Showing posts with label Barreto. Show all posts
Showing posts with label Barreto. Show all posts

Wednesday, February 2, 2022

Podcast: Mark Waid at Comicpalooza 2018

Amazing Heroes Interviews Episode 6
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Look for us on iTunes, Anchor, Spotify, or Internet Archive! Alternately, right click link to download album art-tagged MP3 directly!

The original interview from which clips were deployed in past episodes of The Idol-Head of Diabolu Podcast, now in one handy presentation (although I did save about three minutes of material for one planned episode to come.) Interview conducted at Houston’s Comicpalooza, on either May 26 or 27, 2018. The interview has been edited for time, content, consistency and quality. We spend a lot of time on his early career as a writer and editor, including Amazing Heroes, Comics Week, Secret Origins, The Legend of Aquaman Special, Who’s Who in the DC Universe, DC Cosmic Cards, Doom Patrol, Daily Planet Special Invasion! Edition, Atlas of the DC Universe, !mpact Comics, Legion of Super-Heroes, Underworld Unleashed, the death of Tora “Ice” Olafsdotter, and surely more Martian Manhunter questions than he ever had to field in one sitting. Finally, a brief tribute to the late Brian Augustyn via a critical review.

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Tuesday, June 21, 2016

Podcast- John Ostrander & Mark Verheiden at Comicpalooza 2016

Episode #27

Look for us on iTunes, ShoutEngine or directly download an art-tagged MP3 from the Internet Archive



Straight out of Comicpalooza - Texas' Largest Comic & Pop Culture Event comes new interviews with screenwriter/producer Mark Verheiden discussing his work on J'Onn J'Onzz and Zook in Secret Origins and Superman/Batman, then writer John Ostrander covering his three year run on the 1998 Martian Manhunter ongoing series.


We enjoy dialogue on the red planet, so here are our non-telepathic contact options:

Thursday, February 16, 2012

1999 Hasbro JLA Justice League of America Martian Manhunter 9" Doll



Allow me to introduce you to my little friend-- my favorite ever J'Onn J'Onzz toy, the JLA nine inch action figure DOLL. That's right-- you heard me-- it's a freakin' doll. "Action figures" peak at about seven inches, do not have removable cloth accessories, and should probably have some sort of weapon to enforce their manliness. If I can strip a figure buck-nekkid, it's a doll, and as you'll see later, the Manhunter from Mars qualifies.



The figure was a K·B Toys exclusive, and I bought it when it first came out for $14.99. Aquaman, The Flash, Green Lantern Kyle Rayner, and Superman Blue were part of the same line, but I don't recall their being exclusive. KB overstocked the Martian Manhunter for sure, and they routinely sold for considerably less than the initial retail price (probably right up until the chain's closure.) Even today, twelve years later, you can find them on eBay for less than I paid. Heck, I'm tempted to buy some for custom action figures, but I'm too old, impatient, unskilled, and time-strapped for all that. An abused friend shot the above picture around the year 2000 with a digital camera. I don't think they were so hot back then.



As announced on the box face, the doll is "FULLY POSEABLE WITH ARTICULATED FINGERS!" Let me just say, articulated fingers are the best! I loved Mego-style dolls growing up, but a kid will invariably try to put a weapon in their hand, and off comes their thumbs. Instead of wedging hunks of plastic into the single weakest point on a figure until it snaps, these newer dolls can actually open their hands and grasp things. In this case, J'Onn is constantly tugging on his cape like a security blanket, and I love it!



I no longer have my box, so I pulled a bunch of these pictures off eBay. As I recall, I kept mine folded up for a while, but I think it was eventually water damaged and discarded. Anyway, the interior was notable for its lack of being notable. That bland yellow really highlighted the impossible number of twist-ties binding J'Onn onto the card, including little plastic staple thingies in the cape. The twists also had plastic coverings over them plus box tape, so you basically needed a knife and a good 5-10 minutes to liberate the Alien Atlas. Looks a bit like King Kong, all trussed up as he was.



As best as I can tell, the art on the sides of the box was by Eduardo Barreto, drawing in a slightly more '90s style. Likely thanks in part to American Secrets, Barreto drew most Manhunter-centric licensed product around this time, including the 1999 Hasbro Justice League of America Monopoly Game, 2000 DC Super Heroes Magic Effects 500 Piece Puzzle and 2000 Warner Bros. Studio Store Exclusive JLA Mug.



The back of the box starts with JLA line boilerplate recycled from the standard figures...

THE WORLD'S
GREATEST
SUPER HEROES

The mightiest heroes in the universe
join forces to combat the world's
most diabolical villains!


...followed by...

MARTIAN MANHUNTER
This immensely powerful and strikingly quiet
hero is one of the DC Universe's most
powerful figures, and a founding member of
the Justice League of America. Born on the
planet Mars as J'onn J'onzz, the Martian
Manhunter has telepathic powers, massive
super-strength, and the abilities to both fly
and completely alter his appearance.
When the rest of his race was wiped out, he
came to Earth, where he adopted a new
identity as Detective John Jones.




There are so many things to love about this figure, the first being that you could fold the collar on the cloth cape. The 1998 JLA figure had an enormous plastic collar that stuck up, and '99 J'Onn still rocked the Dracula while imprisoned in the box. However, the cloth collar folds naturally, holds position, and looks fantastic. The plastic clasp goes through the mystery fabric, literally clasping through a teat and slot. In a rarity, the sculptors managed to give J'Onn a massive brow that still looks realistic and does not overwhelm his face.



Upon removing the cape, you can see J'Onn can move his head from side to side. The combination hinge and ball & socket joints at his shoulders and hips allow a full range of motion while providing enough resistance to insure the figure maintains a secure pose without a stand (not included besides.) J'Onn can pivot at the biceps and wrists, with an additional hinge in the wrist, plus at the knees and knuckles.



Like his cape clasp, J'Onn's harness secures at two points on the belt and the straps connect at two other points. The harness is flexible but firm and generally well made enough that you can remove and replace it without fear of tears. You can now see that the figure has both a pivot and hinge concealed in the folds of his boot at the ankles. There are slots where the figure could be placed on a stand, but I assure you, it stands exceptionally well under its own power. The right foot has a DC Comics copyright, and the left a Hasbro one (made in China.)



Here's the head in profile, displaying what I feel is the finest Martian Manhunter sculpt to date (even over the 13".) How many ways can I count the win? The slight furrowing of the brow and crinkle above the nose are perfect for indicating intense thought (telepathy?) or just irritation with the antics of the JLI. The beetle brow is thick, but phat rather than fat, distinctive while still appropriate hanging off somebody's face. There's some fine detail around the eyes, both gentle/human and glowing an unnerving red. The prominent cheekbones and facial lines are heroically handsome, yet severe in a way inappropriate for more traditional heroes. Really nice chin, well-sculpted ears, and a perfect Silver Age head shape (the wrinkles at the nape of the neck a nice touch.)



Without his easily removable doll trunks, you can get a better look at the figure's versatile hip joints. The only problem with the harness is that it restricts movement in the abdomen to an extent. In its absence, we find that J'Onn can maybe do a few crunches with effort, but he can readily pivot at the waist either way.



There really isn't any new information in this picture. I just threw it in for the ladies (and manly man-hunters.) I think these last two pictures do make my point about it being a doll, though.

Click To Enlarge


My friend Dave indulged me during the earliest days of the blog way back in the fall of 2007 (and a few score pounds ago) by taking pictures of me and this doll. He also worked out a few "special effects" shots that I decided to allow to be enbiggened. I think that's J'Onn landing on the roof of a Chipotle Mexican Grill off Richmond. It damned sure wouldn't be a Subway, with his getting left out of their recent tongue-in-cheek Justice League campaign.

Click To Enlarge


I'm not quite sure how I was holding the figure, but Dave clearly did an excellent job "removing the wires," or in my case the fingers, especially for his "ancient" 2007 technology. Dynamic pose. no?

Click To Enlarge


Here, the DC Direct Atom demonstrates how awesome articulated fingers can be! However, we'll close on a hero who is among the closest friends to the Martian Manhunter out of the classic Justice League, Aquaman. Today is a crossover with my Justice League Detroit blog, where I'll be covering the 1999 Hasbro DC Super Heroes Silver Age Collection Aquaman!



Before you go, here's another post with more animated photos showing love for this figure at Super-Duper Toy Box. Finally, a video on the figure, from a guy more knit-picky than me...

Saturday, February 11, 2012

Creators of Mars: Eduardo Barreto



"He was the type of artist who did the hard things well and the great things great -- his dynamic figures and layouts, sexy women, bold blacks and brushwork added a dramatic splash to the often tepid comic page and revitalized the strip." -Mike Manley

Born Luis Eduardo Barreto Ferreyra in 1954, "Ed" grew up on comic books in Montevideo, Uruguay, and decided it should be his profession at the early age of seven. Barreto cited Hal Foster, Russ Manning, and Warren Tufts as his primary influences, which might explain why he shopped a Richard the Lionheart strip reminiscent of Prince Valiant around while attempting to break in at local newspapers. At age sixteen, Barreto found his way into El Día's children's magazine Día de los Niños, writing and drawing an adaptation of "Cantar de Mio Cid." Barreto continued to work on the magazine for several years, including a false start on a new sci-fi strip of his own creation. In 1975, Barreto sold United Press syndicate on El Poderoso Halcón, which was picked up by newspapers across Latin America. Unable to build on his momentum in Uruguay, a series of visits to Buenos Aires saw him land a position at Editorial Columba on the fantasy strip Kabul de Bengala. Other work followed, including ghosting for Ricardo Villagrán. Reaching the limits of the Argentine market, Barreto sought work in the United States.



"With his impeccable draftsmanship and attention to nuance and detail, Eduardo Barreto was a true artist's artist... His incredible work and vision will be missed." -Jim Lee

Barreto entered the U.S. comic industry in 1979, as an inker for Marvel. He soon added DC Comics and Western Publishing to his clientele, but he returned to Uruguay after only a few months. Barreto returned to live in the States in 1983, which soon led to regular work on DC's Superman titles. Barreto followed José Luis García-López's runs on Atari Force and The New Teen Titans, the latter lasting four years. Among his other work during the 1980s was the well-regarded one-shot Lex Luthor: The Unauthorized Biography with James D. Hudnall. Barreto became associated with Batman, a particular highlight being the popular Elseworlds special Speeding Bullets that saw Superman in the role of the Dark Knight. From 1989-1992, Barreto collaborated with writer Gerard Jones on The Shadow Strikes and Martian Manhunter: American Secrets. The latter is regarded by many fans as the best J'Onn J'Onzz story ever produced, and established an association between artist and character that led Barreto to produce additional Manhunter comic and merchandising work.



"Eduardo Barreto, RIP. You were one of my all-time favorite artists both as a reader and as a collaborator. This one's tough." -Mark Waid

The '90s led Barreto to branch into serving other publishers, including licensed properties at Dark Horse and Tekno Comics. After having once been the most famous Uruguayan artist in comics, the 2000s saw a slide into obscurity, including work for small publishers and his last ongoing run for a major, Marvel Knights. Leaving comics in 2006, Barreto briefly took over art chores on the newspaper strip Judge Parker before being sidelined by an injury. After returning, Barreto drew the strip until 2010, when he was forced to retire after a bout of meningitis. Barreto worked on a few projects afterward, including The Phantom Sunday strips. His final comic work, drawn from a hospital bed, was DC Retroactive: Superman - The '70s. He passed away at age 57 on December 15, 2011.



"Eduardo and I had been close friends for over 20 years. We were the same age and even though we grew up thousands of miles apart and were from different countries, he was always like my brother. I mean that. Eduardo was like family to me, the kind you get lucky enough to choose.

I had always admired Eduardo’s artwork and storytelling. My admiration began in the late 1970s when I saw his work and had to find more that he had done and was going to do. Eduardo’s talent was rare in the fact that he had all the traditional story telling power of the legendary masters that had come before, like Alex Raymond, Joe Kubert, Hal Foster and Wally Wood, yet his art always continued to grow, adapt and progress. He took the teachings of the past into the future."-Beau Smith

Saturday, January 21, 2012

Martian Manhunter: American Secrets #3 (November, 1992)


Dr. McNider proceeded to tell Detective Jones that there were no Lizard-Men, and that his group were victims "of the strangest mass hallucinations of our very strange times." McNider and Director Hoover agreed, "that we 'heroes' had somehow sprung from and embodied a spirit of national terror... and summoned up a dark side, in the bodies of our foes, that enabled us to exorcise a nation's terror through bizarre and repetitive combat... And the Director's wisdom was borne out by what happened when we chose to continue after the war. Hysteria. Suddenly Americans were seeing flying saucers. Fearing the breakdown of this magnificent society. Imagining a 'mafia.' Director Hoover is very explicit about that: There is no 'mafia.' Just as there are no 'communist conspiracies' in our government. That's the fear that our enemies want us to suffer." Detective Jones was incredulous. "I just met an agent of the F.B.I. He turned into a lizard... What enemies?" McNider responded, "The Communists."

"But you just said..." noted an increasingly irritated Jones. "That's the point! 'Red Scare' hysteria is a Communist ploy! And demagogues like Senator McCarthy were communist dupes!" Jones sat silently for a moment, staring daggers at the former Dr. Mid-Nite before scowling and leaping from his chair. "This is insane! You come here promising explanations and you talk in circles! Our fears are false, created by the people we fear so we won't fear what we should fear-- which is them? This is hog-wash! You just don't want us to trust what we see!"


"No detective! I just want you to serve the right side. Your government needs you. It needs all the Martians it can get." McNider's enhanced vision could see through J'Onzz's human form, as he claimed the JSA's "retirement" in protest of congressional red-baiting was a cover for their enlistment in the F.B.I., a role they wanted Jones to share. "That was a calculated little blow against the Red Scare. In truth, we've all been serving our country in quiet, invisible ways. The way every good American should. Beating our super-powers into tract homes, as it were. Why, heck, if the government couldn't find a use for powers like ours, they'd probably have to kill us! Ha ha... The F.B.I. is on its way, Jones. If you don't help them, they'll do what they have to do. Do you understand? Well then... ZOPRBETIE!" Jones seized McNider at that, demanding the meaning of his parting word. A little joke phrase old pal Melvin Keene used to toss around, someone that now had to be protected from trouble at times because of "that silly magazine of his."

McNider left, and Detective Jones considered his words. "Lies. But lies so big and ugly that he had to know I'd spot them. 'No mafia.' The kind of lies only a government could try to pull off... I thought I could trick them, negotiate something with them. But their negotiations could make prisoners of us-- slaves of us!" Perkins Preston believed McNider, to which Jones angrily protested, "You believed your A&R man. You believed in Leavitzville. Both nearly got you killed!"


The F.B.I., Whitey Bright in tow, came calling. Perkins Preston let them in over Jones' continued objection. "They won't hurt us, Patty Marie! They're the government." Patty Marie hugged Jones around the waist. Inspector Anole quickly led Preston into the outside hall, promising, "we'll discuss what you can do for your F.B.I." With the entertainer out of sight, the feds circled the resistant pair remaining. The returning Inspector Anole drew his flame pistol, but Jones snatched up Patty Marie and headed for the window. Whitey "Skeeter" Bright lunged for the girl's feet. "I've got plans for this little girl!" They likely did not include his losing his grip and being tossed through the window to his death. The fugitives followed after to make their escape. Inspector Anole declared, "No more subtle gestures."

Edwards Air Force Base scrambled an assault against the flying Martian. J'Onzz took evasive maneuvers, riding alongside a fighter as a means of cover. Another pilot was ordered to fire on his fellow, in order to "hit the target at any cost." The explosion that followed set Patty Marie afire while separating her from J'Onn J'Onzz. "Help me! Catch me!" she cried. "Fire. Even this far from her, it burns me. Closer it could kill me." Closer he came, cradling the child in his arms as his powers failed him. The pair landed on the desert floor with a heavy thud, lying all too still until the sun rose. J'Onn J'Onzz reverted to his human guise. Patty Marie could no longer do anything at all.


"I have been here before. Somewhere before I've seen children killed and been left alone on a dead world. Seen children devoured on a funeral pyre and learned to fear the flames. Again I'm a speck in the desert. Blood on the snow. With the fiery eye of the world looking down on me. Is there anywhere to run? With all their eyes trained on me? Their eyes see everything. And ours? They see lizards. Is this your 'prize-to-be,' Patty? You might have been better off with the lizards. I'm sorry, Hon. Maybe this is just what comes for the ones like us. The ones who can see... Do we see what the rest don't? Or are the others just happier with their mouths shut?"

Checking the corpse of a downed pilot, John Jones found documents regarding himself and several JSAers. Further, he discovered an extra-terrestrial fungus wrapped along the pilot's nervous system. "Why? So he won't see? Or so he'll catch fire if he tries to talk?" Using the pilot's knife, Jones performed an autopsy on Patty Marie, and found her body to be fungus free. Going over the new and old information, J'Onzz realized where all the clues were pointing. Prize To Be. Beto EZ Rip. Zoprbetie. All letters found in "PTO. Iberez" in Cuba.


"A long drift down the Colorado River, then flight through the hills of Mexico and a stint as a Cuban sailor across the Gulf. Where I find the strength to keep going I don't know, unless it's the rum and the conga." Making his way to Havana, Jones learned about the American gangsters' stranglehold on Cuba. "I ask questions. Not too direct to bring the lizard-dogs sniffing, but direct enough to get quick answers... There are rebels in the hills, between here and Puerto Iberez... Mr. Gioconda's men are running weapons for the government troops. 'Strange weapons,' I'm told."

Jones met a poet who's book of verse was identical to the one he heard at the start of this all in New York. "The truth is written by many people in many places... Poetry be easy. But it's as near as we can get." The fungus held the poet's tongue, so he spoke cryptically at first of Latin America and "people who crossed a vast gulf, came like gods to colonize, to plant... to shape... Cuba is an island, isolated and alone. So we reach to cross our ninety miles of aloneness. Agriculture and horticulture link Cuba to the world. In her dark interior valleys the horticulture is rich." Jones noted, "You're all islands on this planet." Less one, as the poet reckoned, "And now, I'm afraid I've talked to much. It's time for me to burn for that ancient communion with the night!" His eyes bled, his face bubbled, and then he combusted. Jones fled the scene invisibly.


"I am with you in Cuba, and on the roads of America and the streets of New York. I am with you, and Melvin Keene, and all of you who see the truth but cannot speak it because of that terrible horticulture of your conquerors, that fungus in your brain. I am with every one of you who has been burned alive, and every one who risked that burning by sending coded messages of the truth. The truth of the shape-shifting conquerors who came to Earth during the terror of war, who used that terror to infiltrate governments and communications cartels, to spring the sleep of sameness over this boiling, fertile world. The truth bent into strange new shapes by profiteers and power-handlers, willing to lie down with lizards whether they could see them or not. I am with you, the defenders and the victims of the truth. I am with the murdered, and the frightened and the fooled."

J'Onn J'Onzz was with Perkins Preston, who happened to be playing at the Club Mona Lisa for Mr. Giaconda, who alerted the Master Gardener. Most notably, he was with Fidel Castro and Che Guevara, who he spurred into a raid on Puerto Iberez against the invading aliens. Perkins Preston was in turn with J'Onn J'Onzz, after learning the aliens had been using his songs to distribute subliminal messages, but he still had reservations. "These folks... they're not communists, are they, Detective Jones?"

"Communists. And what are they? Beings who live through the group-- and not themselves? Is this baseball playing warrior, this self-assigned savior a communist? There are no communists on this world. There were on mine. They're all dead now."


Perkins Preston confronted a lizard horticulturist in his garden of domination with what he had learned. "If you know this much, you must be one of the chosen. And that means I don't dare kill you. What do I do with you? What would the Master Gardener want?" The concern was taken out of the lizard's hands by the Manhunter's own, in the form of a fist. The Martian then assumed the horticulturist's likeness, and led Preston past troops with saurian-dogs. "But I am something they can't see inside. Why? Why have they failed to catch me... even now? Even here?"

The pair walked into the cavernous den of those engaged in "the cultivation of human culture." Strange organic television monitors displayed various aspects of media currently in circulation, their hidden messages made clearer as they overlapped. The concealed Martian tried to use Perkins Preston to access the Master Gardener when his vizier appeared. "The Master Gardener knows of this human, as he knows of everything. You will follow me, horticulturist... along the canal." This river teemed with the organisms that spawn the fungus. "It calls to me, strangely. Like these dark, cool chambers of sentient fungus call to me. Like an echo of my lost life."


The pair were presented to the Master Gardener in his throne room. "The human... He should show me his gratitude... that I crossed the starry gulf to bring his competitive, conflict-ridden world together... in perfect peace, serenity, equality, and order. I've given you Leavitzville! I've given you Skeeter! I've shown you how to keep your children! All I ask in return is that you give me a place to end my lonely wanderings through the stars... a place to call home."

The still incognito J'Onzz responded, "...we undermine their faith in the truth! Our quiz shows reduce truth to bits of entertaining information! We teach them to memorize rather than think!" The Master Gardener responded, "... you know how easy it is to train the masses. The artists are harder. And the heroes. They had to be manipulated. Deals had to be made, with subversives like Keene... But heroes can be tamed! ...And you can serve better than any!" The horticulturist asked, confusedly, "Me?"

Perkins had previously proven himself able to see even an invisible Martian Manhunter, and this held true when he become conscious of the fact that the Master Gardener was not what he appeared to be. Before the duo's eyes, it changed into a natural form Martian! "Haven't you wondered why my people have been reluctant to kill you? I was the Master Gardener of Mars!" He explained how he came to power among the Lizard Men, then offered J'Onzz the chance to join him in resurrecting Mars on Earth. "Join me, brother! I don't know how you came across space and time to find yourself here-- but it can't be accident! Destiny brought you! Destiny placed you among Earthlings, so that you could understand their souls better than I! Help me save our new children! From themselves! Help me give birth-- to a Mars regained!"



"I know your pain, brother. But I won't pervert a world to ease it."
"You believe what they believe! Forget what Earth taught you! Remember MARS!"
"Mars is dead."

Attacking the Gardener both with ideology and fists, it wasn't long before J'Onzz attracted lizard guardsmen. Firing their flame projectors, the lizards scored a direct hit against their ruler. "But master...the fire doesn't hurt us!" The Master Gardener chuckled as he fell to an immolation-induced apparent death; "Do you hear that...brother? The fire...doesn't hurt...'us.'" J'Onzz swept the lizard guard off its feet, then ordered the Lizard forces to bomb the valley using the Gardener's communications equipment. He next succumbed to another blast of flame.

"I hear through the flames the wailing of my family. Then not that, but a deeper sound. The thunder of bombs. I am lifted and carried away. By the Fire-God, I think, to his Parlor of Red Death. But it's the canal I feel. So cool. So dark. It calls me strangely." J'Onzz was seemingly carried into the safety of the canal by Perkins Preston.


Back in the States, John Jones read a newspaper announcing Preston's death in a plane crash over Cuba. At his side was Charles McNider, who noted, "I suppose we won't be able to discuss the truth behind recent events for a long time. So long as our nervous systems are bearing our little... 'guests'..." Jones promised to finish apprehending the loose bands of directionless Lizard Men, affirming, "...eventually, this world may pour forth its 'great individuals' again." The former Dr. Mid-Nite asked if John was tempted by the Gardener's offer. "I might have been, McNider. Until that moment in the desert. When I was truly alone. And I could finally see the truth. By the time I met him, McNider, he and I were strangers to each other.
You see, he was a Martian. I'm a beatnik."

Book three of three was by writer Gerard Jones, artist Eduardo Barreto, colorist Steve Oliff, letter Pat Brosseau, and editor Brian Augustyn.

Back to American Secrets #2 Forward to Martian Manhunter: American Secrets Review

Tuesday, January 17, 2012

Martian Manhunter: American Secrets #2 (October, 1992)


Upon arrival, the runaways took in the sight of the suburban "heaven." Preston informed John, "The comic book man told me all about Leavitzville. This is where he wants to come--after the reckoning... He used to come out here to visit with his old boss-- the 'Nuts' man!" Intruding on this revelation was the Anderson family, a nuclear bunch complete with both parents, a child of each gender, and a loyal pet dog. "Can we give you folks a hand?" The teenage daughter was already swooning over Perkins Preston, and Mom recognized Patty Marie. "Whatever brings you here so late at night?"

Jones bought himself a few minutes to come up with an excuse for his group's late night arrival into the Anderson home, involving a well-known mobster. "These extortion gangs threaten popular personalities to bleed the producers. I was about to move Perkins and Patty to a safe-house in the Rockies when someone tried to hit them...You heard of a man called Mr. Gioconda?"

"He's one of those Las Vegas gangsters, isn't he?" Jones was pleased to glean that bit of information, then asked about their suburban habitat, while Mrs. Anderson blathered the equivalent of product endorsements in the background (predating "The Truman Show.") Mr. Anderson affirmed, "People of all types, all backgrounds, and all creeds are welcome in Leavitzville. As long as they fit in."


Meanwhile, Sissy shared her secret stash of "Pink Passion" lipstick with Patty Marie. Sissy whispered, "Is your mom strict about things, too?" Patty replied, "She tried to give me to the lizards. Usually she only hurts me when she's drunk, or when one of my uncles is over and I interrupt them. But this time all I did was say the wrong thing on television. A man called me on the telephone and said I should say the words 'Prize-To-Be' on the program. And I said them...and she whipped me with the hose and said she was going to give me to the-- to the-- NO! NO! NO!"

Jones arrived to console Patty Marie. "Your mother's made milk shakes, Sissy. Wipe the Pink Passion off your mouth and join her." In the next room, Buddy showed off his collection of movie monster magazines. A hungry Preston was more interested in the kid's candy. "Have all you want. It tastes crummy. That weird Mr. Keene gives it out to all the kids. It's made from sugar-beets...Bleccchhh!" Perkins read the wrapper, "Beto," then mentioned black friends back home in Mississippi who share-cropped the sugar-beets. "Colored people? You've seen colored people? What are they like?"


Jones slept on the couch. "That night I dream strange dreams. Dreams of my other self. Misty dreams of Mars, and great airships over Earthly cities. Of little girls and their prizes, and boys and their candy. Dreams of endless grids. Straight rows of lights, or houses, of humanity, stretching endlessly away." The next morning, Jones perused the morning newspaper, noting the suicide death of singer Eddie Lowe. "Prize-To-Be... The tumblers roll through my brain but can't click into place. Eddie Lowe fights with Phil Jerry about jukebox orders from Mr. Gioconda. From Cuba. Las Vegas. The Big Question. And a parody..."

Jones decided to investigate further, by invisibly trekking to the home of the former employer of the proselytizing lizard-obsessed artist, Mr. Keene. Jazz music blared from his home, while Jones noted a sign above his door reading "POETRIE B E-Z --KOMMEDIE B HARD".


A pudgy, goateed, bespectacled man answered the door, and was surprised to be questioned by a Denver police officer. On his floor was an unpublished art board from "Nuts" depicting child personality "Skeeter" as a murderous alien invader. "There was a murder on 'The Big Question.' 'Nuts' magazine satirized that...Your parody used the category 'horticulture' the day of the murder." Keene, an obvious analog for Bill Gaines, joked around Jones' questions before settling into a confessional funk. "Once I was serious. About science-fiction stories, crime stories. They took me to a senate committee for such serious. They dragged me through the mud. They cut off my head. Their pink-tinted head-shrinkers called me a capitalist pimp... and their flag-flying preachers called me a Red. They wanted me quiet. And they got it."
"Who? Who wanted you quiet, Keene?"
"My neighbors, maybe..."

Suddenly, a dragon-hound burst through the door, attacking the Manhunter. Mr. Anderson pulled up in his station wagon shortly after, walking up to Keene's door with briefcase in hand. Just as J'Onzz snapped the beast's neck, Anderson whipped out a hi-tech handgun, firing streams of flame at the Martian. Perkins and Patty thankfully arrived in their pink Cadillac, saving Jones by running Anderson down. "Oh my Lord! I killed him!" Keene consoled, "It's okay, kid. He wasn't human anyway... Insurance salesman." Keene fetched some fresh clothes for the singed John Jones, and a batch of All-Star Comics for Patty Marie. The girl protested, "But I don't read comic books! They're not educational." Keene retorted, "That's what you think."


A panicked Perkins Preston shouted, "Detective Jones? Sir? They're coming, sir. Station Wagons!" Loading up the Caddie, Jones reverted to Manhunter form, and flew away with the car. Keene looked on. "I didn't think there were any of your kind left."

Jones and company made the long trip across country to Nevada. On a night drive, Preston asked, "Are they after us, sir?"
"Yes."
"Then what do we do?"
"We learn who they are. And we go after them."
"Sir?"
"Mm."
"What are you, sir."
"Don't ask me that. Just drive."

In a Vegas hotel room, child actor Whitey Bright, nationally famous star of the hit series "It Must Be Skeeter," talked up a couple of working girls while smoking and boozing. Watching an episode of his show, the boy noted "We shot this baby in three days, dolls. No thanks to (co-star) Hubert. What a bender he was on!" The broadcast was interrupted by a special bulletin. "The F.B.I. requests all citizens be on the lookout for the murderer of a Leavitzville insurance agent. He has been identified as Denver Detective John Jones, and he appears to be holding as hostages Hillbilly singer Perkins Preston and child actress Patty Marie."


Arriving at a casino lobby, the Martian arranged a meeting with Mr. Gioconda by posing as Preston's manager, an elderly southern fried colonel. "The Colonel" claimed to want Perkins to perform for the mobster's patrons, but Preston quietly protested, "With all these drunken old people here, sir? I'll never sing in a place like this."
"Without cooperation, young man, you may not live to wrestle with that dilemma!"

The Colonel was more concerned with meeting the management than booking Perkins, so he had his charges shuffled off to separate rooms. He claimed the "abduction" of his talent was part of a publicity stunt he'd engineered, until things got out of hand with John Jones. He also slipped mentions of Cuba and the jukebox business, which grabbed Mr. G's attention firmly.

In her room, Patty Marie was visited by Whitey "Skeeter" Bright, who let himself in with his own key. Still smoking, Whitey pressed himself ever closer to the crying girl. "They call Skeeter a 'message show.' They don't know the half of it. I sell big messages on that show, baby. Stick with me, and maybe I'll let you in on a few. Or maybe you got a few secret messages of your own, huh, Sad-Eyes? What makes another child-star shed such big, juicy tears?" Whitey's hand rested on Patty Marie's prepubescent thigh, as he kept leaning in closer. "Who'd ever want to hurt a sweet little thing like you?"



"My mother! And my uncles! All the uncles she brings home! She lets them hurt me! She always let them hurt me!" Whitey's hand crept ever higher, under the child's skirt, another creep with a perverse agenda. "Tell Uncle Whitey what the bad men did to you... Come on. We've all got secrets. The world runs on secrets. Tell me yours and I'll tell you mine. Come on honey... tell me everything those terrible uncles did to you."

In his own room, Perkins Preston read, with occasional difficulty, some of Keene's comics. In an adventure of the Justice Society of America, Perkins was surprised to find the team battling "Lizard Men."

Exiting his meeting, "the Colonel" was confronted by Inspector Anole of the F.B.I in the hotel hallway. At first he seemed to be enlisting the Colonel's help investigating the "subversive" Gioconda, until his features began to take on a decidedly reptilian appearance. "... nobody's what they seem to be these days. Before the war, you knew the lefties. You knew the thugs. Then it all changed. Gangsters pose as businessmen. Commies work in the state department. Homosexuals pass for school teachers. And that client of yours. Perkins Preston. He has a white man's face but a Negro's soul. Just to seduce our American girls into popping open their little coin-purses. You just can't tell about anybody anymore." Anole knew the Colonel was green in his own heart, and wanted to enlist his services to keep up the "land of the free." That is, "Free for those who are advanced enough to appreciate it."


At that moment, Patty Marie burst out of her room into the hall, crying for Officer Jones to "Make him stop!" Whitey Bright strolled out after, affecting innocence and claiming he was only doing his duty as a "Junior G-Man," plying the poor girl for information. Inspector Anole congratulated the fresh-faced youth as they strolled off together, leaving Jones alone with his shaken charge. "He... he changed, Officer Jones!"
"Yeah. Who hasn't?"

Back in Perkins' room, Patty and Jones learned about the four color Lizard-Men with crops that controlled racketeers' minds. "This is what we need, Sir! Heroes-- like Flash and Green Lantern and Doctor--" John Jones cut him off with, "It'd be nice, if they were real." Perkins assured Jones they were, pointing out the indicia of the comics informing, "Published by arrangement with the Justice Society of America. Melvin Keene, licensing representative." With another item tying Keene to the conspiracy, Jones begins looking for other common bonds. The "Beto E-Z Rip" candy wrapper, "Prize-To-Be," and other clues all contained the same combination of letters, but what did they spell? Before Jones could come to an answer, yet another visitor darkened the refugees' door. "Forgive me, Detective. An inclination to cheap suspense comes naturally to my sort after a while. I'm Charles McNider. Physician, retired. But they used to call me Dr. Midnight!"

Book two of three was by writer Gerard Jones, artist Eduardo Barreto, colorist Steve Oliff, letter Pat Brosseau, and editor Brian Augustyn.

Back to American Secrets #1 Forward to American Secrets #3

Saturday, January 14, 2012

Martian Manhunter: American Secrets #1 (September, 1992)


"He reached for me as the bullet broke his breastbone. Who else could he reach for? He's a stranger. I'm a stranger. Not just strangers to each other, but even bigger strangers to the cold stone eyes of the city. He's a beatnik. I'm a Martian." The scene was a street corner on a cold winter's night in New York, 1959. Denver Police Detective John Jones was in town for a forensics convention. The bleeding beatnik told Jones "It's the dogs. The dogs who...see inside," before dying in the incognito alien's arms.

Police soon arrived, as a witness informed Jones that the beatnik had been chased out of a nearby cafe. "Procedure would be to let the local cops check the story. But I feel something in this. Something that no procedure can cover." After asking a few questions, Jones decided to sit and observe the goings on at this bohemian establishment. Open-mic poets rambled apparent nonsense, while he noted an older gentleman at a table jotting lines on paper. A folk singer preached resistance as Jones departed, wondering about seemingly casual mentions of a supposedly omnipresent game show called "The Big Question."


Returning to his hotel room, Jones deflected a bellhop's attempts to solicit "companionship" for him, preferring a glass of milk and the boob tube. "This is what the cold brings. Companions on order... Contests so they can cheer for the meaningless victories of strangers. Manufactured families. Staged communication. It's a cold world for a stranger. I'll look for my own warmth. My way. The Martian way. I remember little of my world, of my past life. But in moments of peace I remember a warmth. I remember a silent companionship. But peace is short here. And suddenly I can't even remember the warmth." The cold and warmth are a concern for Jones' questing mind throughout the story, referring less to the snow falling outside than that of the heart. He watched the television; visited bars; glanced at pornography; trying to understand the nature of these temporary respites from loneliness men cleave to.

Exploring the 50's game show scandals two years before the much-lauded film "Quiz Show," Jones continued his investigation invisibly at the filming of "The Big Question." The show was rigged, but one obstinate contestant refused to request the question category, "horticulture" that had been fed to her. Before a live studio audience in a heated booth, her head exploded. As the mess was quickly cleaned up and attributed to technical difficulties, an invisible Manhunter spied a woman threatening her pig-tailed daughter. "She said the wrong thing, Patty Marie. You won't say the wrong thing, will you, darling?" The contestant's identical duplicate then entered stage left, pushed the corpse aside, and picked up where the original left off. Into her session, however, the duplicate spotted the incognito John Jones through unknown senses. "Him! He isn't one of them! He sees!" Racing from the scene, John Jones noted to himself, "And she sees... what no human can see." He also noted the reappearance of the older gentleman from the beat club in a station hallway, and followed that lead out.


The gentleman led Jones to a diner, where he met and turned out fading pop singer Eddie Lowe. "These kids don't know music. You give them a Negro beat and they think it's all they need. Now you know I have nothing against the Negroes, Phil. Our people, we have a spiritual kinship with the Negro. We're all exiled people, Phil." The gentleman replied, "You're exiled...Exiled from the Hit Parade, you are." As the singer stormed out, Detective Jones materialized to step up to the gentleman. "Didn't mean to eavesdrop...but you're in the music business, aren't you? I need to ask some questions." The older man, Phil Jerry, was less than helpful. However, the arrival of hot new music sensation Perkins Preston, an Elvis analogue, was illuminating. In the midst of listening to the country boy ramble about writing to his mama regarding the sinful big city, the mention of "lizards" caught Jones' attention. Pulling out a religious comic strip pamphlet given to him by a "holy man" in the New York streets, Preston stated, "He knows the end in store for us all."


On finding the aged zealot, the detective was informed, "Satan is a lizard! I can see him, that's why he torments me. That's why he had me thrown out of Nuts." This "Nuts" was revealed to be the Mad Magazine-type humor publication of one Melvin Keene, complete with gap-toothed mascot. "I put the lizards into all my pictures," said the former cartoonist, "to warn people. But Satan made them fire me." Perusing a copy of "Nuts" at a newsstand, Jones noted a parody called, "The Big Kvetch-tion" where a contestant fervently asked for the horticulture category. Jones also noted a conspicuous zeppelin above the caricature's head reading, "ZOPRBETIE".

On his way back to the hotel, Jones stopped at a corner store for some Oreos, but they only had Hydrox. "Tell me. Why are there two of everything here? Or more. Hydrox and Oreo. Ford, General Motors, and Chrysler."

"Competition, buddy. The American way."

At the forensics convention, Jones talked a bit about his odd case, to general derision as a misguided yokel from Denver. "I've been following a trail... but not an evidence trail. A trail of references and hunches. Game-shows, lizard-headed devils, comic books..." That line got the attention of a lean, mustachioed, plainclothes officer named Jim Swift, who insisted on knowing where Jones was staying while in town.


That night, the Martian sat in his hotel room, watching a detective show on television, while in his natural form. "This is why I became a cop. Stranded on this world, I wanted to be among its heroes. These were the heroes the culture showed me. There were other heroes before, I've heard. During Earth's last Great War. But like all war heroes, they've faded. Except the ones who chose to become something other than heroes. There is so much they don't tell. Is that why I became a cop? To learn what they don't tell?"

A knock came on the door from Swift, offering information on Jones' case. From behind the door, J'Onzz repeatedly refused Swift for the night, at which point the officer announced, "I'm coming in, Jones." A lizard-like version of Swift joined two reptilian uniformed officers in bursting through the door. The policemen released twin saurian hounds from their leashes to seize the lanky Martian's arms.

"What are you?"
"No, John. I'm the local cop. I ask the questions. So what the hell are--What?"
The Martian transformed from his natural form to the familiar Manhunter visage, tossing the hounds into their masters. "I am a police officer." In the struggle that followed, a smashed television set the hotel room ablaze, revealing J'Onzz's weakness. The Manhunter flew through the roof to make his escape, then did some digging to find Phil Jerry at Royal Records. That same night, J'Onzz overheard mafia thugs commanding Jerry in his office, "Need another Preston Platter... for the jukes... Word's come down... All the way from Cuba... We'll tell Mr. Gioconda you're working on it."


When the thugs left, Detective Jones entered to grill Jerry. Apparently, he did too good a job, as Jerry spontaneously combusted once he began leaking information. As Jones backed away from the flaming corpse, he bumped into an excited Perkins Preston. "The lizards! They--Oh Lord! They did it to Mr. Jerry!" Detective Jones hauled the young rocker out of the building by his arm, asking questions the whole way. Suspecting a police dragnet in the works, the pair needed a discreet way out of town. What they got was Preston's pink Cadillac, complete with "The Big Question's" Patty Marie hiding in the back seat. While narrowly evading a pursuing car and lizard-police gunfire, Patty confessed, "Mother was going to give me to the lizards! I ran out of the booth! I had to hide!"

Hours later, Patty Marie had cried herself to sleep, and Jones contemplated the group's future course. "Strange. The first thought that crosses my mind is the trouble I can get into by taking a runaway minor across state lines. Maybe I've learned my police codes too well." Preston noted a freeway exit to Leavitzville, and took it. "My mama talks about the suburbs all the time! Like a small town--Only new and improved! Nothing'll hurt us there."

Book one of three was by writer Gerard Jones, artist Eduardo Barreto, colorist Steve Oliff, letter Pat Brosseau, and editor Brian Augustyn.