THE DESTRUCTOR, No. 4 (Conway / Ditko, Milgrom; Atlas/Seaboard, 1975)

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Every Wednesday morning, I make a blind pull from Siri's (randomized) choice of one of the 20 alphabetically-organized shortboxes that constitute my comics collection, (re-)read it, write about it, and publish whatever emerges. Earlier installments live here.

Panels from THE DESTRUCTOR No. 4, by Steve Ditko. A red and blue-garbed hero covers his ears to resist the siren's song of "Music that is weirdly seductive" comng out of the mouth of a wide-eyed chanteuse.

(Box08): One of those oddities that's been in The Collection since the early days, an enjoyable enough yarn from Gerry Conway of a mostly forgettable and Jersey-proud hero (somewhat reminding me of Orion mixed with Hunter Biden – IDK, first combo that came to mind) encountering a band of superpowered Outcasts living in an underground city in New Mexico made by Oppenheimer collaborators who hated their work and resolved to make a perfect world which is, as always, anything but.

Also: Ditko!

If nothing else, this week's random served as a fascinating launchpad into learning a bit of the history of this short-lived (it folded in 1975, a year after its founding, which is a shame: those perks offered are massive, even now) Martin Goodman-initiated effort at competing with Marvel and DC:

Atlas/Seaboard offered some of the highest rates in the industry, plus return of artwork to artists and author rights to original character creations.[7] These relatively luxurious conditions attracted such top names as Neal Adams, Steve Ditko, Russ Heath, John Severin, Alex Toth and Wally Wood, as well as such up-and-coming talents as Howard Chaykin and Rich Buckler.

A total of 23 comics titles and five comics magazines were published before the company folded in late 1975. No title lasted more than four issues.

Apparently in 2019 producer Steven Paul paid a lot of money to buy the characters in an effort to make a cinematic universe (featuring a writer's room led by Akiva Goldsman)...

Paul, whose credits include Ghost Rider, Ghost Rider: Spirit Of Vengeance, andGhost In The Shell, has also signed Oscar-winning screenwriter Akiva Goldsman (A Beautiful Mind) and his Weed Road Pictures to oversee a writers room to exploit the properties, which include Phoenix, Tiger-Man, Iron Jaw, The Dark Avenger, and The Grim Ghost.

SP Media Group struck the acquisition deal through Atlas Comics library owner Nemesis Group Inc. and its principal Jason Goodman, who is the grandson of Marvel Comics founder Martin Goodman.

Production on the first project is anticipated to commence during the second quarter of 2020 with a release expected for 2021. The companies intend to produce and release at least one superhero project each year after that. The writers room will get to work on creating 10 initial outlines and will choose the first project after that.

Given that this seems to be the only news of the project (and Paul's… less than stellar track record) I'm guessing that this venture met the same fate as its comics predecessor. A shame. They could've cashed in on the BARBENHEIMER craze - I mean, come on: Jon Voight was excited:

Jon Voight, a longtime family friend of the Pauls (Paul is Voight’s manager) turned up to a press conference at the Carlton on the Croisette and said he would help with screenplays and anticipated acting in some of the films. He stars in family drama JL Family Ranch 2, which Pauls’ Crystal Sky Pictures is selling in Cannes.

Though I’m saddened that we’ll never get a Jon Voight-led Outcasts film, I did get to peruse some great Ditko art and learn a strange bit of comics history to boot: a midmorning well spent.

warning: apple hot-take ahead

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While it'd be nice to be excited by an Apple announcement again, I'm still – with the exception of the M1 Mac Mini because I love Mac Minis and the iPhone XR (see below) – not there. 10-12 years, give or take? I mean, look: it'll be cool to not have to have a stash of hybrid USB-C / lightning cables lying about getting all knotted and shit, but finally doing something (good) to comply with an EU law kicking in next year doesn't exactly scream innovation.

At this point, even a wrist-worn, non-invasive glucometer that talks to my insulin pump wouldn't get me to buy another Apple Watch. Already having multiple bluetooth devices attached via subcutaneous injection (though with better battery life than anything from Apple) kinda sours me on another device strapped to my wrist and/or person. I’m happy with my rotation of G-Shocks.

Indeed, it would seem that I've officially reached the "angry old man" phase of technology, sitting on my porch, whacking flies with my cane, snoring under my hat and waking up screaming to no one in particular that I will be sticking with my iPhone14 Pro until the bitter end which I got only because my beloved XR faded into an ignoble, unchargeable, cracked death after five years and even then thank you very much.

THE CONSTANT GARDENER (John Le Carré, 2000)

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While THE SPY THAT CAME IN FROM THE COLD remains my favorite Le Carré, this is a close second (though the protagonist here, Justin Quayle, may be my favorite; yes, even more than the ubiquitous George Smiley). At turns thrilling, maddening, and poignant – the Le Carré trademark – GARDENER is also possessed of a deep wellspring of humanity throughout, of identity and understanding found through shared purpose (and the regret that it came too late). Haven't seen Fernando Meirelles's film adaptation since it came out, but might have to revisit at some point. Recommended.

P.S. very excited for Errol Morris's upcoming Le Carré documentary, THE PIGEON TUNNEL.