Free Comic Book Day 2010: Green Hornet & Archie's Summer Splash

Green Hornet: Free Comic Book Day Edition #1, Dynamite Entertainment
contributors: Kevin Smith, Phil Hester, Jonathan Lau, Ivan Nunes, Simon Bowland, Jai Nitz, Colton Worley, Romulo Fajardo, Jr., Matt Wagner, Aaron Campbell, Francesco Francavilla, Brett Matthews, Ariel Padilla, Giovanna Guimaraes



Dynamite Entertainment has developed its niche in the comic book industry by developing classic, beloved properties like the Lone Ranger, Zorro, and Red Sonja for a modern audience, and based on the advertisements in this preview issue of their Green Hornet franchise, the Phantom and Vampirella are soon to come. In just a few months' time, though, the Green Hornet has become a powerhouse for Dynamite, its main title producing four spin-offs, with names like Kevin Smith, Matt Wagner, Phil Hester, and Brett Matthews at the helm. Their FCBD offering is a glimpse into all these titles, and with so much material to spotlight, I'm afraid the result is all splash and no substance. Kevin Smith's wise-cracking Green Hornet sets the tone, but if anything stands out throughout this issue, it's a city besieged by crime and its need for a hero. The supplemental titles under the Green Hornet umbrella, specifically the ones featuring Kato, seem to explore the legacy of said needed hero, but again little content offers the stories' context. Am I interested in learning more by picking up an issue? Oh, absolutely. May this also be a fleeting thought that passes as soon as I move on to the next free comic of the day? Quite possibly, with so many series to choose from and little to help discern them. Sensory overload may have harshed this Hornet's sting.

Archie's Summer Splash #1, Archie Comics
by Dan Parent, Rich Koslowski, Jack Morelli, Glenn Whitmore



Archie has attracted a lot of press lately, thanks in large part to his forthcoming wedding and the ironic timing of a new gay character, but this free issue is rather bland in comparison, ever struggling to make this classic cast relevant to today's youth culture. When Pembrooke Beach is closed for the summer due to an oil spill (a device undoubtedly devised before current events, though strangely timely), the snobby Cheryl is forced to slum with our friends in Riverdale. Then, as Archie and his band practice for the Zowie-palooza concert, Cheryl gets jealous ans wants a piece of that action, too, so she forms her own girl band, Blossom. Fortunately, Archie and his pals turn the tables on Cheryl by tricking her into a change in venue, leaving Blossom to perform to an empty beachfront. It's a straightforward tale of adolescent jealousy, one part Mean Girls, one part The Heights -- a dated reference, but seemingly appropriate for an Archie story. Frankly, the only reason we care about the Riverdale gang is because they've been with us for so long. Equally interesting, though, is the presumption that they might not be missed if they were gone. Perhaps growing up and getting married is the best thing for Archie . . . Maybe he'll finally give up comics.

So, today's theme was classic characters and their sticking power. Apparently, the lesson is, presentation is a powerful tool in the battle for contemporary significance -- finding the balance between too much and too little substance.

Weekly Haul: The Lone Ranger #20 & Savage Dragon #157

For decades, three little words have haunted avid comic book readers everywhere: "To be continued." Nothing inspires more fist-pounding frustration than reading twenty-two to thirty pages of nail-biting action and drama only to discover you'll have to wait another four weeks to see how it all ends. Thanks to my experience as a longtime reader, I've oftentimes accurately predicted the next issue's events, essentially reconciling the story before I've even read its conclusion. This helps me sleep at night.

Alas, every now and then, issues like The Lone Ranger #20 and Savage Dragon#157 come along and totally disrupt this delicate balance.



The Lone Ranger and Savage Dragon are two of my most favorite titles and among the chosen few ongoing series I collect monthly, and when they come out the same week, it's a good week, indeed . . . but this week, I'm not so sure. See, at the end of The Lone Ranger #19, John confronted Linda about her hidden feelings, and Linda rebutted . . . by kissing Tonto. Now, I expected this issue to open with her using the P.D.A. as a means of exposing John's love via jealousy, but it turns out Linda and Tonto are really an item. So, this issue's first page definitely wins The Most Painful Page to Read Award, as John stammers, "Right. I knew that. I mean, I knew about him. That it's him you've been wanting to talk about. That you wanted . . . Right." Artist Sergio Cariello so captures the twisted face of a broken heart, I can't stand to look at it. Still, this issue also wins The Bros Before Hos Award, as the Lone Ranger and Tonto refuse to end their partnership, especially now, on the run from the feds and on the heels of their worst enemy. Writer Brett Matthews pulls no punches, to the heart or the head.



Now, longtime readers of A Comic A Day know how I feel about Erik Larsen and Savage Dragon, and just when I think I have that book figured out, Larsen takes his title character on another point of seemingly no return. In the thick of his "Dragon War" story arc, two Dragons from parallel dimensions are battling over the title, but the one we know and love already isn't himself, as his brain had been eaten by a monster (long story) and has regenerated sans memories of his current life. At last issue's end, with the mindset of alien despot, Dragon was eating the brain of his other-dimensional doppelganger (to prevent it from growing back like his did, of course), when his son showed up. Now, I anticipated a slugfest, with perhaps a climactic emotional plea to Dragon's suppressed psyche, but instead, father clobbers son, who then hides in the sewer (as I suppose a frightened boy would do). Meanwhile, one-time archnemesis Overlord has become an advocate for freak rights, infusing his once-villainous Vicious Circle with Dragon blood and mutating them into proverbial citizens on patrol. At this point, I don't know who to root for -- and either way a Dragon will win! Larsen is the only writer/artist I know capable of slaughtering his sacred cows so effortlessly.

Sometimes, comics can rip your heart out, or leaving you standing beside yourself. So, why keep reading 'em? Why endure thirty days of cliffhanging torture? Sure, they aren't always predictable -- but the feelings of wonder and excitement they inspire are reliable. They're absolutely consistent in their potential to be as inconsistent as possible, and isn't that the point of escapism? Those three little words are as fist-poundingly frustrating as they are promisingly reliable: "To be continued!"

The Lone Ranger, published by Dynamite Entertainment, written by Brett Matthews, illustrated by Sergio Cariello, colored by Marcelo Pinto of Impacto Studios, and lettered by Simon Bowland.

Savage Dragon, published by Image Comics, by Erik Larsen, lettered by Tom Orzechowski, and colored by Steve Oliff.

Zorro #1

Zorro #1, 2008, Dynamite Entertainment
writer/art director: Matt Wagner
artist: Francesco Francavilla
colorist: Adriano Lucas
letterer: Simon Bowland

Blogger's note: Entry for Saturday, March 8, 2008.

When I saw Neil Gaiman discuss Beowolf at last year's San Diego Comic Con, I remember his describing the film's sheer improbability. Though I don't recall his comments word for word, I vividly remember his pride and good humor when he explained that producers often joked, "Oh, yeah, my next film is Beowolf," as if the mere thought was enough to evoke mockery and disbelief. Indeed, while the task of translating the oldest known work of fiction was undoubtedly daunting, it surely (and obviously) wasn't impossible thanks to today's technological innovations in grandiose movie making. The project really just needed someone to utter that claim despite the doubt that followed, and Neil Gaiman was the man.

I'd imagine that comics also boast their own similar Beowolves, too. Just consider Zorro. Zorro actually predates the Golden Age of comics and can be co-credited (alongside the likes of Robin Hood, the Scarlet Pimpernel, and the Shadow) with establishing the masked crimefighter motif. His story has been interpreted by every form of media conceivable, from the printed page, to radio, to film, to various video games. (Zorro has even starred in a few niche stage productions, just like Superman and Spider-man.) In comics, Dell, Gold Key, Topps, and Marvel have all tried and unfortunately failed to present a timeless incarnation of old California's most beloved hero. Unlike the Supermen that have sprung from the page to master these multi-media facets, perhaps Zorro's legend is simply too big for the confinements of narrative sequential art.

Ah, thankfully, Dynamite Entertainment is willing to challenge that assertion and boldly reintroduce Zorro to a contemporary comic book audience! Interestingly, the key to this series' success isn't Zorro's iconic status, though his name alone will undoubtedly push a great deal of paper; rather, Dynamite's decision to earmark their loftier projects with big name "art directors" has proven itself an effective and successful marketing effort. For instance, Alex Ross is the art director for Dynamite's reincarnation of the Golden Age's forgotten, public domain stars of Project Superpowers, just as John Cassaday is the art director for The Lone Ranger (one of my favorite series of 2007). These artists are undeniable fan favorites, and consequently they ground these franchises' pasts with a fresh, continuity-free foundation in the present. Therefore, by giving Matt Wagner a sense of renewed ownership in Zorro's future, we fans of Wagner's share in that ownership and can move forward with him freely.

Further, if you're a Zorro novice like me, your only real exposure to the nearly 100-year-old character is the Antonio Banderas 1998 film The Mask of Zorro, which, while adventurous, is presumably a shallow representation of the hero at best. Fortunately, like Dynamite's Lone Ranger, Zorro #1 begins at, well, the beginning, telling the story of Diego de la Vega from two unique flashback perspectives: one from his faithful friend Bernardo's perspective when they were children, and the other much later from a corrupted, defeated soldier's view. In Bernardo's yarn, Diego learns the nature honor and dignity from his wealthy father, formerly of the king's guard, and he learns the essence of justice and spirituality from his mother, a Native American. The soldier's story allows the reader his only true glimpse at Zorro this entire issue, as the hero swiftly and ruthlessly thwarts the officials from intimidating an "uppity" sheep farmer. The two tales weave into an excellent first chapter, as a reader like me sees where Zorro's passion for justice begins, and how it reaches practical fruition. Of course, this revelation isn't over, which is half of the joy in watching it begin in the first place.

If Francesco Francavilla is really under the direction of Matt Wagner, both artists are in rare form in this issue, as neither buckle under the pressure previous incarnations of Zorro might've presented. Rather, they rise to the challenge, capturing an old west that boasts a seedy political underbelly and a rich spiritual vastness that both set the stage for the America we know well today. I knew I recognized Francavilla's art from somewhere, and a quick visit to his website reminded me of his work on Image's recent horror miniseries Sorrow, and while that title addresses dark spirituality through charcoal-like graytones, Francavilla's art thrives under Adriano Lucas' colors. The sequences featuring Diego and Bernardo are especially memorable, as the colors breathe a youthful exuberance that must've been prevalent in those open desert days. Essentially, all of this issue's visual elements come together and both contribute to the previous legends of Zorro and instantly make their own mark on the hero's longstanding tradition.

I only hope this incarnation lasts a little longer than Zorro's previous comic book adventures. While his brand is the last letter in the alphabet, Zorro was ironically one of the first to don a mask and fight crime. He deserves mainstream attention, and Dynamite is obviously willing and able to give it to him. Wagner and company have slashed their swords, and it's safe to say they've already left their mark!