Media Tie-In Stories - page 1

Adventure Classics: Graphic Classics vol. 12
see my review here

Babylon 5: The Price of Peace 1998 (SC TPB) 128 pages

Written by Mark Moretti, J. Michael Straczynski, Tim DeHaas. Pencils by Mike Netzer, Carlos Garzon, John Ridgway. Inks Rob Leigh, Garzon, Ridgway.
Colours: Robbie Busch. Letters: Tracy Hampton-Munsey. Editor: Laura Hitchcock.

Reprinting: Babylon 5 #1-4, 11 (1995) - with covers

Based on the the Warner Bros. TV series by J. Michael Straczynski.

Introduction by J. Michael Straczynski.

Rating: * * * * (out of 5)

Number of readings: 1

Published by DC Comics

This collects a four issue storyline from DC's short-lived Babylon 5 comic (spun off from the TV series), plus a later, unconnected story.

Babylon 5 was a TV series that took a fair shot at being Star Trek's heir apparent. Set on a space station (Babylon 5) in the far future, it was self-described novel for television, telling a staggeringly complex saga of conspiracies and alliances, of alien cultures and political machinations, of intergalactic war and peace, and big, edgy issues involving racism and fascism. When the series worked, it was one of the most impressive series ever made (SF or no). The series started out uneven, laying the ground work for the amazingly complex story to follow. It hit its stride with the intense, almost Apocalyptic 2nd and 3rd seasons (someone once suggested to me a good tag line for the series would be: "once you've seen Babylon 5, everything else is just television"). The story arcs were intended to run five years, but fears of early cancellation meant they kind of crammed things in the fourth season, to provide a reasonable conclusion in case of cancellation -- resulting in a rushed and choppy season. And when it did get renewed...they had kind of exhausted most of their ideas, and the 5th season is, at times, interminable in its pointlessness (and even then, ended with too many plot threads left dangling!)

I have mixed feelings about the TV series (though more good than bad). This comicbook series was a somewhat unusual attempt to do a comic that was actually "canonical" -- where the events actually are meant to complement the series (and vice versa). In other words, this is meant to read as if it really is a "lost" episode that could neatly fit into the series' framework.

The main, four part story here bridges the first and second seasons of the TV series, when the series' main character, Commander Jeffrey Sinclair, had been unceremoniously written out of the series by being made Ambassador to the planet Minbar. Here we actually see Sinclair receive his new assignment, and go to Minbar...only to be implicated in an assassination plot linked to a right wing, anti-alien conspiracy. It falls to his colleagues on Babylon 5 to scour the station for proof of his innocence. The story evokes much of the series, with its big cast, and its emphasis on dark conspiracies, and its backstory involving Humans and Minbari.

The result is pretty good. If you aren't familiar with the TV series, there will be spots that might be a tad confusing but, surprisingly, probably not that much. Most crucial things are explained, sooner or later, so that it might not be that hard to jump into.

TV series creator (and chief writer) J. Michael Straczynski writes the opening chapter -- giving the thing a stamp of officialdom in the process. How much he was involved in the overall plotting is unclear. The opening issue sets up the main story, but it is sufficiently isolated that the assassination-conspiracy plot might be entirely writer Mark Moretti's. Straczynksi's script is more introspective as Sinclair receives his assignment to Minbar, and learns just why the Minbari sued for peace in the earth-Minbar war ten years previous (stuff familiar to fans of the series). The character-focus of the opening chapter is a good idea, because the rest of the story is more plot driven, and the emphasis shifts back to Babylon 5. But the lingering effect of that opening chapter helps imbue the story overall with a sense of emotional depth, and makes Sinclair seem much more prominent overall.

Character-wise, Sinclair, Garibaldi, Delenn, and maybe Talia Winters, are probably used the best, even then there's not a lot of character emphasis, with other characters like Sheridan, Ivanova, and Dr. Franklin there, and participating, but not as fully realized (while alien ambassadors G'Kar, Kosh and Londo only appear in a couple of panels). The goofy humour the series used to counterpoint the intense drama is also mainly absent.

Still, this captures the essence of (some of) the series, and really feels as though you're reading a missing episode.

As a mystery-suspense plot, it's paced well, and keeps you turning pages, even if the questions are more intriguing than the solutions. At one point they do a mind scan of someone -- but all it really does is confirm what we already knew. And an eleventh hour "clue" (involving surveillance cameras) is something the characters should've checked right at the beginning! The plot is reminiscent of the movie "Star Trek VI: The Undiscovered Country" -- it even has a similar flaw in that thhe nominal hero is largely a passive participant in the events. Ironically, I regard "Star Trek VI" as the worst of the Star Trek movies, but I enjoyed this TPB. Perhaps the plot is more suited to Babylon 5 (with its emphasis on machinations and conspiracies) than it was to Star Trek (which should be about exploring strange new worlds). Or maybe they just did it better here.

Actually, the pilot movie to Babylon 5 also involved Sinclair being accused of an assassination!

The art, like a lot of media tie in comics, is uneven. But overall, it's pretty effective, thanks in no small part to the emphasis on shadows, imbuing the story with a palpable mood, aided by the brooding colours of Robbie Busch. Mike Netzer (inked by Rob Leigh) does most of the the story, and though some of his work is crude, there are flashes of such luminaries as Neal Adams in his work. Carlos Garzon pinch hits for one issue. The likenesses of the actors are occasionally captured, with Sinclair, Talia, and Delenn probably fairing best, with Garibaldi certainly identifiable, if a bit awkward looking.

Also included is the last issue of DC's original run by writer Tim DeHaas and artist John Ridgway and apes some of those quirky, "atypical" episodes the TV series would do (you know, episodes done as though a documentary or something). The story mimicks a propoganda piece for the sinister Psi-Corp, as a cheery host tells us the history of the Corps. DeHaas never quite makes the point obvious. If you didn't know Psi-Corp was a sinister organization, you wouldn't realize the whole issue is meant to be ironic. And even to long time fans, the story doesn't offer much. As a back up "filler", following a hundred page story, it's cute. As originally published as a stand alone issue, it seems a tad pointless.

Ultimately, this TPB does a nice job of achieving what it set out to do: feeling like an unaired episode. Not perhaps one of the best episodes, but not one of the worst, either. Sufficiently tied into the series' story arc that it seems part of the saga, but sufficiently stand alone that it can be read and enjoyed for itself. For fans, it's fun, and for those who haven't had a chance to catch the TV series, it might give you a taste of the real thing.

DC's original series only ran 11 issues, which I believe produced another TPB ("Shadows Past and Present") collecting #5-8 -- meaning, curiously, only #9-10 were never re-published. Subsequently, a Babylon 5 mini-series was published, "In Valen's Name", which was also collected in a TPB (though with limited distribution, I believe). And that's about if for Babylon 5 in comics...so far.

Cover price: $14.95 CDN./ $9.95 USA 

The Chronicles of Conan, vol. 4: The Song of Red Sonja and Other Stories 2003 (SC TPB) 160 pages

Written by Roy Thomas. Pencils by Barry Smith, John Buscema. Inks by various.
Colours: various: Letters: various.

Reprinting: Conan #23-26, and the Conan story from Savage Tales #2 - with covers (originally published by Marvel Comics circa 1970s)

Based on the the character created by Robert E. Howard.

Additional notes: extensive afterward by Roy Thomas

Rating: * * * 1/2 (out of 5)

Number of readings: 1

Published by Dark Horse Comics

Dark Horse Comics has acquired the rights to the classic fantasy character, Conan, and is publishing a new monthly comic. In addition, though, they're in the midst of releasing a series of trade paperbacks collecting the Marvel Comics series that ran throughout the 1970s and 1980s. That's significant because, although Conan first saw life in a series of pulp stories written by Robert E. Howard in the 1930s, and other writers added to the mythos in the 1960s and beyond, Marvel's comicbook was enormously influential, introducing the character and concepts to whole generations of readers.

The comic was comprised of a series of adaptations -- some faithful, some more loose -- of Conan stories and non-Conan stories by Howard (that were then re-written by Marvel to feature Conan) as well as some original tales, all penned, at least for the first hundred issues or so, by Roy Thomas. The Song of Red Sonja and Other Stories reprints Marvel's Conan #23-26, as well as the epic adaptation of the Conan novella "Red Nails" that was originally published in the black & white magazine Savage Tales.

It had been a while since I'd read a Conan comic, but these issues were a lot of fun. Robustly written by Thomas, who had a nice feel for his surly anti-hero, the stories are interesting and exciting. I tended to think of Conan comics as featuring single issue stories or, at least, single stories serialized over a few issues, after which Conan would move on to a completely unrelated adventure somewhere else (like Howard's original stories, in which continuity was not a priority). But though each of these four issues of Conan's self-titled comic are relatively self-contained, with each featuring its own plot and conflict, they are also part of a larger story arc that climaxes in issue #26.

Conan, the mercenary, is a soldier in the besieged city of Makkalet which is caught in a religious war with its neighbour. The fact that these issues combine to form a story arc gives the stories a greater weight and depth (although, since it began a few issues prior to those featured in this collection, there are a few confusing bits, like Conan feeling the queen of the city tried to surreptitiously have him killed an issue or two before). It means that you get the usual Conan-esque adventures and battles with monsters and fellow warriors, but also the satisfaction of building to an epic climax -- and a cleverly ironic resolution.

As well, a couple of these issues are particularly significant because they introduced the character of Red Sonja who would go on to star in a couple of versions of her own comic, some paperback novels, and even a motion picture (the misconception is that Howard created Red Sonja, but the truth is Roy Thomas created her, albeit derived from some ideas by Howard). Because the stories in this book are a mix of loose adaptations and original ideas, even if you are familiar with the original Howard stories, you don't have to feel like you're just seeing a rehash of stories you've already read.

Thomas, perhaps reflecting his literary inspiration, is maybe a little too reliant on dense text captions, that, at times, simply describe what is being depicted in the pictures. I don't object to text captions -- but I feel they should supplement the pictures, not reiterate them. But, nonetheless, it does add a sophisticated, literary flavour to the comic. As well, Thomas' story arc has its share of machinations and enigmatic figures plotting oblique strategies. Often imitators of Howard forget that he was as into depicting Machiavellian strategies as much as bone crushing battles.

Thomas maybe also brings a welcome softer, more sentimental flavour to the milieu, such as his subtle depiction of the relationship between the king and queen.

The art chores are split between Barry Smith (later Barry Windsor-Smith), the original artist on the Conan comics, and John Buscema who became most associated with the character in the 1970s. To hear some critics talk, Smith was an unsurpassed artistic genius and the comic never recovered from Buscema -- even though, apparently, sales greatly improved during Buscema's run. I knew Smith's art from years later, all intricate detail and style, and from his earliest work, which was simpler and less impressive. I've liked Smith's later work -- but I'm not his biggest fan. And this middle period work is actually kind of problematic. Yes, he lavishes incredible detail upon his panels, depicting every flagstone in the street, and seeming every leaf on a bush. Yes, he could employ a lot of little panels to break down a scene (like contemporaneous wunderkind, Jim Steranko). And yes, it's interesting work.

But I'd argue Buscema was the better artist. His backgrounds aren't anywhere near as detailed, true, but his understanding of anatomy is definitely surer, his eye for composing a scene, milking it for its mood and drama, his flare for action, is all stronger than Smith's. His people are more expressive, more human, more three dimensional, and his women certainly more beautiful. Though, admittedly, he was still getting a feel for his main character here, and Conan looks a little too bulky and neckless in some panels.

I was glad this book represented both artists, because it was nice to see Windsor-Smith's much ballyhooed later Conan work after all these years (I'd only seen his earliest Conan comics) -- and it certainly has aspects to it that are impressive. But I'm glad for a couple of Buscema issues, because, as noted, I think he was just that much better. Ironically, Roy Thomas (in his afterward) reveals that Buscema was, apparently, unhappy with Ernie Chua (a.k.a. Ernie Chan) as inker -- despite the fact that Chan would continue to ink Buscema's Conan for years, and become as much associated with the comic as Buscema. It's true that Chan could certainly impose his style a little over Buscema's pencils, but I think the combination worked well.

Rounding out this collection is Thomas and Smith's epic "Red Nails" adaptation (over 50 pages). I'll admit I had a few reservations going into this, simply because I regard "Red Nails" as one of Howard's best Conan stories in its original form -- but, as such, I already knew the plot, and with my mixed feeling towards Smith's art, I couldn't help thinking the original text story was more moody and atmospheric (it's hard for an artist to capture the images that a writer can evoke in your mind) and Thomas' script, though faithful, I think likewise loses some of the bite and bizarreness inherent in Howard's original. Thomas also relies even more on text captions that simply describe a scene, robbing some of the immediacy from the story that a comic should have. As such, I'm not sure how to react to this. It's certainly O.K., and if you've never read the original, it probably reads better. But that's why I have qualms about a comic like this relying too heavily on adaptations, and why I prefer original stories -- because I can read the originals if I so desire.

The story was originally published in black and white in the non-Comics Code Savage Tales (though Marvel has reprinted it itself a couple of times). Dark Horse has chosen to colour it, which has both pros and cons (con being, wouldn't it be nice to see it as originally intended? -- likewise Dark Horse has re-coloured the colour comics utilizing modern, multi-hue colours). The story was also considered a little too extreme, in sex and violence, for the regular comic. But assuming Dark Horse has reprinted it without edits, it doesn't seem like much by today's standards.

The book wraps up with an afterward by Roy Thomas, which provides some interesting behind-the-scenes info.

Ultimately, the "Red Nails" story is seen as the centrepiece of this collection, but for me, the strongest part is the siege of Makkalet storyline from the regular comic. Either way though, this is an entertaining foray into the world a barbarians, sorcerers, and lost, pre-historic kingdoms.

Cover price:

CSI: Thicker Than Blood 2003 (SC GN) 48 pgs.

Written by Jeff Mariotte. Illustrated by Gabriel Rodriguez, and Ashley Wood.
Colours: Fran Gamboa, Ashley Wood. Letters: Robbie Robbins. Edited by Kris Oprisko.

Based on the the TV series.

Interview with creator Anthony Zuiker.

Rating: * * * (out of 5)

Number of readings: 1

Published by IDW Publishing

Media tie-in comics often used to be disappointing -- too often seeming simplistic or watered down versions of their inspiration. Maybe it was because too many comics seemed to be written and drawn by creators who often didn't seem that familiar with the source material -- and didn't much care! Or maybe it was that I just had too high a standards, taking it too seriously (oh -- so-and-so would never say that! What a stupid comic!) Whereas I'm more easy going these days.

Whatever, I've enjoyed some media inspired comics lately.

CSI: Thicker Than Blood is based on the hit TV series, CSI: Crime Scene Investigation. It's one of a series of CSI based stories from publisher IDW -- including other one-shots, plus some mini-series (not to mention comics based on the TV spin-off CSI: Miami).

And for fans of the show, it does a decent enough job evoking the series -- for good and bad.

Scripter Jeff Mariotte tells a straight, investigative/detective story, as the CSI team investigate two separate cases (as the series' episodes often split their attention) -- one involving an attempted mob hit, the other, the disappearance of an Elvis impersonator. And it all seems pretty evocative. The characterization is minimal as the heroes' personalities take a back seat to the cases -- like in the series -- but Mariotte has enough feel for them that the dialogue and quips seem appropriate to the different characters (like the opening scene where an off-the-cuff remark by Nick leads to Gill launching into a pedagogical speech revealing his knowledge of obscure trivia). And the Elvis case also evokes the series' penchant for having cases embroil the characters in various fringe sub-cultures and professions (actually, CSI -- the series -- is kind of reactionary when you think of it, tending to portray any alternative group as weird and twisted; I mean, this is a series that could make people who play a Scrabble-like game seem like freaks!)

Actually another way the comic evokes the series is in the short shrift given the Sara character. I'll confess, I think actress Jorja Fox is kinda hot, and I used to watch the series, in part, for her...and I began to notice that her screen time seemed less and less (I half wondered if she was being punished for a contract dispute she had with the producers, but the actor who plays Nick was also involved, and his part doesn't seem diminished). Anyway, in this story, of the five CSI's, her part is the most negligible (mind you the coroner guy only appears in a few panels!)

Artist Gabriel Rodriguez does a decent enough job evoking the actors, and has a realist, understated style that suits the story. And even his original characters look realistic, so that you don't have a jarring contrast between the actor-based drawings and the made-up characters (he might well use models for some of them, too). In a bit of gratuitous titillation, the characters' investigation requires them talking to some strippers...and Rodriguez handles the, um, aesthetics of those scenes quite well, too (keeping it just this side of being "mature readers"). Though the overall colouring is a bit drab and grey -- not quite evoking the glaring sun of the Nevada dessert. When the characters speculate about a case, and we flashback to re-enactments, a different, stylized art style is employed by Ashley Wood -- it's an interesting trick, making it obvious we're seeing a speculative flashback, though the style makes it hard to entirely tell what's going on.

The down side to all this is that the comic is full of talking heads, discussing facts and figures. Mariotte and Rodriguez do a good job keeping the energy up, but it's still a bit dry. As mentioned, the series itself is often more plot driven than character-driven, but even it usually works in some sort of emotional/character element. As well, there aren't many twists and turns to the cases (the way the series would often have a case start out seeming about one thing, then turn out to be something else) and there are so few suspects introduced, that there aren't many surprises in the solutions. And there was also some questionable logic, particularly regarding the time frame. I don't think the title has any meaning, per se, and I'm still not sure why the story seems to open with the explosion of a pirate ship -- nothing more is said about it, so I'm guessing I misread the visuals.

This also features an interview with CSI TV creator, Anthony E. Zuiker, which is perhaps as amusing -- unintentionally -- as it is insightful. Zuiker, for instance, says that after having done CSI and CSI: Miami, he thinks a third series could only be justified if set in another country, that something like -- to use his example -- a CSI: New York would be pointless. But, of course, just a year or so after this interview, they came out with CSI: New York! Zuiker also goes on to talk about the realism and accuracy of the series...when I've read articles interviewing real forensics experts who complain the series sets up false expectations of what they can do. And even a lay person can pick up on the implausibility of much of it (just like the series MacGyver used real scientific theories...but in unrealistic ways).

Anyway, enough of my snide tirade...

Thicker Than Blood isn't a classic example of CSI, but it does evoke the series, in story and visuals, and should be fun for fans during the dry months of summer reruns.

Original cover price: $__ CDN./ $6.99 US

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