Those that are About to Die

DC Comics released a company-wide crossover series that changed the face of comic books and the industry forever in 1985. Spanning 12 issues, this finite “maxi-series”, called the Crisis on Infinite Earths was meant to change the ongoing continuity of the characters they’d been publishing over their then 50 year history. As a young reader at the time, I was completely enthralled by this tale. I’ll admit at the time I was reading more of the Marvel titles than DC, even though I felt more affinity towards DC. Superman and Batman. Wonder Woman and Aquaman. Green Lantern and Green Arrow. These guys I knew much better than the Hulk or Iron Man or Captain America. CRISIS brought me back into their worlds with such a great blow; I wouldn’t leave for another quarter century.

Once CRISIS had concluded and new titles were being released and old titles were being revamped, the company was looking for the next big crossover hit. LEGENDS was meant to be that hit, and within it a number of new titles were going to be introduced. One of which was the newest incarnation of the Justice League, soon to be called the Justice League International. Another was what would become one of the greatest, most interesting and influential series to come out of the late 80’s. It was the Suicide Squad.

 

THE SUICIDE SQUAD was the brainchild of Editor Robert Greenberger and writer John Ostrander. In fact, you can read Mr. Greenberger’s own words about the Squad here. Though the Squad originated in old DC war comics, this iteration would be almost wholly new, with more than just a nod to the past. A good in- and out of-house advertising campaign, as well as an incredibly striking first issue cover had me more than intrigued to read the series when it was released. Their introduction in LEGENDS was brief and interesting, initiating a lengthy involvement with Batman and other costumed heroes of the DC Universe, but it didn’t even come close to how good the book itself would become.

Imagine the Dirty Dozen with costumes and super powers

and you have the basics of the Suicide Squad.

Characterization and story were a high point within the original 66-issue run (plus specials) of the series, which introduced readers to greatly fleshed out versions of bottom-tier villains or long forgotten heroes. With a strong espionage background, many characters came out of print retirement to really shine, such as the former Charlton Comics character of Sarge Steel

and Tom Tresser, the Nemesis.

By and large, the series was structured around the best “supporting character” ever to come out of comics, the potent Amanda Waller. This is how I imagine Amanda when I think of her, regardless of recent interpretations in comics or television:

Amanda is either loved or loathed, depending on the reader, or even the characters she’s involved with in a storyline. You will see what I mean as I roll out my plan for what will, over the course of time, be my ultimate review of a series I cannot love enough.

Recently, as can be seen in Bob Greenberger’s column (if, at this point, you haven’t read it, go do so, I’m not saying it again), Warner Bros has released information regarding a Suicide Squad movie starring a few ‘name’ actors. While I’d rather see something more in tune to the series I enjoy so much, it’s definitely going to be geared towards the series currently being produced, within the continuity auspices of the present “Nu52” DC Universe. That’s fine, particularly if it brings more attention to what started it all, and who started it all. And because of all this added attention, I’m going to do something I’ve wanted to do for some time now, which is re-read the series in its entirety, from the beginnings in LEGENDS to the crossover issues with the Justice League, Captain Atom and others, to the incredibly downbeat and overlooked DEADSHOT mini-series and beyond. It’ll be irregular, hopefully once a week, maybe even more so. When they’re posted, they’ll be here. Share them as much as you want; I don’t mind. The Squad was one of the series that really got me heavily into letterhacking, the lost art of writing to letter columns for print. Maybe when the time comes, I’ll investigate that, too.

 

Closing Sunday

On the last day of the New York Comic Con I had one event scheduled and I wasn’t sure I was going to make it on time. I had to pack up all my stuff, finish and send off a few more articles to Bleeding Cool and then hop the bus. I chose to go easy and not push it because, really, it wasn’t a big deal to miss the panel on the first New York comic convention from the sixties. The armchair historian in me was interested, but I was already a smidge disillusioned in both the editing and practices of running articles on Bleeding Cool and didn’t think there’d be many readers for said topic. Considering the large amount of my submitted topics that didn’t run, I think I made the right choice.

I ran an hour later than I wanted, then the bus ran late due to traffic headed into the city. I was overburdened with my baggage and walked slowly to the show, enjoying the sunny weather after a dreary, drippy Saturday. As is usual in Hell’s Kitchen, the weekend has a flea market that takes over a couple of blocks near the convention center. Walking through it, I noticed a number of smart vendors selling comics, as well as a number of convention attendees shopping at their tables. I didn’t stop to shop, I wanted to dump my bags off at the check area and go about my loosely organized day. Well, I should say that I didn’t intend to shop. While walking through the market, I spotted on a high display, a copy of the Milton Bradley American Heritage Series game, Broadside. A simple battle game of naval combat, it hit my “want” list earlier in the year when playing a similar game. As it was originally produced in the Sixties and reprinted in the Seventies, I didn’t think I’d find a complete copy in good condition. I also certainly didn’t think I’d be finding it at the Hell’s Kitchen flea market on my way to the New York Comic Con. Yet, there it was, beckoning me. So, I swung into the booth and called out to the grubby little guy there. 20 bucks was not an unreasonable price, but the damned box was huge and I contemplated how I was to carry it home in one piece. The box was not crushed, and it looked reasonably decent for its age. The grubby little guy decided to show it to me while another “customer”, a bent character with a motor mouth, went on about howgreatthegamewasandhowhehaditwhenhewasakidandtheothergameswithitandIshouldgetitbecauseit’singreatshapeandhewisheshecouldgetitagainandplayitisn’titnice? What was worse is that the game sat underneath two other MB American Heritage Series games, Hit the Beach and Battle Cry, both of which I took a look at, too. All three were complete, the boxes uncrushed and even reinforced to keep from crushing. Someone took care of these games for some time before selling them. Then grubby little flea market guy offered all three of them to me for 50 bucks. Jeebus, what a deal. I really, really wanted them but, running low on funds and the ability to haul them around was daunting me. I wanted that Broadside, though. So, as I am wont to do now, I take the chance when I can. I bought Broadside and added it to my pile of baggage.

Getting into the show was horrendous. I had to walk the length of the building three times right off the bat. Once to get to the gate for Press and Pros, back to the other end to baggage check because the one near my entrance was full, then back in the other direction to meet with people I’d meant to search out and chat with for the website. I also wanted to find a large enough bag to carry around the game I purchased, since the plastic shopping bag given to me by little grubby flea market guy wasn’t large enough by any means. While trying to find all those people I wanted to chat with, I picked up one of the giant shoulder strap bags I’d seen all over the con during the weekend. One was a Walking Dead TV show bag, the other a Star Trek bag with a huge delta symbol on it. Yeah, after asking some kid where he got his, I went right to the Star Trek booth to pick one up. It was perfect for that game – a carrying strap, large enough to completely contain the box and with Velcro fasteners to seal it shut! Here’s a pic of the game and the bag. 

 The day progressed slowly and I kept missing everyone I was looking for. By mid-day I chose to take off, making the rounds to say goodbye to all my friends and compadres, including the new ones met at the show this year. I picked up a copy of Action Johnson at the Mythopoeia booth, intending to email the creator since we kept missing each other, and beat feet out of Manhattan as quick as I could. I was not unhappy to leave. I was tired. I was broke. I wanted to be in my own house, if that’s to be believed. I had a lot to think about when it came to conventions: how they’re perceived, promoted and written about. I had a lot of information and a lot of new contacts. Would it be worth the time and energy this year? I still haven’t decided if it was. It’s a big show. It’s comics, but it’s more of a splotchy, explosive hype with no streamlined focus. It’s all about the now and less about the what-made-the-now. You were a star artist in 1990? You’re likely a forgotten commodity at a show like this. You’re a third-string actor on a top-rated television show and you’re not charging for signatures? You’re probably going to get a line longer than a New York city block. You’re wearing a costume? You’re going to have your picture taken, sometimes by people making money off of it. You’re a woman in a costume? You’re going to have terribly sexist comments made either at you, or after you’ve walked by. A show can go as far as “Cosplay is not consent”, but what does it encompass? Tell me how that gets enforced, if it does at all.

I can’t not recommend going to the show if you never have, and feel it’s something you really want to do. It is an experience. It may not be exactly what you expect and it may not be what you hoped. It’s expensive. It’s crowded. It seems to always suffer from some weird situation at least once every year (like this one), but you may enjoy it. You may have fun. You may get some great deals at vendors for whatever you’re looking for. You will probably meet some great people, particularly if you’re social. You will find some great new products. You will find smaller press comics that never get the recognition they deserve and you will hopefully support them and buy. In fact, I insist you do. Find that comic or game or movie or book that really strikes your fancy and buy it. Support it and promote it when you can. Word of mouth is a great tool and you know you want to be “that guy”. You know which, the one that was there on the ground floor of something spectacular.

One last plug for everything and then I’m done with this hideous recollection.

Read EGOs by Stuart Moore and Gus Storms from Image Comics.

Read The Seven Scrolls of Shitorio by J.J. Kirton and Tristan Powell from Walk on Water Productions.

Read FUBAR by the various writers and artists that work on it, FUBAR Press.

Play the many games from Steve Jackson Games, including the popular Munchkin series and the recently re-released Car Wars.

Play the games being released from the new, solid IDW Games.

Try out the new Castle Assault game from Momentum Volsk.

Read Nathaniel Burney's books, The Illustrated Guide to Criminal Law and The Illustrated Guide to Criminal Procedure.

Check out the art of Dave Wenzel.

Read the great volume of titles from Action Lab, which run the gamut from books for kids to blood and guts.

Search out and play Legends of the Three Kingdoms from Ziko Games.

Look for more art from Michael Montenat.

Read Skies of Fire from Mythopoeia and Action Johnson from writer Nic Shaw.

Try out one of the series from Big Dog Ink.

You want the coins from Rare Elements Foundry.

Read Looking for Group and then play the game!

For information on next year’s NYCC, stop by their site.

Lastly, Stay Cool with all your pop culture and detailed news at Bleeding Cool.

Thanks to Bryan for the ride down, Gail for the place to crash and Cliff for the ride home. Good to see you again Tara, Chris, Stuart, Amenta and Miriam. To all of you that I met this year, don’t disappear on me as I’ve plans afoot for a convention of my own. Franchesco, I’ll find you next time, you crazy artist guy. And finally, Mark Smylie, where are youuuuuuuuuu...