least use adaptations of their works. Kurt Vonnegut, Harlan Ellison, John Varley and a number of other names were -- but he quickly realized that it was going to be too expensive to even adapt these stories and he determined – Bill determined at that time that he would just use his regular guys.

When in 1981 Bill Dubay told Stenstrum he could take over as editor of 1984 and have complete editorial freedom, Stenstrum claimed that in actuality Dubay had no intention of relinquishing control:

A (Stenstrum): After I had -- in 1981, Bill was bumped up to assistant publisher or co-publisher and I was given the job as editor, he had promised me that I would have full reign, full -- complete freedom to do with the books what I wanted and he -- and so I moved there and I lived -- that is when I lived in his guesthouse. Is that the second time? I guess, for a second time, yeah. No, no, I was actually in the house during -- anyway, that's not important.

In any case, he had brought me in as editor and I quickly realized that Bill had no intention of releasing any sort of control. He asked me what I wanted to do. The first thing I wanted to do was to change the awful "1984 Magazine" which was so sleazy. It was so disgusting. And I -- Bill hit the roof.

He didn't like the -- he wanted -- in fact, he wanted more sleaze in there. He told me that he wanted a magazine that teenage boys would whack off to. And I was so absolutely disgusted by that.

He tried in every way he could to get me to put more sleaze and more porn into my comics, but I refused to do it.


Whether or not Stenstrum's opinions of Dubay and 1984 were valid, the fact is that the readers of the magazine liked its content, as judging by their Letters to the Editor. 

Of course, some of these letters well may have been facetious in character.........which confirms that while the word 'Bro' didn't exist in the late 70s and early 80s, its philosophy was well emplaced among the readers of 1984:






It's my conclusion that, with the passage of time, 1984 and 1994 represent an authentically 'Bro' ideology. They were publications aimed at a readership of white males under 30, publications that could revel in being offensive and politically incorrect. Those days are long gone, and it's unimaginable that any comic-based publication nowadays could even try and approach such a philosophy without being universally condemned. 

In today's era, in which a (since discarded) Marvel superhero team featured a character named 'Trailblazer, an overweight teen who gets her powers from a magic backpack.....', the content of 1984 would be immediately be cancelled on its first appearance.

So I'm going to hang on to my issues of 1984 and 1994 in all of their misogynistic, racist, un-woke glory. Because those magazines were the first and last stand of Bro culture in the comic book world. Their like shall never come again.

Thursday, July 29, 2021

Weird Western Tales: Jonah Hex

Weird Western Tales: Jonah Hex
DC Comics, September 2020
But [what] they [i.e., DC Comics] wanted to do was ridiculous. They wanted to do was take a cowboy character, a Western character, who was a take-off on the Incredible Hulk – exactly like the Incredible Hulk, with a physique like that !  

So I was telling the writer, John Albano, ‘I don’t think I want to do this’…….then they told me, ‘Just design him’. He was a Confederate soldier who survived the Civil War and, if I make him so he’s battle-scarred or something like that, that already gave us a start on how to develop the character. So I did a lot of studies.........’

..........So we said we want to make him an anti-hero, like the Clint Eastwood character. That’s about it. When it was published, a lot of readers said, ‘Well, it’s about time you did a comic book like this !’

-Tony DeZuniga: The CBA Interview, by Shaun Clancy, Comic Book Artist magazine, issue 4, 2004

'Weird Western Tales: Jonah Hex' (526 pp.) was published by DC Comics; the second printing was issued in September, 2020. 
This is a very nice hardbound volume, printed on glossy stock paper with a sewn binding. Its cover price is $75, but amazon is offering it for considerably less (i.e., under $45 as of July, 2021).

This book compiles the appearances of the Jonah Hex character beginning with his debut in 1972 in All Star Western, issue 10, through Weird Western Tales, issue 38 (February 1977). It should be noted that the backup stories in these two comics are not included in this volume.
It's worth noting that all of these Jonah Hex stories, and the backup features, have previously been printed - albeit in black and white - in the two trade paperbacks, 'Showcase Presents: Jonah Hex Volume 1' (2005), and 'Showcase Presents: Jonah Hex, Volume 2' (2014).

Most of the stories in 'Weird Western Tales: Jonah Hex' were written by John Albano and Michael Fleisher. Artwork was provided by the Filipino artists Tony DeZuniga and Noly Panaligan, as well as Rich Buckler, and the Argentinian artists George Moliterni and Jose Luis Garcia-Lopez.
These comics were subject to the regulation of the Comics Code Authority (CCA), but by 1972, the CCA had loosened some of these regulations, and the storylines take advantage of this to depict people being shot (as opposed to having their guns shot out of their hands). There also is a higher level of violence, and a degree of moral ambivalence, that would not have been permitted in the 1960s under the Code.
One compliment I want to pay to DC is that they did not try and re-color these nearly 50 year-old comics. The original color separations were not ideal, but by staying true to the originals, the compilation avoids projecting an 'artificial' quality to the profiled artwork.

The majority of the comics compiled in 'Weird Western Tales: Jonah Hex' were designed to have standalone, one-issue plots that had to be completed within 14 to 20 pages, so writers John Albano and Michael Fleisher necessarily deployed compressed narratives, with lots of speech balloons and narrative text boxes. 

That said, these are good stories, all things considered, and it's no surprise that writers Justin Grey and Jimmy Palmiotti 'recycled' some of Fleisher's plots for the 2006 'Jonah Hex' series they did for DC. 
One area in which these comics have not aged well is the decision by writers Albano and Fleisher to phonetically render the 'Southern' dialects of Hex and other characters. Readers will need to negotiate lots of speech balloons filled with words like 'ah' (I), 'yore' (your), 'thet' (that), and 'fer' (for), among others............

While it would seem good business sense for DC to issue additional hardcover volumes compiling the remaining issues of Weird Western Tales, as well as some (or all ?) of the 92 issues of the Jonah Hex comic book published from 1977 - 1985, the current uncertain state of DC as a comics publishing enterprise makes this no sure bet, unfortunately.........   

Summing up, if you're a fan of comic book westerns and Jonah Hex, and with this volume costing less than $45, it's a great time to invest in getting 'Weird Western Tales: Jonah Hex', especially with the out-of-print black-and-white Showcase volumes get more and more pricey each few months. 

True enough, in another year (or less) when 'Weird Western Tales: Jonah Hex' goes out of print, the speculators and Bookjackers will move in and demand exorbitant prices..........so it's best to Act Now.

[ A rather pretentious review of 'Weird Western Tales: Jonah Hex' is available at The Comics Journal website ]

Monday, July 26, 2021

Book Review: If You Believe the Soldiers

Book Review: 'If You Believe the Soldiers' by Alexander Cordell

2 / 5 Stars

'If You Believe the Soldiers' first was published in the UK in 1973; this Coronet paperback version (224 pp.) was published in 1975.

'Alexander Cordell' was the pen name of the UK author George Alexander Graber (1914- 1997). Throughout his career he focused on historical dramas set in Wales, although he also wrote political thrillers that portrayed Communist China in a favorable light, reflecting his sympathies for left-wing causes.

I first encountered 'If You Believe the Soldiers' when Joachim Boaz, at his 'Science Fiction and Other Suspect Ruminations' blog, profiled it in one of his 'recent acquisitions' posts. 

I always am partial to fictional portrayals of a Dystopian Britain, and this book seems to fit into that genre. 

Or does it.......... ?

The novel is set in the UK in the early 1980s. Its protagonist, Mark Seaton, is a middle-aged bureaucrat who oversees contracts for government construction projects. Seaton divides his time between his office in London and Hatherly, the family estate lying beside the banks of the placid Woking river. In a similar manner, Seaton divides his romantic time between his indifferent wife Moira, and his mistress Hallie Fitzgeralt. 

As the novel opens, a right-wing Army officer named Colonel 'Bull' Brander has successfully carried out a coup and converted the UK to fascism. Brander has coerced cooperation from the weak Prime Minster, Paul Whiting-Jones; shut down independent media outlets; and, in a most Providential development, forced the Royal Family into exile in Paris.

The majority of the UK public, drained and apathetic after the strikes and financial chaos of the 1970s, have accepted this change of affairs. However, younger Britons refuse to accept fascist rule and have mounted a violent resistance; the opening pages of 'Soldiers' effectively communicate a near-future London in flames, wracked by destructive battles between the factions of Left and Right. 

As a liberal Jew (the original family name is 'Goldstein'), Mark Seaton is hardly partial to the Brander regime, but he is willing to try and work within the system out of a sense of duty to maintain integrity in the government's business dealings.

But as the fascists consolidate power and demand unquestioning fealty from their minions, Seaton's growing defiance becomes a liability to his welfare, and the welfare of those close to him. And crossing the line can come with the most unpleasant consequences.......

For me, 'Soldiers' was a mixed bag. It is clearly not an action adventure novel, detailing the adventures of some Young Comrades who take up arms in a heroic fight against tyranny. Protagonist Seaton is rather dim-witted and passive, sticking to principle because he knows no other way; consequently, throughout the novel he continually is forced to react to one insult after another, never showing much in the way of initiative.

A subplot involving Seaton's adopted daughter of Chinese ancestry veers into Woody and Soon-Yi territory; while this may have been titillating in 1973, no doubt modern readers will find it......... creepy........

Cordell's prose style is uneven; there are lengthy passages, such as those dealing with an emotional resonance occasioned by the landscape of Wales, that deploy an almost poetic language; and then there are those passages where he promotes his left-wing political leanings through Righteous Discourse:

Your middle class did nothing about Heath's Rent Act, the stopping of school milk and meals, the means tests for men on the dole, the hire purchase rackets: the man in the street is on his blood uppers under the mortgage rates. And don't talk to me of demonstrations until you've lived in the slums, where they toss the rats out of the windows before they eat the meal.

*****

Of abstract mind, I wandered, dolefully considering the era of violence in which I lived; a violence constantly denounced by the unholy liaison of Church and State, which existed on the fringe of violence, ever ready to indulge in an orgy of it, should its precepts, or profit, be threatened; using as its emblem of benevolent dictatorship the public exposure of a man crucified, bleeding from a dozen wounds before the eyes of the adolescents of a hundred generations. And in the shadow of such sadism they protested about violence.

*****

......the British soul could never have expected  such a decent into the abyss: we, who had never been slaves, were at last enslaved by racism, political adventuring and personal avarice.

'Soldiers' somewhat redeems itself in its closing chapters, which combine dark humor with a string of plot twists. But I finished the book thinking that the book's few moments of suspenseful drama came at the cost of forcing the reader to trudge through much ideological posturing. Accordingly, I give 'If You Believe the Soldiers' a two-star rating.

Friday, July 23, 2021

Epic Illustrated October 1985, issue 32

Epic Illustrated
Issue 32, October 1985
Overall, Epic Illustrated was sinking in quality during 1985, but there was still the occasional worthwhile entry. 'Traveller', written and illustrated by Bo Hampton, was one such entry from the October, 1985 issue.

Tuesday, July 20, 2021

Madness: Night Boat to Cairo

Madness
'Night Boat to Cairo'
1979
'Nightboat to Cairo' was a track on the group's 1979 album One Step Beyond.....

In the UK it was released as a single and topped out at slot 6 in early April, 1980.

A low-budget video for the song is available here. It's pure fun, nothing more, nothing less.