It happened a second time, of course.

In all, I enjoyed Mind MGMT Vol. 2: The Futurist more than I did the initial volume. While for most of the volume I still felt Meru lacked a certain quality to make the reader really care for her, I did like the offbeat "team" that emerges in these pages. Certainly writer Matt Kindt layers each page with characters with increasingly more unusual mental powers, and Kindt's exploration of these is fascinating -- what would it really be like if you could see the future? Control minds completely, other people's or even your own -- making the reader think in the way good science-fiction should.

As with Mind MGMT Vol. 1, however, there's a twist here, one that again caught me flatfooted and that recasts not just elements of this volume but of the first one as well. By the end of this book, every complaint I had about Mind MGMT has been answered, every aspect that seemed "off" to me now explained and fully integrated into the story.

Kindt knows just what he's doing here, no question, and with this volume's great cliffhanger, I'm now firmly along for the ride.

[Review contains spoilers]

Whereas the first volume of Mind MGMT spotlighted Meru mostly on her own -- in a vacuum that, in my opinion, distanced her from the reader -- this second volume allows Meru to interact with the book's burgeoning supporting cast. The beginnings of this were in the previous book -- Henry Lyme, of course, but also Perrier (though this time, it's the other Perrier), and the "futurist," Duncan. Meru imagines the four, plus the Musician, as a dysfunctional family, and it's that distinction that separates them from your average super-team; far from costumed do-gooders, Mind MGMT's "heroes" are all survivors (knowingly or not) of the Mind Management organization's implosion, and it's interesting to watch Meru try to conceptualize and find her place with them.

This book's true turning point, however, is the revelation that Meru is a former Mind Management agent with the ability to dampen powers, and that she had a relationship with Bill, another former agent now mind-wiped and working for the CIA. Indeed, Kindt surprised me entirely -- even when Ferris takes the pseudonym "Bill" I didn't get it, nor did I consider too strongly why the woman Bill is seeing is bald (what purpose, that is, Kindt would have for making her bald, which is to further prevent the reader from realizing this is Meru). It was not until the end of chapter 11, when Bill actually speaks Meru's name, that I finally understood. Lesson learned: every character and every element of this book must be examined much more carefully.

My chief complaint about Mind MGMT Vol. 1, the one element that I stated previously still stuck out to me, was why Meru trusted Bill so implicitly. Some of Meru taking her quest to find Lyme in stride stemmed from her having searched for Lyme previously (even if she couldn't remember doing so), but it seemed off to me that Meru should trust Bill so implicitly when he showed up at her door, when every movie and comic book cliche suggests Bill's sudden appearance would definitely make him a bad guy. Instead, we find once again that Kindt has it all under control, planning everything -- even what looks like a misstep -- from the beginning.

This volume still includes the Mind Management guide rules up the side of the page, but also for a good part of the book this is replaced by excerpts seemingly from Meru's book (though the exact authorship is a little fuzzy). My pet theory is that the woman mentioned in the book, who murdered her family and is last seen in prison, is actually the Eraser, whom Duncan frees from prison; the Eraser seems at this point to be the book's main villain, working to restart the Management organization. It remains a little problematic to keep having to pause every page to read the excerpt on the side, connect it back to the page before, and then continue; I'm not quite at the point where I'll read the main pages first and then start over and read the side-type second, but almost.

Futurist's cliffhanger grabbed me more than Manager's did with Meru forgetting Lyme and returning to her life. Now, Meru and Bill are on the run, having both escaped the Eraser and shrugged off Lyme's team. Both groups worry what will happen when Meru "picks a side." I'm reminded of the late, lamented Heroes here, where Peter's ability to mimic other people's powers made him one of the most dangerous characters even as he had no specific powers on his own. Meru is the same way, and her defection from Lyme's team makes their motives more questionable; I think we're entering a period of Mind MGMT where neither team is necessarily "good" or looking out for Meru's best interests. I'm curious to see that play out, with Meru battling both sides, as the series continues.

In my review of the Manager, I suggested that if a reader was going to read one chapter, they should stay for the whole book, because much is revealed about the whole story in the final pages. I'll modify that now to say that if you're curious about Mind MGMT, reserve judgment until you've read both Manager and Mind MGMT Vol. 2: The Futurist. The second volume clarifies and redeems the first; I wasn't sure about Matt Kindt's new series before, but volume two has made me a believer.
Warren Kremer (1921-2003) was one of the most talented artists in the history of comic books, but you’d hardly have known it. Over most of his career he drew the fantastic kid-friendly strips for Harvey Comics, including Casper, Spooky, Richie Rich, et al. He didn’t sign his work and until his name became known by fans he was kind of comics’ best kept secret.


Early in his career Kremer was drawing more adult fare, crime comics, and later he delivered some terrific covers for the Harvey horror comics. With this story of the infamous duo of Burke and Hare for Ace Comics’ Crime Must Pay the Penalty #2 (1949), which he signed, he showed he could handle drawing dead bodies as well as friendly ghosts.










Only a few more days until Halloween. Fill up those candy bowls for the visiting trick-or-treaters, but save the best stuff for yourself. Pappy's rule for Halloween: the kids get the cheap stuff.

No cheap stuff for you today. I’m showing all the stories from Atlas Comics’ Marvel Tales #119 (1953). The tales run the gamut from a golddigger/serial killer to mummies from outer space to choosing a new life, to...well, read on.

Unlike most horror comics of the era there aren’t any vampires or werewolves, and the mummies aren’t even Egyptian mummies. All in all it’s a fun issue. There is some variety, even humor to some of the stories. Besides the total silliness of the plot of “When the Mummies Rise,” drawn by Russ Heath, there is a shaggy dog joke ending to “They Gave Him a Grave,” illustrated by Larry Woromay. John Forte’s art is perfect for the serial killer story, “Collector’s Item!” I got a laugh out of the Marilyn Monroe panel in “The New Life!” drawn by Al Eadeh. Mac Pakula wraps up the issue with a story of a killer who escapes earthly justice only to find it in space.

I could not help comparing the cover by an unknown artist to an earlier cover by horrormeister Bernard Baily for Mister Mystery #11.


As a morbid child I used to think of what would be the most terrible way to die. High on my list was being buried up to my chin and set upon by ants. Despite having a higher ratio of skulls to head, the Marvel Tales cover is tepid compared to Baily’s.

























A week ago I showed a story drawn by Frank Borth, and I included the splash panel for his first Phantom Lady story in Police Comics #17 (1943). I have that story today, and you can see what a superb artist Borth was, one of the top-notch talents at Quality Comics. The story, though, is filler; a bit of fluff.

The Phantom Lady, who is Sandra Knight, has a beau named Don, who doesn’t have a lot to do in that first story. He appears again in our second story from Phantom Lady #22 (1949). I don’t know why Phantom Lady, still Sandra Knight, moved from Quality to Fox Features and got a new costume. I assume the reason no one notices Phantom Lady is Sandra is because in those sexy costumes no one is looking at her face.

Sandra’s boyfriend, Don, is back in “The Case of the Robbing Robot,” with more to do in this story. He gets to dress in drag. The story has some humor to it, and is drawn by Jack Kamen in his pre-EC days.