Tuesday, August 28, 2018

Longbox Junk - The X-Files part 1: Specials

Let's get this out of the way first. . .I'm a HUGE X-Files fan!

I'm even going to step outside of the box of nerdly comfort and openly declare that I even like the seasons with Agent John Dogget.  Yeah. . .I said it.  Not every episode was great.  I'll admit that there are a lot that are nothing but filler and "Monster of The Week", but when the show hit the mark, it NAILED it dead center.

But That's the T.V. show.  I'm here to talk about comics.  In particular, the 41 issue Topps run from 1995 to 1998, which coincided with the 2nd through 5th seasons of the T.V. show.  At the time, these comics were red-hot collectibles.  Today. . .they're pretty much Longbox Junk, as far as their value goes.

Before we get to the main ongoing series, let's start off by taking a look at 4 "Special" one-shot issues that precede the first issue: -2 (reprinting stories from X-Files Magazine), -1 (polybagged with Hero Illustrated), #0 (adapting the pilot episode of the T.V. show) and #1/2 (a Wizard Magazine mail in offer).

Let's do this!

(TOPPS - VOL. 1)


SCRIPT: Stefan Petrucha & John Rozum
PENCILS: Charles Adlard & Jean-Claude St. Aubin

These two short (8 page each) stories are reprinted from X-Files Magazine Issues 1 & 2 and came out in this "-2" issue about halfway through the ongoing series run (around issue 22)

Of the two stories, the first is the better. "The Pit" is about mysterious goings-on at Oak Island's famous money pit. There's not much to it, but the dark and moody art by Adlard (showing a definite improvement over early issues of the ongoing) sells it quite nicely.

The second story, "The Silent Sword" deals with a haunted samurai sword and is pretty forgettable, with art that is pretty much 90's superhero style and not really a good fit for an X-Files story.

SCRIPT: Stefan Petrucha
PENCILS: Charles Adlard

This short comic was originally polybagged with Hero Illustrated #21 back when comic companies did cool things like that. . .

It deals with Mulder and Scully investigating an artist whose models keep disappearing. He insists it's aliens but ends up in prison, where he himself is abducted.

Overall not a great story. It's all really a tie-in promotion for a set of new Mars Attacks cards Topps was putting out. Adlard's art isn't good here either. . .he completely fails to capture the likeness of Mulder and Scully.


SCRIPT: Roy Thomas & Chris Carter
PENCILS: John Van Fleet

In this adaptation of the pilot episode of the X-Files T.V. show, F.B.I. Agent Scully is assigned to assist/spy on Agent Mulder during his investigations of the "X-Files" (cases deemed strange and unusual by the F.B.I.).

Their first case together involves a series of unexplainable killings in the Pacific Northwest. Mulder believes extraterrestrials are to blame, while skeptic Scully believes a serial killer is responsible. Turns out both are right when the killer is revealed to be a comatose boy being controlled by extraterrestrials.

Unfortunately, there seems to be forces working against Mulder and Scully as all their evidence disappears.

Overall, a fine adaptation of the pilot episode, but nothing new to be seen, as it's pretty much copied scene for scene. The dark and surreal painted art by John Van Fleet is spectacular and fits the story perfectly. Too bad he couldn't have been the artist on the regular series.

SCRIPT: Stefan Petrucha
PENCILS: Ted Boonthanakit

This short comic was available as a special offer in Wizard Magazine (R.I.P.) #53 about a year into the ongoing series run (around issue #12) but takes place before the first issue of the regular series.

The story involves a series of murders that seem to have been committed by a comatose man. Mulder believes that he is projecting his spirit, or "Tulpa" by way of ancient Eastern mental meditation practices, but at the end of it all nothing is ever proven.

This story was pretty bad. It REALLY feels like something that was rushed out to take advantage of the huge popularity (at the time) of the X-Files comics and show. The art is terrible and the colors are way too bright for the subject matter.

Overall. . .weak story, crappy art, and garish colors. Not good.


As a big X-Files fan, I was pretty disappointed with this first handful of "special" issues, with the exception of the adaptation of the pilot episode in issue 0. Even that was pretty much just a by the numbers straight copy of the T.V. script supported by fantastically strange artwork, but it was definitely the best of the bunch.

The other three issues just felt like like there was hardly any effort put into them.  Maybe that was the case, seeing as they were giveaways from other publications, but still. . . a huge disappointment.

I can't really suggest any of these except the 0 issue to anyone but rabid X-File fans such as myself. A damn shame, and not a great way to start off.

Up Next. . .

More X-Files!

Now that the "specials" are out of the way, let's get into the regular series. 

Topps X-Files Issues 1-10.  Be there or be square!

Tuesday, August 21, 2018

Longbox Junk - Batman: A Death In The Family

"A Death In The Family" was a four issue "event" that, although it's pretty much considered a standalone story, ran in the regular ongoing Batman series in late 1988, early 1989 (Issues #426-429).  If you skip around the internet a bit, you're going to run across the story on just about any "Top (insert number here) Batman Stories" list you find.

But is it really any good when a hard look is taken at it?  Or are people just knee-jerking it onto "Best Story" lists because of the impact on comic book history of the death of a major supporting character (SPOILER: Jason Todd Robin)?  Does the story itself hold up under scrutiny, or is it coasting along on the noteriety gained by having comic fans actually call a 900 number (anyone remember those?) and decide if Robin died or not?

Let's find out!

Batman (Vol. 1) Issues #426 - 429

DC (1988 - 1989)
SCRIPT: Jim Starlin
PENCILS: Jim Aparo
COVERS: Mike Mignola
BATMAN (Vol 1) #426

Was late 80's Batman REALLY this bad?

Maybe I'm getting ahead of myself a bit here with the conclusion at the beginning of the review, but I kept asking myself that same question the whole time I was reading this issue. For a storyline that regularly hits "Top 10 Best Batman Stories" lists, I have to wonder if perhaps past controversy and almost 30 years of passed time have painted this story with a rosier hue than it deserves.

Let's start with the story itself. In a nutshell, Robin (Jason Todd) is getting a bit out of hand and Batman decides to take him off duty until he can get his head straight. Jason comes across a box of his parent's old papers and discovers that his mother was not his real mother, and tracks down 3 possibilities. . .all of them in Africa, so he decides to go hunt down his real mother without Batman.


The Joker escapes Arkham Asylum (again) and decides to sell a cruise missile that he just happens to have lying around to Middle Eastern terrorists in order to rebuild his lost fortune. Batman gets wind of the scheme and follows Joker to Beirut. . .where, by coincidence, Jason is ALSO tracking down the first woman who might be his real mother. Batman and Jason run into each other. . .purely by coincidence. . .when it turns out that. . .by a strange coincidence. . .Batman's lead and Jason's lead are together. They team up as Batman and Robin to follow and. . .by coincidence. . .discover that both are involved in Joker's nuclear missile deal!

In the end, Batman and Robin take down the terrorists, the missile is destroyed, Joker escapes, and Jason finds out that his lead isn't his mother. . .she's just a run-of-the-mill super-secret Israeli intelligence agent that was in his father's address book by some strange coincidence. Batman decides to team up with Robin and help him investigate the remaining two leads. The End, To be Continued. . .

That's a lot of story packed into 44 pages, I'll give it that. Unfortunately, it's not a lot of great story. The dialogue is stilted, the story is completely propped up by a laughable series of coincidences, and there are some utterly ridiculous plot points that are just sort of rushed by. . .such as the Joker speaking fluent Farsi and being able to pilot a C-130 cargo plane. . .not to mention being able to assemble and dissemble nuclear missiles, making him a linguist, a pilot, and a nuclear engineer in one issue!

What I'm trying to say is:
It's bad. The story in this issue is bad.

The art is okay, but not much better than that. If I was asked to describe the art in this issue with one word, it would be "Workmanlike". It doesn't take any chances. Aparo has always had a problem with faces, in my opinion. Without masks, his characters all pretty much resemble each other. I have to say that he DOES draw an awesome Batman when he's suited up, but out of costume, not very impressive. There isn't a single page or panel in this issue that really stands out or is memorable in any way. It's just. . .workmanlike. Utterly average.

Overall, for a story that's praised for being one of Batman's best. . .I just don't see it. It's clunky, entirely reliant on coincidence, and has average art.
BATMAN (Vol. 1) #427

The second issue into this often-praised storyline doesn't give me any more confidence in internet top 10 lists than the first issue did. But once again, I'm a bit ahead of myself.

To summarize the story at hand. . .

Batman and Robin travel back to Beirut to beat the location of Lady Shiva out of the criminal underground. They discover that she was taken captive by terrorists and head out for the rescue.


The Joker heads to Ethiopia where. . .by coincidence. . .he just HAPPENS to have had past dealings with the third woman who is possibly Jason Todd's mother and blackmails her into stealing medical supplies for him.


Back in Lebanon, Batman and Robin take out an entire camp of terrorists only to discover that Shiva wasn't a captive, she was their instructor. She decides to take the opportunity to test her skills against Batman while he happens to be there, but Batman and Robin manage to take her out with the help of Robin sucker-punching her in the back of the head. They inject Shiva with some truth serum and find out she's not Jason's mother either. . .so it's off to Ethiopia!

Batman and Robin track down Dr. Sheila Heywood in a refugee camp and *Insert best Maury Povich voice here* "She IS the mother." Jason does a happy dance and the audience goes wild!

Unfortunately. . .and by complete coincidence. . .Jason discovers his new mom's involvement with the Joker and follows them to a warehouse full of medical supplies before deciding to bring Batman in on the action. Batman follows trucks full of Joker gas with the fold up mini copter he just HAPPENED to bring along while Robin watches the warehouse.

Robin says, "Screw this sitting around!" and goes in for the rescue. . .unfortunately, his mom betrays him and sells him out to Joker, who beats him with a crowbar and then leaves Jason and his Mom in the warehouse with a bomb. Jason tries to come to the rescue, but is too weak and too late. The bomb goes off JUST as Batman arrives back on the scene. The end, to be continued. . .

Once again, a LOT of story packed into one issue. But that's how they rolled back then. What would take a year to tell now, they crammed into 4 issues.

But like the first issue, even though there's a lot to it. . .there's not a lot that's good. There's two wasted pages worth of exposition 'splaining what happened in the last issue for starters. Then there's the stilted, sometimes hokey, dialogue (who the hell in the 80's still called young men "lads" outside of the U.K.?) and the story's complete reliance on coincidence. I have to admit that the heel turn by Robin's mom was an actual surprise, but other than that, this was pretty bad.

The art is pretty much the same, utterly average work as in the first issue, and pretty much what I expect from Jim Aparo. . .a great Batman in costume, everything else not so great. I have to admit that the page of Joker beating Robin with a crowbar DID definitely stand out, and I can see why that particular page is considered iconic, but the rest of the art in this issue is nothing but average.

Overall, except for the unexpected villain turn of Robin's mom and the one single outstanding page of art with Joker beating Robin, this issue of "Death In The Family" was average at best.
BATMAN (Vol. 1) #428
The third issue of "A Death In The Family" returns to regular 22 page size, so there's not quite as much packed in. Not sure why they quit with the double-size issues on this story, but I have the feeling that they either wanted to stretch it out to 4 issues or maybe they just had four SWEET Mignola covers and didn't want one to go to waste. In any case. . .

The story starts off with Batman searching the ruins of the warehouse that Joker 'sploded with Robin and his crappy mom inside. Batman's search quickly turns into about 6 pages of flashback exposition going back to when he first met Jason up until the events of the previous issue when Robin finally disobeyed one order too many.

He comes across Dr. Heywood, who gives a dramatic final monologue about what a hero her son was before dying, and then he finds Robin and we get that iconic full page of sad Batman carrying the limp, bloody body of Robin out of the ruins.

Bruce Wayne makes funeral arrangements and then decides it's time to take down Joker once and for all. Following a message left for him, Batman heads to U.N. Plaza only to be met by Superman, who was sent by the State Department to keep Batman in line because SURPRISE! The new Iranian Ambassador is The Joker and he has diplomatic immunity! The end. . .to be concluded.

Okay. I'll admit that the scenes of Batman searching the rubble and finding his dead partner are outstanding and iconic. . .but they take up about 3 pages. The rest of this this issue is full of exposition and probably the worst twist of the whole story with Ambassador Joker. The confrontation between Batman and Superman is drawn out too long and except for a pretty funny "You're gonna break your hand on my face, Bruce." moment when Batman takes a swing at Superman, just seems like an excuse to throw Superman into the story.

The art, with the exception of a few panels, including that iconic full-pager of Batman carrying dead Robin, remains painfully average. Aparo's trouble with faces is obvious when Superman looks EXACTLY like Bruce Wayne, all the way down to his hairstyle.

Overall, a ton of exposition, an extremely cheesy twist, and (mostly) dull art makes this issue average at best. But since it's not double-size, at least it's a pretty quick read.
BATMAN (Vol. 1) #429

And so we come to the fourth and final issue of the legendary "A Death In The Family" story. . .and I say Thank God It's Over, because (except for a few scattered moments) it's been pretty bad. Let's do this!

So here's the story: Batman gets informed by the State Department that he is to leave Joker alone or Superman will be there to take him down. Batman basically tells the most powerful being on earth to sit and spin, as Batman will tend to do.

We get some nice scenes of Batman starting to crack around the edges and deciding it's finally time to not only stop the Joker, but to KILL him. He knows Joker has something planned for the U.N. General Assembly, so he manages to get in as Bruce Wayne and wait for his chance to strike.

Sure enough, Joker unleashes his Deadly Joker Gas™ on the assembled delegates, but Superman is there in disguise and huffs all the gas in the room up like he's taking the mightiest bong swat in history. As he flies off to blow the smoke somewhere safe and enjoy the high, Batman takes over.

It all ends with Joker running for his life from a deranged Batman out for blood. The chase ends in a helicopter above the ocean where one of Joker's henchmen sprays the cabin with gunfire, hitting Batman, Joker, and the pilot. . .oops! The helicopter crashes and Superman returns to save Batman while he shouts at Supes to ignore him and find Joker instead. Of course, they don't find a sign of Joker and the story ends with a grim and gritty solo Batman.

This was probably my favorite issue of the four. . .but even given that, it barely elevated itself above "pretty good".

I liked "Vengeance Batman" a lot, and there was some good internal dialogue going on as he finally broke and decided enough was enough. Unfortunately, the whole "Ambassador Joker" setup was a pretty cringeworthy plot device.

Speaking of cringeworthy, Aparo's art remained just as sub-par on this issue as on the previous 3. Batman and Bruce Wayne look exactly alike, and Aparo's helicopter was laughable. That guy has real problems with faces and vehicles. One wonders just how the hell he managed to stay on as one of DC's main artists for so long. I'll admit he draws an excellent Batman in cape and cowl, but everything else? Average to bad.

Overall, this was a pretty good end to the story. I think maybe the thing I liked best about it is that Batman was the loser in this one. It's not often we see a story where Batman doesn't win against all odds.

Overall, I found "A Death In The Family" to be pretty bad.  It had moments here and there, but nothing to justify the reverence shown to the story on multiple "Best Batman Stories" lists.  When you take a close, fair look at it for what it is, one finds a story padded with exposition, hokey dialogue, and completely propped up by a sequence of laughably improbable coincidences. . .not to mention plot devices (Joker as Iranian Ambassador with Diplomatic Immunity for one glaring example) that severely test even the most flexible suspension of comic book disbelief. 

While the covers by Mike Mignola are fantastic, the interior art by Jim Aparo is utterly average and workmanlike, with only a very few scattered panels ever elevating themselves above the rest.
Although this story may have a place in comic book history, I found it to be average at best and pretty bad in general.  "A Death In The Family" has definitely coasted into comic history on notoriety, not quality.

Up Next. . .

It's been a while since I threw down on an entire series. . .so let's do this!

Topps X-Files.  All 41 regular issues, plus annuals and specials.

Be there or be square.

Wednesday, August 15, 2018

Longbox Junk - Mother Russia

Except for the Walking Dead, I'm not really a fan of black and white comics at all.  But when I saw these three new issues sitting on the shelf of my local comic shop for the measly cost of $1.50 each, I HAD to get them.  $4.50 total for 3 new comics? Hell, son. . .the first issue of Doomsday Clock on the shelf at the same time cost me $4.99 by ITSELF!

So I bought these comics based on the cover price and not knowing a thing about what was inside.  Did I get my $4.50 worth? Read on!




The zombie apocalypse occurs during WWII in 1943 is the basic premise here.  A lonely Russian sniper (named Svetlana) holed up in a fortified bell tower's routine is interrupted by the sight of a baby among the walking dead below.  She leaves her safe place and manages to rescue the baby, but is prevented from returning.  They are saved by another human survivor, but he is revealed to be a Nazi officer. 

At this point, I'm thinking that Nazis and Zombies are about two of the most overused villains in ANY medium. . .but surprisingly, there's a lot to like about this comic.

First off, the setting of Stalingrad is a great idea.  Hell on earth made even more hellish.  Second, the art is fantastic.  It's in black and white, but very well done and it doesn't shy away from the gore.  Third, the story moves at a frantic pace due to the sparse dialogue and a "Show, don't tell" storytelling method.

But there's some bad as well. . .the art falters toward the back half of the issue, with a few pages being blurry (probably a reproduction or printing error. . .but still) and some panels looking sketchy and unfinished.  Also, the frantic pace of the book makes it an EXTREMELY quick read.  It literally only took me five minutes to read this comic.  In other words, it's very light on actual story.

All in all, this was a good comic.  There were a few issues, but if you're looking for fast-paced zombie action with an unusual setting and great art at a very nice price, you can't do much better than this.


Svetlana's savior introduces himself as Major Otto Steiner and, after making their way to his safe house, tells her what he knows about the zombie apocalypse. . .which isn't much.  They agree on a plan to put aside their differences and try to make it back to her bell tower, which is a better position with enough food and ammunition to last until winter. . .

This issue slows down the extremely brisk pace of the story for a bit more storytelling about the onset of the zombie apocalypse.  It's still a pretty quick read, but I liked this issue more than the first.  Steiner's description of the collapse of his brigade, combined with the great artwork of the Nazi unit being decimated by the undead is fantastic.

But once again, it's not all good.  The baby is more of a plot device than an actual person , and despite the art being generally great, there are places where it looks rushed and unfinished just like in the first issue.  

Overall, there were a few flaws but I found this issue superior to the first.  As I read it, I was thinking that this story would make a great movie.  The writing and art are both very cinematic in nature.

And finally. . .


During a desperate rush for Svetlana's sniper nest, Major Steiner sacrifices himself so that Svetlana, the baby, and Steiner's beloved dog can live. . .

This final issue was pretty much one long running battle as Svetlana and Steiner push their way through a zombie horde blocking their way back to Svetlana's fortified bell tower.  The art is utterly brilliant and carries most of the weight of the issue as there is very little dialogue.  It's an extra-sized issue, but I could hardly tell because of the extremely fast pace.

Steiner's explosive sacrifice at the end was a bit predicable and the "after credits" epilogue (that looks like it's setting up future stories in the same setting with different characters) seems unnecessary for the story at hand, but those were really the only small things I could find wrong with this issue.  All in all a great ending.

I'd definitely say I got my money's worth on this three issue mini.  I've never heard of Jeff McComsey before, but this series was pretty much a one-man show, with him wearing ALL the hats.  His art was cartoony, but detailed at the same time, and a great fit for the story.  The overall impression I got from this series is that the art and the storytelling are both very cinematic and that this story could easily be translated to the screen.  There's an economy of dialogue and a fluid motion to the art that makes me want to keep an eye out for more of McComsey's work.

But be warned. . .that same economy of dialogue and cinematic artwork leads to an EXTREMELY fast reading experience.  It literally only took me 20 minutes to read all three issues. . .and I mean literally in the literal sense.   It only took me 20 minutes to read this series.   Also, there's no character development to speak of and the generally fantastic art does occasionally fail, looking sketchy and unfinished in several places.  

Despite a few small flaws, I'd say overall that Mother Russia is a VERY nice little piece of Longbox Junk and I highly suggest it if you like Nazis, Zombies, or Nazi Zombies.  And really. . .who DOESN'T like Nazi Zombies?

Up Next. . .

How about we tip a sacred cow here at Longbox Junk? 

Batman: A Death In The Family - A.K.A. "The one where Robin gets killed by Joker"

Yeah, yeah. . .I know.  It's 4 issues in the middle of an ongoing run, but at this point it's pretty much considered as a story on its own when anybody talks about it.

Classic or Crap?  Be there or be square!

Tuesday, August 7, 2018

Longbox Junk - Captain America & Iron Man

So what we have here is a relic of the time when Marvel brought back the original Captain America after a fairly lengthy absence (about 4 years) when Bucky Barnes (AKA Winter Soldier) took over as Cap.  For a short time, both Steve Rogers AND Bucky Barnes were Captain America.

Marvel returned to the original numbering, but ALSO wanted a nice, shiny, collectible Captain America #1, so they ran the original numbered series AND a new series starting at #1 at the same time.  Here's one of the handful of team-up series they ran before Marvel decided they didn't need two Captain America's.



Marvel (2012)
SCRIPTS: Cullen Bunn
PENCILS: Barry Kitson
COVERS: Kalman Andrasofszky

Captain America and Iron Man team go undercover to infiltrate a high-tech weapons show after hearing rumors that something extremely rare and dangerous will be up for bid. . .the Harvester Virus, which not only infects and shuts down any technology, but also downloads the details of any tech it comes in contact with.

 The auction is interrupted by an attack from Batroc and his B-list supervillain team (Batroc's Brigade) and the story goes from James Bond to punching everyone in sight real fast. Unfortunately, Iron Man's armor is infected by Harvester and the issue ends with the heroes at a severe disadvantage.

Overall, I'm half and half on this issue. I really liked the first half, with Cap in disguise and Iron Man as Tony Stark infiltrating the weapons show and working their separate angles on the information they have. There's some nice banter between them and there's a smooth heist movie/ James Bond vibe to it.

But then Batroc and his gang attack and it quickly turns into a typical superhero/supervillain quip-filled punchfest.

The art throughout was very nice and the cover was very well done. I was only familiar with Kitson's 90's work at DC (on JLA and Azrael) and was pleasantly surprised to see something more recent by him.

All in all, not a bad issue. . .a fantastic opening half and a ho-hum back half with great art throughout.


The fight between Batroc's Brigade, Captain America, and Iron Man comes to an end as Iron Man battles against his own armor and Cap is outnumbered. The high-tech science thief who hired Batroc and Company ( Kashmir Vennema) orders her team to retreat, allowing Cap and Iron Man the chance to regroup.

While Iron Man tries to find a solution for the Harvester Virus, Cap goes to a safe house and suits up, but is interrupted by Batroc and his team, who feel that since Cap has been gone a while (this story takes place after the end of the Winter Soldier Saga), they need to kick his star-spangled butt for old times' sake.

Iron Man shows up to save the day in a suit of armor cobbled together from things he found at the weapon show. After some punching and quipping, the heroes discover that M.O.D.O.K. and A.I.M. are behind all the shenanigans and the issue ends.

This issue was pretty much a running battle from start to finish. There were some decent moments here and there. . .Iron Man reviewing one of Cap's fight quips and telling him to stop trying to be hip when he's about 100 years old, for example. . .but other than a few moments here and there, it was pretty much one long tiresome superhero/supervillain punch party that's been done over and over since. . .well. . .since the beginning of comic books.

Kitson shares art duties this time with Jay Leisten on inks, but the art was still good from end to end, with the fantastic cover and the design of Iron Man's patchwork military-style armor standing out.

Overall, this issue was pretty weak, compared to the first. It follows a well-worn "middle issue" path of resolving the first issue conflict and setting up the final issue conflict with an extremely "by the numbers" feel that a great cover and decent interior art can't hide.


The battle to recapture the stolen Harvester Virus from Kashmir Vennema continues, with M.O.D.O.K. joining the fight and Captain America having to carry most of the weight with minimal assistance from Iron Man while he reboots his armor.

 In the end, Cap recovers the virus and captures both Batroc and Kashmir while Iron Man neutralizes the virus and takes down M.O.D.O.K and the rest of Batroc's B-listers. All's well that ends well.

Once again, this issue was almost nothing but fighting. There were decent moments scattered here and there. . .Captain America telling Batroc he's not even on his top ten villain list after Batroc was bragging about being Cap's arch-nemesis, for example. . .but really, this was 99% punching and quipping.

Overall, this final issue was okay and not more than okay. It's a perfect example of a by the numbers comic book. It's not BAD, it just doesn't really try to elevate itself past an average level.


All in all, this mini was okay.  If you like a lot of fighting with a little story instead of the other way around, then you'll probably like this more than I did.  The writing is brisk and I blew through all three issues in about 30 minutes.  The art was surprisingly good throughout.

For what it is, this is a pretty inoffensive and by the numbers mini. A Captain America team up book running alongside a regular solo series was a solid idea, but with extremely average and mostly-forgettable efforts like this one, it's no big surprise that it didn't last very long.  It just seems like they weren't trying very hard.

Up next. . .

Zombies! Nazi's! NAZI ZOMBIES!

Mother Russia 3 issue mini.

Be there or be square!