Michael Vance   Mark Allen   Michael Vance Books
The longest-running comics review column in America perhaps the World!

Some hardcore comics fans complain that some publishers hurt the market by saturating it with multiple titles featuring the X-Men, Superman, Spider-man, and Batman, therefore making it difficult for other titles to find a niche and flourish.

They don't know saturation.

A quick count reveals that there are at least sixteen regularly published titles featuring the Archie ensemble of Archie, Jughead, Betty, Veronica, and Reggie. That's not counting anthologies and graphic novels featuring the Fabulous Five as well.  But one man's saturation is just another man's success, for these titles would not be published if they didn't sell.

Hey! Here's another one!

Tales from Riverdale differs only slightly from other Archie titles because of the "minor" features inside. These include stories of Sabrina, when she was younger than the teenage witch, Madhouse sections (Madhouse was an old Mad Magazine imitation published years ago), and stories on very minor characters in the Archie pantheon of "second bananas".

Does that mean that Riverdale is not worth the price of admission?

Nope. Overall, the quality of art and story in all of the Archie titles is excellent. The only real surprise is how the team of Archie creators can consistently come up with new ideas, which they do in every issue.

It has been a long, long time since Archie has been the character that sells the titles. These books all feature an ensemble cast that is unexcelled in the field of comic books.

True, they are for younger readers (hurrah!  Titles for young readers are desperately needed; without them, there are few older ones), and not everyone's cup of tea, but how many cups of dark and violent X-Men or Batman can one drink?

Recommended.

Tales from Riverdale Digest  #s20-23/$2.49 and 80 pages each from Archie Comics/various artists and writers/sold at lots of locations and at www.archiecomics.com.

Review by Michael Vance

Several months ago, I praised the first issue of the Red Menace miniseries. Having now read the collected version, I’m compelled to pass on to you another strong recommendation, as the middle and end proved as fresh and interesting as the beginning.

Set in the midst of the McCarthy era, Red Menace is one of the better period pieces I’ve found in comics shops in a while. Telling the story of a soldier-cum-super-hero who is patriotic to a fault, yet still gets used and abused by his government, Menace immediately draws readers in, then treats them to a roller-coaster ride brimming with super-hero action, political intrigue and interesting characters on both sides.

Writers Danny Bilson, Paul Demeo and Adam Brody pull out all creative stops in their collusion to create a hero who does what he does because it ‘s right, not because the people believe in him. And, yet, this hero-with-convictions doesn‘t cause much, if any, suspension of disbelief, due to his all-too-human frailties and failings. Of course, the fact that he has no super-powers helps in that area, as well.

Bilson and company also do a stellar job illustrating the near-insanity that seemed to grip much of America at the time, as, in many cases, all that was required to ruin a person was the suggestion of sedition.

Penciler Jerry Ordway and inker Al Vey conspire to produce some of the most crisp, vibrant art found in comics today. The clear lines and dynamic figures contribute heartily to the action fairly jumping off the page. And, while no real risks are taken with panel arrangement, Ordway still proves himself a superior storyteller.

One change I should make from my review of the premiere issue: this book is not recommended for all ages, as some language and graphic imagery (which wasn‘t in issue #1) are unsuitable for younger readers.

Find Red Menace at comics shops, bookstores and online retailers and auctions. Red Menace, published by Wildstorm Productions, 144 pages, $17.99.

Review by Mark Allen

If you know Sabrina, The Teenage Witch, from the old situation comedy on television (the one with the obviously mechanical talking cat), you don't know Sabrina, the comic book. She's manga now.

For the uninitiated, manga is comics, Japanese style, i.e. story and characterization reflecting Japanese culture and art featuring very large eyes, small bodies, and a minimum of visual details. Wow. That"s not something normally associated with Archie comic books.

Also unlike TV"s Sabrina, this one mostly lives in a fantasy dimension parallel to ours, has joined a "movement" in rebellion to its Queen, and struggles to save the mana tree that is the very life of their magic realm. Wow again. That's not very Archie either.

To top if off, comics for very young girls are rarer than hen's teeth. Here's one.

For most women, relationships with other people are a high priority in life. It's certainly true for Sabrina the comic book, and I'm thrilled.

What's that, sissy boy? Yep. I'm thrilled to see a well-written comic book attracting anyone new to comics, and particularly thrilled that Sabrina does so. Why? Her world is one of unabashed morality and high ideals, of love and compassion and courage. There needs to be more of this in a comics field cluttered with cynical and hackneyed violence, selfishness, and nihilism.

All this positive affirmation is from a guy who doesn't particularly like manga, and is too old to be reading comics written for very young girls! What are you, Mr. Reviewer, on some moral crusade? Yep. I'm particular.

Kudos to Archie Comics. My hat is off to you. Sabrina the teenage witch is highly recommended, especially for very young girls.

Sabrina, the teenage witch #s 85-87/$2.25 and 21 pages each from Archie Comics/writer and artist, Tania del Rio/available from comics and book stores and archiecomics.com.

Review by Michael Vance

Recently, Marvel Comics decided to begin making their comics available online. Dubbed Marvel Digital Comics Unlimited, the program will boast 2,500 comic books available for viewing, with 20 additions every week, for about five dollars a month. The “classics” will be included, of course, to help (hopefully) new readers become familiar with the company’s flagship characters, such as Spider-Man, The Hulk and Captain America. So, is this a good thing? The short answer is “yes.” The long answer is more involved.

For years, many comics fans have feared the encroachment of the digital age into their beloved hobby. Their trepidation has centered mainly around the belief that, once comics are put on the ‘net, or on CD-ROM for home viewing (which has already been done), they will one day no longer be able to purchase the single-issues and paperback collections that bring so much enjoyment. As a fan, I’ll admit the thought is disturbing. After all, the comics experience is not just visual, it’s tactile. There is no substitute for holding that colorful pamphlet in your hands, enjoying the brightly-colored artwork on slick paper, then tucking your newest addition into the rest of your carefully managed collection of four-color fiction.

It’s that very experience, however, that leads me to believe that there will always be some individual or entity that will be publishing comics on paper. Human beings like to “show off” what they have accumulated, and you just can’t do that effectively on a screen.

The upshot of Marvel’s venture is that it will help introduce new and younger readers to the work of individuals who broke fresh and exciting ground, not just in comics, but in entertainment itself. The likes of Lee, Kirby, Ditko, Romita, Sr. and many others will come alive for yet another generation. Ultimately, it will drive most of them to seek out that material in a more tangible form.

Fans shouldn’t fear Marvel’s foray into the digital universe. They should embrace it as an investment in comics’ survival.

Review by Mark Allen