Comic Book of the Week: Peanuts (Dell)

Comic-Book of the Week: The Banana Splits (Gold Key)

Comic-Book of the Week: The Bugaloos (Charlton)

Comic Book of the Week: Hee Haw (Charlton)

Comic Book of the Week: Super Mario Bros. (Valiant)

Comic-Book of the Week: The Simpsonsco

Comic Book of the Week: Casper the Friendly Ghost (Harvey Comics)

Comic Book of the Week: Daktari

Comic Book of the Week: the Love Bug (Gold Key)

Comic Book of the Week: Gargoyles (Marvel)

Comic Book of the Week: Blade Runner (Marvel; 1982)

In October of 1982, Marvel Comics released "the official comics adaptation of the hit film" Blade Runner, directed by Ridley Scott. 

Setting aside the crazy marketing hyperbole (because Blade Runner was not a hit film at all on release in the summer of 1982...), I've always found this two-issue adaptation of the tech noir classic to be one of Marvel's finest movie-to-comic efforts.

Adapted by Archie Goodwin and drawn by Al Williamson and Carlos Garzon, the comic version of Blade Runner evidences an unusually high-degree of fidelity to the film's visuals. 

If you've seen Blade Runner (and I assume you have...), you understand immediately why that's so important. Blade Runner creates a distinctive mood and texture through its imaginative (yet wholly believable) visualizations of a future "dark city."

Just ponder Blade Runner for a minute, and your mind will fill with indelible images of incessant rain; neon signs, vast "talking" billboards on the sides of incredible skyscrapers, flying cars and the like. 

From the gleaming, smoking city-scape of the future, to the palatial penthouse of the Tyrell Building, Blade Runner proves itself one of the most visually unique and accomplished science fiction efforts in the cinema's history. Marvel seems to get that; it takes precious few liberties with the film's aura or production design.

One pertinent example: Marvel is the outfit that could never quite get the look of William Shatner's Captain Kirk right in Star Trek; but the artists here do a bang-up job of making Rick Deckard look exactly like Harrison Ford. Indeed, all of the likenesses to the cast are eerily, commendably good.

A good comic-book adaptation of a film doesn't just live and die by the visuals, but also by the way it successfully opens up a story we've experienced already; thus showing audiences something familiar and different at the same time. 

Here, again, I find Blade Runner quite an achievement. For instance, during one of the film's exposition-heavy early scenes (involving Deckard and his boss, Bryant), the comic-book actually cuts to images of the information/data Bryant is relating about the escaped Replicants.

When Bryant describes Roy Batty's history ("They used Roy Batty in every off world conflict in the last three years. He'd flown Gypsy ships with the Russians at Tannhauser Gate and been with the squadron of Night Timers in the wars near Jupiter..."), we see frames of burning spaceships, in planetary orbit.

It's just one more way to open up Blade Runner's world, but a powerful one. I remember when I first saw the film thinking about the incessant advertisements (carried on blimps...) for life "off world." That idea carried such import for me: who would stay behind in this overpopulated, nihilistic world? And what kind of life did the "off world" promise? Well, obviously someone at Marvel thought about that too, and inserted this nice little explanatory frame about Batty's outer space exploits as a "super soldier."

On the downside, the Marvel comic includes the theatrical version's hammy voice-over narration (though it reads better on the page than it did on the screen), as well as the sort-of-unbelievable ending sequence featuring Deckard and Rachel heading off to a natural northwestern paradise (really left-over stock footage from Stanley Kubrick's The Shining [1980]).

So far, Marvel hasn't offered an official adaptation of the "director's cut," so don't expect any unicorns.

Comic-Book of the Week: The Micronauts

It's strange and little disconcerting for me to admit that more than a few of my favorite comic-books of all-time originated with...toys; with merchandise. 

This means these epics were born of -- essentially -- marketing "synergy."

Somehow, that makes me feel remarkably shallow. Still, it's useless to deny the truth: the comic-books that I fell in love with as a youth in the late 1970s carry titles such as ROM: The Space Knight, Shogun Warriors and the best of all: The Micronauts.

The Micronauts comic (from Marvel) premiered in January of 1979 (for just thirty-five cents!). 

This was the era of Star Wars and the original Battlestar Galactica, and I suspect that one of the reasons I adored this comic so much is that this complex book serves as an excellent combination of all the genre elements I appreciated in both those franchises, and in Star Trek as well. 

The stories of the Micronauts are rife with colorful and heroic characters, spectacular space battles, and even a sense of galactic "exploration" in terms of the characters leaving their "Microverse" and ending up on Earth in the twentieth century.

The first issue sets up the premise for the epic saga (which begins a "micro-cosmic NEW SERIES in the MIGHTY MARVEL tradition!"). 

Written and drawn by Bill Mantlo and Michael Golden, "Homeworld" lands the reader on a far away world ("once the proudest planet in the subatomic microverse...") that has been torn apart by political and class strife.

In a clever nod to Russian history and the story of the Czars, an insurgency led by the evil scientist Baron Karza wipes out the upper class and royal family. Or, as the comic puts it, "The elite of Homeworld have been overthrown by a small body of insurgents." 

The entire world, it seems, has "turned upon its hereditary rulers!"

In turn for destroying the ruling class, the people have been promised virtual immortality by Karza, who runs the planet's grim "Body Banks," which ensure replacement body parts and eternal life for all those who obey the despot. 

In this world, organs and body parts are a commodity to be traded and used, and one suspects there is a Cold War parable here about Communism and a perceived lack of individuality amongst the Marxists.

The noble ruling family, led by Prince Argon and Princess Mari, can't compete with the promise of never-ending life, and is all but massacred in the rebellion. Argon is captured by Karza (and submitted to experimentation in the body banks...), and Mari is forced to cloak her identity, becoming "Marionette," a kind of pleasure-bot. 

Meanwhile, Karza's Dog Soldiers and his Acroyear minions destroy the so-called elitists with their "hovering strata-stations" and other weapons of mass destruction. These devices are given beautiful life in the comic; essentially the Micronaut toys made to appear hyper-realistic, and extremely cool.

While the peoples' revolution burns hot on Homeworld, an old starship called Endeavor returns from a thousand year voyage of exploration. The ship is "old...pitted and pocked by the ravages of time and space." 

Aboard the ship is Commander Arcturus Rann and his robot servant, Biotron. He expects a hero's welcome on return to Homeworld, but instead is termed a dangerous "X-Factor" by Baron Karza (Rann's former instructor at school...) and greeted with a firing squad.

After being blasted by Dog Soldiers, Rann awakens to find himself an unwilling gladiator in Homeworld's deadly games (bread and circuses for the bored populace.) As a prisoner, Raan meets a noble Acroyear warrior/prince who refused to submit to Karza (and whose Brother, Shaitan, is the primary collaborator with the Baron). 

Rann also encounters an "Insectorvid" named Bug from the planet Kaliklak ("hive world of the Insectivorids")...and teams with them, as well as Princess Mari, to escape the games. An attraction grows between Ran and Mari, and he even learns that his parents -- Dallan and Sepsis -- are revered as symbols of the Resistance because they were the first to defy Karza nearly a millennium ago.

Before long, Rann, Mari and the others flee the planet in the old Endeavor (kind of a cross between the Enterprise and the Millennium Falcon...) and are pursued by Karza's "Thorium Orbiters." In an attempt to escape from the dedicated pursuit, Rann takes his straining ship beyond the very limits of the "space wall" separating the tiny Microverse from another reality all together...and these dynamic characters are soon bound for adventures on Earth.

For a comic-book based on a set of (highly-popular) toys, there's a commendable amount of complexity to The Micronauts; complexity which makes many issues a highly-involving read, even thirty-five years after original publication. 

For instance, Rann spent a thousand years probing microverse space "telepathically" aboard the Endeavor, and in the process, accidentally created a mysterious doppelganger for himself, called "The Time Traveler," (also known as "The Enigma Force." ) This character plays a crucial role in the resolution of the rebellion and the destruction of Karza. There are also the mysterious "Shadow Priests" of Homeworld, pursuing their own strange and hidden agenda.

Some characters certainly appear reminiscent of Star Wars, particularly the big droid/little droid combo of Biotron (a 6000 series of "thinking roboids") and Microtron. And some elements seem familiar from Dune (the priests), and Buck Rogers too (the man returning to a world changed after several hundred years), but overall the comic boasts a deeper grounding in human history. 

I mentioned the story of the Czars, but the Prince of the Acroyears is another example of how our history has been re-cast as cosmic history. This character is often described as "Spartan" in nature, and in essence is a representative of a warrior race dedicated to combat and honor (think Leonidas, I guess...).

To some extent, Star Trek: The Next Generation picked up on this idea in the late 1980s, when the Mongol-like Klingons of the original series were transformed into honor-obsessed Spartan-type warriors in episodes such as "Sins of the Father." 

In issue #12 of The Micronauts, ("Blood Feud"), for instance, Prince Acroyear had to return home and combat Shaitan (a character not unlike Duras), for the ruler-ship of their rough world called "Spartak" (again, the Spartan reference...). I'm not saying that TNG stole anything (any more than Micronauts stole from anything in particular...), only that this comic is a place of intelligent, fascinating ideas; ones that reflect our history in interesting and telling ways.

I remember in 1980 and 1981 -- when I was in fifth grade -- I would stay home sick from school some days and spend the entire time reading Micronaut comics. This was before VCRs were common-place, and so the Micronauts -- in a very important way -- represented the only space epic at my fingertips. 

Through my entire adult life, I've kept those Micronaut comics and in going back and re-reading the adventures, I can't help but suspect that the time has come for a (faithful) movie adaptation. The saga features a distinctive look and style (based on the toys); colorful characters, some great metaphysical mysteries, and an epic, historical sweep.

Comic Book of the Week: Bullwinkle (Gold Key)

Comic Book of the Week: 20,000 Leagues Under the Sea (Classics Illustrated)

Comic-Book of the Week: Man from Atlantis (Marvel Edition)

Comic Book of the Week: Tarzan (Gold Key Edition)