Sep 29, 2010

Comics Cube! Reviews: Fractured Fables

For my birthday, one of the things Peachy got me was the anthology Fractured Fables, published by Jim Valentino's Silverline Books/Image Comics.

Cover by Mike Allred
The concept of the anthology is simple. Much like Shrek or Fables, this takes familiar fairy tales and folk stories and places twists on them - resulting in 33 stories overall. Since the lengths of these stories average around five pages, they're pretty much all comedic, charming, experimental, or any combination of the three. Shannon Wheeler does a wonderful and charming rendition of "Row Row Row" (Your Boat, that is):


And Bill Morrison brings his usual cartoony style over from the Simpsons comics and does a really fun and expressive sequence where a kid named Junior sings the old ditty, "On Top of Spaghetti."

Most of the other strips are fun and funny. More often than not, the twists put on them are quite modern and contemporary. Neil Kleid and Fernando Pinto do a version of "The House that Jack Built" involving a man and his family and his neighbors, which includes kids with a rock band. "The People vs. Hansel and Gretel" is drawn by Jeremy R. Scott in a style reminiscent of South Park, and is pretty much a spoof of those daily courtroom dramas, where the witch is the plaintiff and Hansel and Gretel are the defendants. Shane White cleverly tells of "Trouble at the North Pole," where Santa and his elves use broadcast a news program on the dangers of global warming. And one of the funniest stories is by Doug TenNapel, which is a retelling of "Rumpelstiltskin."

 

In this version, Rumpelstiltskin is an obnoxious little imp, while the princess who has to guess his name is an idiot. TenNapel's art conveys this perfectly, and made at least this reader laugh his socks off.

Though all of these examples are funny from the get-go, not all the stories follow the same comedic pattern. "The Real Princess," for example, is a takeoff of "Princess and the Pea," "Jack and the Beanstalk," and a few other fairy tales, and is about a princess searching for her true love. Instead of the more modern manner of speaking peppered throughout the book, writer Alexander Grecian tells the story in the same type of language as a regular fairy tale, and Christian Ward lavishly paints the entire story so it doesn't look like it's a comedy at all.

And the truth is, it's not. The story is played completely and totally straight, as per the conventions of the wacky world of fairy tales. Anything funny or comedic in it is more a circumstance of what actually goes on in the story than it is the story actually attempting to be funny. On that note, I think it's excellently done, and is one of the highlights of an already excellent book.

Another highlight is "The Little Mermaid," written by the one and only Peter David and drawn by Juan Ferreyra. More a riff of Disney's version than the old Hans Christian Andersen tale, David plays the story completely straight in the first half and then just runs with a repeating joke for the second. It's a clever setup, thigh-slappingly funny, and aptly drawn by Ferreyra. Even if just for this story alone, I'd recommend the book.

By far, my favorite of the funny stories is Derek McCulloch and Anthony Peruzzo's take on the Rapunzel fairy tale. I'll just post a page here to show you.


I'd probably be a bad Filipino if I didn't mention that one story here ("The Fox and the Cat") was written by the Filipina Nikki Dy-Liacco and drawn by May Ann Licudine. The story is funny and contemporary, and beautifully drawn, giving a fully painted look that is charming and compelling to kids and art lovers all over. I'd also definitely be both a bad Filipino and a bad reviewer if I didn't mention Marie Cruz and Whilce Portacio's (yes, that Whilce Portacio) "The Secret Princess Society," which isn't a comic at all, but a prose piece with accompanying illustrations by Portacio. Because it's prose, there's enough time to develop a full (if short) story, and so this is the one story in the entire book that doesn't try to be charming or funny at all. "Secret Princess Society" is heavily rooted in Filipino mythology, with anting-antings (special medallions for protection) and duwendes (like dwarves, but different), and it's just great, more than seeing Filipinos in the anthology, to see Filipino mythology getting international exposure. I also didn't think Portacio's art - usually sketchy and gritty - could be used for this purpose, and this was a nice surprise.


So yes, while this anthology is mostly funny, some stories are not, nor are they meant to be. Some stories are experimental and works of art; "The Secret Princess Society" is serious; and the funny stories all have great variety in their humor sensibilities that you never get burned out laughing.

The presentation of the book is also top-notch, with the binding and the coloring making it a true pleasure to read.

Highly recommended.

Sep 27, 2010

Top Five Most Important Pre-1938 Comics Superheroes!

So now that we have our list of top five most important superheroes post-1938 that have nothing to do with Marvel and DC, and our top five most important superheroes who didn't originate in comics, it's time for the top five most important pre-1938 superheroes who did!

Now, since the term "superhero" originated really because of Superman in 1938, they weren't really meant to apply to anyone created before. For this post, we'll define them as adventurers who have a desire to do good and help people, and if they have special abilities while they do that as well as a distinctive look/costume, the better.

An Honorable Mention to Terry and the Pirates. Milton Caniff's work was very influential to many generations of superhero creators. But as much as I may already be stretching the definition of the term "superhero" with my number five pick, he at least resembles one on the superficial level, while Terry does not.


Here we go!

5. Prince Valiant

Art by Hal Foster
Created by Hal Foster in 1937, Prince Valiant is the longest-running continuous story in comics existence. Foster's classicist depiction of the Arthurian-era hero is an inspiration to many a comics artist, and serves as a building block for any who want to carry on with medieval-era comics, of which there has been a considerable number.

I originally considered Tarzan for this spot, but he was disqualified due to not having originated in comics.

4. Mandrake the Magician and Lothar

Art by Phil Davis
In 1934, Lee Falk created Mandrake the Magician, who pretty much dressed up like your regular stage magician and whose real power was to make people see things that weren't there. A whole slew of magical characters followed him, almost all adhering to the same model. The list includes Fawcett's Ibis the Invincible and DC's Sargon the Sorcerer and Zatara, father of Zatanna.

More importantly, Mandrake had a crimefighting partner named Lothar, an African prince who chose to go adventure with Mandrake. Although Falk characterized Lothar as having broken English and made him subservient to Mandrake, one must take into account the times (please refer to my Ebony White article) and give credit to Falk that Lothar was neither drawn in blackface nor portrayed as incompetent. In fact, he was Mandrake's ace in the hole, as he was the strongest man in the world.

Mandrake and Lothar are widely accepted as the first interrarcial crimefighting duo.

3. Dick Tracy

Art by Chester Gould most likely Dick Locher (Thanks, Booksteve!)
Created by Chester Gould in 1931, Dick Tracy pretty much started a bunch of things, including being the first actual police procedural mystery comic and also being the first of its kind in that it invented all that fancy-schmancy detective equipment. But what really sets Dick Tracy apart and above the rest is his villains - the first ever collection of characters that was rightly deemed a "rogues' gallery," a term now in the generic superhero lexicon. With characters who resembled their names, such as Flattop Jones, Pruneface, and Cheater Gunsmoke, Gould harnessed the power of icons, semiotics, and symbols and played them up in his comics for a powerful and surreal effect. Many comics are equally as serious as they are silly, and it could be argued that Dick Tracy is the first to do so. Nonetheless, it can't be argued that Dick Tracy showed how important good villains are.

2. The Phantom

Art by Dave Gibbons

Kit Walker is the 21st Phantom, created by Lee Falk in 1936. He is, really, the first legacy hero, which is pretty much the foundation of DC Comics (and even Marvel, to an extent) these days. When one Phantom dies, his son takes his place.

More than that though, the Phantom is the archetypal action/adventure hero, with his adventures taking place in Africa and lore surrounding the Phantom, with old jungle sayings like "The Ghost Who Walks can never die," or "Those who see the true face of the Phantom will surely die a horrible death." He was also the first to wear a skintight costume and a mask that covered the pupils, setting a precedent for many, many superhero costumes.

There is a Phantom comic book being published today, and the rights for him are always hotly contested whenever the expiration date comes up.

1. Flash Gordon


In 1934, Alex Raymond changed the comics universe by unleashing into it the space adventure strip known as Flash Gordon. Raymond's figure work, still emulated and imitated (but never duplicated) today, drew readers in, giving it an insanely high readership. The title character and his true love, Dale Arden, along with a scientist named Hans Zarkov, are transported to a far-off planet called Mongo, a world ruled by the tyrannical Ming the Merciless.

As Alex Raymond's style is still copied today, Flash Gordon is continually held in high esteem, with revivals and reprints upon revivals and reprints. Alex Raymond and Flash Gordon is the reason a lot of comics look the way they do, and they are also partly the reason why there is a large section of comics and other works that take place in space. In fact, Flash Gordon is the direct inspiration for a little movie franchise called Star Wars. You may have heard of it.

Interestingly, in 1986, Flash Gordon was the leader in the animated series Defenders of the Earth, where the other members were the Phantom, Mandrake, and Lothar - all updated (especially Lothar) for the 80s. All four characters are distributed by King Features Syndicate, as is Prince Valiant (who showed up in the show as well!).

The Defenders of the Earth, and their kids.

Did I miss anyone? Do you agree? Disagree? Let me know!

Sep 26, 2010

Easter Eggs in Comics: JLA/Avengers

Welcome to another installment of Easter Eggs in Comics! Click here for the archive!

In 2003, we got the ultimate fanboy crossover: JLA/Avengers, written by Kurt Busiek and drawn by George Perez.


In it, upon first glance, Hawkeye keeps saying something is familiar about the Justice League. So when the Justice League finally meets the Avengers face to face, Hawkeye mutters a particular line.


Which is an in-joke, because the Squadron Supreme was created to specifically be Justice League substitutes for Marvel - that is, they were created to be stand-ins for the Justice League that the Avengers can interact with at will. To explain why they fight often, the Squadron often gets mind-controlled.

The most obvious analogues here are Hyperion (front)
and Nighthawk (all the way at the back), standing in for Superman
and Batman.

The Squadron Supreme by Mark Gruenwald and Bob Hall, by the way, is a genuinely revolutionary comic book. Go read it!

Got an Easter Egg for the Cube? Email it to comicscube@gmail.com

Sep 25, 2010

Comics Techniques and Tricks: Winsor McCay

Welcome to another edition of Comics Techniques and Tricks, in which we showcase techniques that only comics can do! Click here for the archive!

Today's trick comes from Winsor McCay, from a 1908 Little Nemo in Slumberland sequence. Sometimes, a trick can just be looking really cool! Enjoy this wonderfully designed page!

Sep 24, 2010

The Comics Cube! is on Facebook

So I decided, before some knucklehead out there decides to register the name, to make a Comics Cube! Facebook fan page.

So click here, and then click on the little "Like" button. Or scroll down the right side of the site and you'll see a little Facebook widget.

And now, just for the fun of it, here's the trailer to the animated version of All-Star Superman, which is the GREATEST SUPERMAN STORY OF ALL TIME. Courtesy of Flipgeeks.

DC Comics Presents: JH Williams III, or Why Are You Shortchanging Me?

So, apparently, JH Williams III has now gotten big enough that he pretty much counts as a superstar.

With work like this, how could he not, right?

Promethea #31

Promo (maybe cover?) for the upcoming Batwoman ongoing.

Williams got his start doing Chase for DC Comics, which was written by Dan Curtis Johnson and inked by Mick Gray (also his partner-in-crime for Promethea). It's a bit of a cult favorite among fans, and to date, the series has never been collected. I own the first issue, and I can honestly say that it was a good first issue and that it had an interesting premise: Cameron Chase is a new agent for the Department of Extranormal Affairs (DEO), meaning she deals with the regulation of superhumans. She's not very fond of them, but then at the end of the issue, there's an indication that she is one of them. I had always meant to get the subsequent issues, but finances got in the way. Now, with JH's rise in popularity, chances are that the titles have appreciated enough that finances will always be in the way (especially the issues that star Batman).

Cameron Chase

The art is early Williams - not particularly refined, and he was still trying to find his voice. But the design sense was already there. It had been there since the beginning.

DC has finally realized that there's demand for early JH Williams III stuff, and in November, right before the debut of the new Batwoman ongoing, they are putting out DC Comics Presents: JH Williams III, a small paperback edition that collects the first issue of Chase. As well as its.... sixth, seventh, and eighth.

Huh??

There were only nine issues of Chase. There was a 1,000,000 issue that coincided with the DC One Million event headed by Grant Morrison, and Cameron Chase actually debuted in Batman #550, done by the same creative team! That's just 11 issues, and even then, the complete story is just in those nine issues. Why didn't they just put out the whole thing?

An interesting thing to keep in mind is that Hitman, by Garth Ennis - GARTH ENNIS - and John McCrea has never been finished being collected into TPBs. If a superstar writer like Garth Ennis can't sell TPBs of Hitman - something he was writing at the same time he was writing Preacher - then it can be said that there's not enough of a market out there to just purely support JH Williams III's work - and his early work at that!


That's why, of the four issues selected by DC to include in their "J.H. Williams III" collection, one is a first issue and two others feature Batman.

We live in a character-oriented market. And what we have is a bunch of J.H. Williams III fans who will buy anything done by this artist because he is that damn good and he deserves our support, eclipsed by a far, far larger bunch of people who really just want to see him draw familiar characters.

If you think about it in terms of character versus creator, it's a shame, really.

(I'll still be getting the collection, by the way. Maybe it'll send a message.)

Sep 23, 2010

Is this kitten named Kovacs?

Peachy just sent me this.


So, is this kitten named Kovacs?

First page of Watchmen.

DC Ends Wildstorm

So as part of their expansion plan, DC Entertainment has decided to end Wildstorm. Wildstorm was founded by now-DC-co-publisher Jim Lee, one of the all-time superstar artists in comics, and was one of the cornerstones of the creator-based Image Comics in 1992. The main comic for Wildstorm for a while was WildCATS, which focused a team of human/alien half-breeds from the planet Khera and acting as an edgy superhero team, one fit for the then grim and gritty 90s. In fact, most of Wildstorm's concepts are like this - archetypal superheroes, taken to the edgy extreme - in other words, places that the Big Two's icons shouldn't go.

I think it says a lot that George Perez's clean art doesn't fit the Wildstorm Universe.

I had no problem with this concept and still don't at all. I know I'm all for Comics for Kids, but I never once said that all comics had to be for kids, and Wildstorm comics were always meant to target the teenagers, and I won't begrudge them that. Although we got some bad comics out of it, we also got some good comics out of it, which is all I can ask from any comic company, really.

One of the comics that was big in my generation (that being the mid-90s) was Gen13, which was famous for the J. Scott Campbell artwork and the cheesecake T&A. What sets it apart from all other cheesecake T&A comics at the time (of which there was a considerable amount, including, if you look at it, Wonder Woman), was that it was fun. Instead of being dark and gritty, it just poked fun at its obvious gratuitousness. It knew it was blatant. That was the point.

Want to know how fun Gen13 was? In issue 13, Grunge goes to the Land of Sequential Art and runs into a bunch of people, including Fone Bone and the Archie crew!

Wildstorm also published Kurt Busiek, Brent Anderson, and Alex Ross' Astro City, first under its writer-centric imprint (a more appropriate time capsule of the time, I cannot imagine) of Homage Comics, and later on simply under the Wildstorm banner. It must be said that due to contractual preferences, Kurt took Astro City directly to Wildstorm instead of DC. Astro City is about a city full of superheroes, and how the ordinary citizen reacts to them. It's good fun comics, a model and a template - to this day - of how superhero comics can be done to make it palatable and enjoyable for all ages.


In 1999, two things happened. First, Jim Lee persuaded Alan Moore to bring his friends over and create a new imprint for Wildstorm. Moore called the line "America's Best Comics," or ABC for short, and worked off a simple concept: what would comics be like if Superman never came along? So we have the Doc Savage-inspired Tom Strong, the pulp-and-mythology-inspired Promethea (who bears only a superficial similarity to Wonder Woman), the NYPD Blue-inspired Top Ten, the Herbie-inspired Jack B.Quick, the Fighting American-inspired First American, and the Spirit-inspired Greyshirt. Like Astro City, these were good fun comics that really laid the (as yet unused) foundation for mainstream comic book reconstruction (as opposed to the deconstruction that had preceded it). ABC was also the first publisher of Moore and Kevin O'Neill's creator-owned League of Extraordinary Gentlemen, which you may have heard of.


Before the first issue of ABC ever hit the stands though, Jim Lee sold Wildstorm to DC Comics, in what was hailed at the time as a wise move. I'll never really understand what happened. Prior to the sale, Wildstorm and DC Comics combined had the majority of the industry's market share, with Marvel Comics still at number one. After the sale, for some reason, Marvel was still number one. If someone can explain these numbers to me, I'll greatly appreciate it.

Wildstorm continued to publish comics in the Wildstorm Universe, consisting of the WildCATS, Gen13, the Authority, Warren Ellis' Planetary, and many more.  In 2007, Wildstorm was formally integrated into the larger DC Comics Multiverse, as it was assigned as the 50th of DC's 52 earths.



In addition, they were also labeled as DC's "commando unit," which really meant that it was the go-to imprint for comics that didn't fit either the main DC Comics line or the more literary (or ambitiously literary) Vertigo imprint. So creator-owned material that wasn't deemed too "mature" or "literary," such as Warren Ellis and Chris Sprouse's Ocean, or licensed material such as the Heroes comic book were published under the Wildstorm imprint. Keep in mind that Vertigo also tends to stay away from anything resembling superheroes, so Brian K. Vaughan and Tony Harris' Ex Machina, which mixed powers and politics, was also published by Wildstorm until it ended just last month.

My best wishes go out to the staffers working at Wildstorm (and, in addition, to all the staffers being uprooted by DC from New York to the West Coast), and I'm also hoping that the creator-owned books continue to be served well. Kurt Busiek took Astro City to Wildstorm instead of DC for good reasons involving contracts, and I really hope DC won't try to restructure Kurt's agreement now that all Wildstorm properties are being folded into the main office.

With the exception of League of Extraordinary Gentlemen, DC now has complete control over all of Moore's ABC properties, and I actually hope they do something with it, more than what they're just doing now.

It's the end of an era, folks. Let's hope that whatever long-term effects this has are beneficial to the comics medium as well as the comics industry.

Sep 22, 2010

Tom Lyle Spider-Clone/Scarlet Spider Designs

So my article about what went wrong in the Spider-Man Clone Saga has gotten a good number of hits, one of them from someone searching for Tom Lyle's designs for the Spider-clone. I did a quick search and found that it was nowhere on the Web, but luckily for whoever it was searching for it (I guess not so lucky if he doesn't find this site again), I have the Spider-Man Collectors' Preview (yes, yes I do), and it has not only Tom Lyle's Spider-clone designs, but also Mark Bagley's!


So enjoy, folks!


Yep, in the end, they went with Tom Lyle's idea, tweaked, for the Scarlet Spider, but when Ben Reilly was "promoted" to Spider-Man, they went to Mark Bagley. You can see it from his designs up there too. Bags was a fan of the "spider covers entire body" idea.


Some of their designs would have never been accepted, or have had a prayer for being accepted, specifically the ones where he shows his hair and his eyes. I think Ben Reilly was always going to look like Spider-Man, regardless of how much they were trying to distinguish him.

So to whoever searched for it, I hope you find this again, sir.

Sep 20, 2010

Top Five Most Influential Superheroes That Didn't Originate in Comics!

So now that the Comics Cube! has released its list of most important superheroes post-1938 who originated in comics, it's time for the most important superheroes who originated outside of comics.

Obviously, the definition of a superhero is pretty loose when we get outside of comics, since superhero costumes are pretty singular to the comics medium. So for this post, we'll define superheroes as people with special abilities or highly developed skill sets to fight crime and the evil, such as vampires, demons, and the forces of darkness. (Oh dear, did I give one entry away?)

This list does not include mythological beings and Victorian-era characters such as Peter Pan and Sherlock Holmes. Sorry, folks, but that would really limit the selection. Much like I didn't include pre-1938 characters on the previous list, I won't go too far back from 1938 on this one. It'd be like saying that Achilles inspired stories that inspired stories that inspired stories that inspired Superman.

Honorable mention goes to The Incredibles. An incredibly fun film - one of the two best that Pixar has ever put out - and with well-done comics produced by Boom! Studios. Still, it's been six years, and I don't see them as having made a visible impact.



Honorable Mention also goes to Tarzan of the Apes, which was a very influential comic, though I'm not convinced of the character himself being as influential as the ones in the top 5.




5. Gladiator


Gladiator, the title character of a 1930 novel by Philip Wylie, has superhuman strength, bulletproof skin, and a high leaping ability. He uses these abilities to make ends meet, fight in World War I, explore the wilderness, and try to effect social and political change.

That's right, it's the same basic concept as the original version of Jerry Siegel and Joe Shuster's Superman, and the only reason it's not higher on this list is because Siegel and Shuster denied being influenced by it (this may have something to do with a lawsuit), and that its influence is more "accepted" by the experts than actually "confirmed."

4. Buffy Summers


The title character of Buffy, the Vampire Slayer is herself very influenced by comics. Creator Joss Whedon has said that the dynamics of Buffy and her friends are loosely based on the Fantastic Four, and there's a lot of X-Men and Avengers influence. What Buffy did, though, was to bring superhero and genre-loving fandom to the forefront of pop culture. Here was the story of a girl who was discovering her powers, and Whedon and company used those powers as metaphors for everyday life. It was heavily inspired by archetypal Marvel Comics - the entire concept of Buffy sounds like the entire original concept of Spider-Man - and Buffy Summers brought that kind of thing to the attention of the rest of the world and had them say, "Hey, maybe there's something to this, after all." Don't believe me? Turn the TV on and look at Smallville. Yes, that's Superman. But it exists because Buffy was there first. Look at Heroes. You think that kind of comic book-inspired narrative would have been there without Buffy to pave the way?

Buffy was responsible for a lot of other innovations as well, most notably making people realize that there's nothing wrong with having a female protagonist (sadly, this seems to be ignored in large doses, still). But I think the real telling influence of Buffy is the fact that Joss Whedon's name on a comic book sells in large droves, and a Whedon panel or feature at a Comic Con is always packed.

3. Doc Savage


First appearing in 1933, created by Henry Ralston and John Nanovic, and published by Street & Smith, Doc Savage  was one of the archetypal pulp heroes. He was an explorer, who had keen detective skills, great strength and endurance, and incredible intelligence. Along with another character, they represented a dichotomy in pulps that is prevalent in superhero comics to this day with Superman and Batman, with one being a more fantastical character with lots of elements that are full of wonder, while the other is a darker, more riveting character.

Doc Savage is a heavy influence on many characters, what with his devices and keen intelligence and wealth (that should pretty much sum up 90% of the Golden Age heroes, including Batman). But the one that he has the most palpable influence on is Superman himself. Doc Savage's real name is Clark. He is called the Man of Bronze, much like our favorite Kryptonian is the Man of Steel. And Doc Savage has a Fortress of Solitude in the arctic regions - decades before Superman had one.

2. Conan the Cimmerian


Come now, I'm sure everyone's heard of Conan the Barbarian at this point. Created by Robert E. Howard in 1932, Conan is the template from which all barbarian/fantasy/sword-and-sorcery heroes are somewhat based. And yes, that includes that He-Man guy.

Having said that, that's probably the shortest description I've ever come up with. That's probably some kind of record, and that's because that's all that really needs to be said.

1. The Shadow


Also published by Street & Smith and created by Walter B. Gibson, Lamont Cranston is The Shadow, star of pulp magazines and a really famous radio show, partly because he was voiced, for a while, by Orson Welles.. He makes up the Batman half of that dichotomy with Doc Savage that I spoke about earlier, and he is archetypal of so many Golden Age characters, so much so that people still want to write about him today.

The most notable influence of The Shadow can be seen in the pages of Detective Comics. That guy with the bat on his chest wasn't just heavily influenced by the Shadow; he practically ripped off the Shadow. Many of Batman's first adventures were direct lifts of Shadow stories, including the first one. Or they were lifted off of other pulp stories from other characters, who themselves were ripping off the Shadow.

Who knows what evil lurks in the hearts of men? The Shadow knows!

Did I miss anyone? Let me know!

Next Week: The Top Five Most Important Pre-1938 Superheroes Who Did Originate in Comics!

Sep 19, 2010

Easter Eggs in Comics: Elvis Presley and Captain Marvel Jr.

Welcome to another installment of Easter Eggs in Comics! Click here for the archive!

See this guy? We all know who this is, right?


That's right. That's the King of Rock N' Roll, Elvis Presley.

Now, what you may not know is that Elvis' look was heavily inspired by one superhero, because he was such a big fan of that superhero. That superhero? Captain Marvel Jr., one of the then-market-dominant Shazam! family of heroes.


In his award-winning Kingdom Come (written by Mark Waid), Alex Ross redesigned a whole new DC Universe for this future-set story, creating new characters and updating the classics.

To pay tribute to Elvis, Ross renamed Captain Marvel Jr., "King Marvel," and gave him a look reminiscent of the rockabilly icon. Though merely seen in the background, the iconography is quickly apparent.

In Kingdom Come, King Marvel is married to the former
Mary Marvel, now Lady Marvel, whose costume is reminiscent of
the Marvels' cape pattern - or Elvis' suits, whichever way you want to see it.

Seriously, you can't tell me this isn't an Elvis pose.


 Here's Alex Ross' sketch of King Marvel!



Cool, huh? For more information on the Captain Marvel Jr./Elvis Presley connection, click here!

Got an Easter Egg for the Cube? Email it to comicscube@gmail.com
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