Plymouth Books

I discovered JMS' work on this when Supreme Power was about 2/3 complete, and was impressed enough that I bought the three compilation books. Since then, I've just been waiting for more. With the move to Marvel, I thought that Squadron Supreme would make for an interesting series, with more grit & realism than the usual beat-up-a-villain-each-week stuff. And I was right. The only complaint I can find with this is that I want more of it, and there doesn't seem to be, in the monthly series form anyway.

They managed to keep it going with the Hyperion vs Nighthawk bit, and the Ultimate Power limited series, both entertaining, but these days the problem with a storyline that actually challenges seems to be that you can't keep it going, and I have to wonder why. Are the ideas just not there, or is it the readers scared off by something that challenges their viewpoints on the world a little too much?

Anyway, hopefully they'll manage to bring this title back into the picture. If not, consider it yet another example of the sort of meaningful, quality writing we could be seeing out there.

Babylon 5 creator J. Michael Straczynski's excellent Supreme Power title came to an end, but the story isn't over yet. After a couple mini-series events, Supreme Power is relaunched under the Squadron Supreme title (which is where Straczynski originally took the material from and made it his own), and minus Marvel's mature themed MAX imprint. Now, this might not be a big deal to some people (though I doubt it), but thanks to this the sense of realism that Supreme Power had is gone. Not to mention that the action and events are predictable; which is something that Supreme Power never was. That aside though, there are a few great moments, including some nice action scenes (courtesy of Gary Frank), and Doc Spectrum's seduction by Power Princess should be seen to be believed and harkens back to what made Supreme Power so great. The other characters that populate here though, Hyperion, Nighthawk, Blur, etc., are quite wooden though. Oh well, I guess that everything Straczynski does can't be great. All in all, this is worth a look for Supreme Power fans, but this is actually better suited for new readers of the characters, and is more of a starting off point for future events that are hinted at throughout this book.

Babylon 5 creator J. Michael Straczynski's excellent Supreme Power title came to an end, but the story isn't over yet. After a couple mini-series events, Supreme Power is relaunched under the Squadron Supreme title (which is where Straczynski originally took the material from and made it his own), and minus Marvel's mature themed MAX imprint. Now, this might not be a big deal to some people, but thanks to this the sense of realism and ultra grittiness that Supreme Power had is gone. Not to mention that the events are predictable; which is something that Supreme Power never was. That aside though, there are a few great moments, including some nice action scenes (courtesy of Gary Frank), and Doc Spectrum's seduction by Power Princess should be seen to be believed and harkens back to what made Supreme Power so great in the first place. The other characters that populate here though, Hyperion, Nighthawk, Blur, etc., come off as kind of wooden though (or in Hyperion's case, more wooden than usual), but the good still outweighs the bad here. All in all, this is worth a look for Supreme Power fans, but this is actually better suited for new readers of the characters, and is more of a starting off point for future events that are hinted at throughout this book.

I have to disagree with Mr. Durham's assessment of the Squadron Supreme: the Pre-War Years hardcover. It may be something of a departure from its predecessor series - the excellent Supreme Power - but I'd hardly call it a disappointment.

Writer J. M. Straczynski and artist Gary Frank are both in top form here, doing what they do best. Straczynski had to face a major challenge here, carrying over the intense character development he mastered in Supreme Power to a series with twice the number of key characters. I think he passed with flying colors, even if it meant the characters featured so prominently in Supreme Power had to take a back seat so we could get to know the rest of the Squadron. He also had to overcome the fact that the whole "government sponsored superhero team" idea has been done to death, and while Squadron Supreme may not have the same impact as Ellis's Authority run or Millar's Ultimates, it still presents a fresh take on a timeworn subject.

Gary Frank's artwork is fantastic as usual. Beyond the dynamic character designs and powerful action sequences, he has a skill for displaying a wide array of emotion on his characters' faces that is second only to Steve Dillon.

I will second the argument that losing the MAX label was a poor decision. The more mature, but never gratuitous, content in Supreme Power added a sense of realism that Squadron Supreme is lacking. Sometimes PG-13 just isn't enough to tell the story the right way.

Overall, Squadron Supreme: the Pre-War Years is quite satisfying. It serves as an excellent transition between Supreme Power and the ongoing Squadron Supreme series, introducing the key players and setting the stage for things to come.

This book, as an anthology of short sci-fi/noir comics, bored me. As I read through story after story I was hoping to come to the one which would redeem this book for me, but I never did. Some of the stories are slightly interesting, but none of them deal with the premise well enough to be interesting for what they are. The theme seems to be that each story takes place in New York City, if it were populated by robots, and these are the ground rules. Each writer has an idea that would be ok by itself, but the robot angle is just forced, and leaves me feeling a little irritated.

The art was pretty decent, however. Some of the visuals were impressive. In particular, I was impressed by Paul Lau.

It's pretty much what it says it is. It's fairly entertaining. I haven't read any of the other NYCMech books from Image, but I'd bet they're along a similar vein.

My only real gripe is that for the most part all of the robots in the stories are pretty much just people that look slike robots. They act and do things exactly like any robot would with the occasional robot-thing that sets them apart. It's a good comentary on human behavior, I suppose. The art is entertaining as well.

Imagine if Nick Hornsby, George Romero, Ray Bradbury, Candace Bushnell, Bret Easton Ellis and Isaac Asimov were having a potluck dinner at Ed McBain's house (McBain brought the appetizer) and began to contemplate a city filled with robots. No people, just a bunch of happy and sad, overworked but loved, hopeful and despondent, logical and insane robots. Stephen King then drops in late, (he brought desert) and joins in the already engaging chat. A couple of over-filled wine glasses later the talk would begin to get juicy.

24seven is like that - "juicy."

An anthology of loosely connected (largely by theme) stories finely written and drawn by some of the best comic book writers and artists currently working today, 24seven is a book to read and peer at repeatedly. It's one of those books you have on your night stand that once finished can be enjoyed over and again by discovering details not noticed at first glance.

It would have been easy to merely make the stories sardonic throughout (there are a few, thankfully...one needs hefty doses of sardonic at times) but some of the stories are, well they are actually sweet. A dude-bot finds his future love at a bar while enjoying a night out with his pals, while in another story a Carrie Bradshaw-like fembot retreats to a butterfly exhibit to merely enjoy nature's power of renewal.

But it's not all butterflies and unexpected sexy babe-bot smooches. Robofiremen answer the call to root out robot bad guys on the lam, ala "Fahrenheit 451" and a depressed husbandbot succumbs to the voices in his head, literally, in a final tale of robotic psychosis.

It might be easy to say that the use of robots instead of people is a gimmick. If it is a gimmick, more of a "hook" actually, then it is a gimmick that works and is utilized quite well. They are not mere mirrors of our own selves. The robots are like us, but they are different. Sometimes they are very different and it is in these differences, perhaps that the mirror is brought into analogous focus.

The stories are short, well crafted and the art is an absolute delight. Highly recommended.

Quick delivery. Unfortunately, I sold the van before I had the need to use the book.

Does not cover the full sized wagoneers that were produced the same years as some of the tiny little wanabe jeeps. I have an '84 full sized Wagoneer.

It helped me to install a air/idle control valve on a 1987 Dodge Caravan. I did not even know where to find it.

I admit having found this hard to come-by but was pleased to eventually recieve it because Sinners and Saints is a dark comic in unique style both artistic and story based. the stark black and white images with limited use of colour provides a nice alternative to the over-coloured world other titles may portray.The story is interesting and seedy and reminds me of frank millers Sin City books it is an overall good title and worth the investment though perhaps not if you live in the UK

Despite a somewhat rough start, Deathblow ended up becoming one of the better early Image Comics titles, thanks in large part to the issues collected in this volume.

Deathblow: Sinners & Saints collects issues 1-12 of the ongoing Deathblow series, which focused on Michael Cray, aka Deathblow, a black ops warrior with a bloody past, a guilty conscience, and a disease that leaves him with very little time left to live. This series was obviously born of superstar artist Jim Lee's joint fascination with Richard Marcinko novels and Frank Miller's groundbreaking Sin City work. The first couple of issues, which were drawn by Lee, featured an abundance of military jargon and artwork that was extremely similar to the black and white style found in Sin City. They basically established Cray as a warrior without peer in a military unit known for doing the government's dirty work.

How that turned into a series about the Antichrist and the Four Horsemen of the Apocalypse is anybody's guess.

The story took a radical turn in issue 3, in which the Black Angel (who for some reason looks a lot like Trent Reznor) was released from Purgatory, where he was imprisoned by the holy Order of the Cross. Seriously, the story became ½ black ops and ½ supernatural horror. Weird, but writer Brandon Choi makes it work. Cray is forced to reconcile the events in his past and lead the fight against the Black Angel and his Horsemen. In a nice turn of events, Cray's former Team 7 mates reunite to lend a hand. The Team 7 back story is really what ties the Wildstorm Universe together, so seeing them together again, particularly in such a spectacular fashion, is a real treat.

The artwork from issue 3 forward was provided by former Grendel artist Tim Sale. He would later become a major name in the industry with his work on Batman: the Long Halloween and several other projects with writer Jeph Loeb, but this was where he made his mainstream debut. He obviously started out with the same Miller worship that Lee brought to the series, but established his own unique style soon enough.

Overall, this was a good series and makes a nice trade paperback. Looking back a decade later it's easy to see the flaws in a lot of these Image books, but I think Deathblow holds up pretty well. My only complaint about this volume is that it did not include the Deathblow preview story that ran in the Darker Image one-shot. Not only did it feature Jim Lee artwork, but it was also the character's first appearance, and should have been included here.

Deathblow was one of the best of the early Wildstorm creations. The character has a depth and intensity seldom found in Image comics. This volume collects the first twelve issues of Deathblow, in which a regretful killer must try to save his soul while dealing with armageddon. Though the story stretches on a bit long, it's worth it. The first two parts feature incredible Sin City-inspired art by Jim Lee. The rest is by Tim Sale, now known for his work on Batman: The Long Halloween. This collection is well worth the investment.

By and large, "Dodge & Plymouth Muscle Car Red Book" is a very useful tool for those involved with restoring classic cars, classic car shows, scale-model car enthusiasts, etc. Even classic game show fans can find this book helpful when playing along with those merchandise giveaway shows from the 1960s and 1970s (e.g., "Let's Make a Deal"). Yes, there are some omissions that some might find irritating, or might even detract from its usefulness. I would have considered this book even more helpful had it listed the contents of option packages; it does give some listings for the performance packages (what most people are interested in, I'm sure), but many people I'm sure are also interested in the contents of the trim, convenience and Quick Order (i.e., Basic Group and Basic Radio Group) packages as well. And, unlike Sessler's "Red Book" for Chevrolet Super Sport models, this book does not list installation rates or options for a particular model or its sister lines; e.g., in the section for the 1970 Plymouth Fury GT, there's no listings for the Plymouth I, II, III and Sport Fury or Suburban station wagon models (the Chevrolet book lists options, prices and installation rates for all Super Sport models and their more conservative family car bretheren). Some people who are restoring the family car members of a line might find this book helpful, too. Also, I also think the omission of year-by-year listings, VINs, prices, weights, etc., for the 1956-1971 Plymouth Sport Fury serves as a turn-off to fans of this model. Also, some people might be interested in special order, Mopar custom accessory and dealer-installed option lists, too (for that finishing touch to that 100-point show car). Hopefully, some or all of these issues will be addressed in a revised edition of "Dodge & Plymouth Muscle Car Red Book." Still, a very useful book for many Mopar muscle car fans that will be used and appreciated by all.

Every self respecting mopar tire kicker has a copy of this. Its the broadest reference guide for identifying option codes, VINs, and select serial numbers on mopar muscle. Production totals and option prices are included as well. It lists cars by year and model with a decent breakdown for each.

The one thing that this book is lacking is a chapter that explains how to read the fender tag, as most of the cars built from 1960 to 1970 no longer have the build sheet or it can no longer be read.

I've looked through this at a Pep Boys store. The printing job is lousy. The paper is low quality, the print is more gray than black, and the photographs were blurry enough to reduce their usefulness. The instruction for the work I'd wanted to do was simply to have a professional mechanic do it. Still, I'm sure it would be of use for some projects, and if I had more spending money I might have bought it.

I own a Plymouth Neon 1998, and since i know very little about mechanics,this book explains things in a way even i understand. its all there, from jumping a dead battery to overhauling the engine.
if you own a Neon 1995-98, you must buy this!

This book gets the bottom line done. I mean the conversion charts are good, and the information is all pretty much there, but I really had a hard time understanding some of the instructions. And they really should have done a better job editing. The myriad of typo's made it that much more difficult. But, that being said, the directions can get you through most minor repairs.

I got mine for 12 bucks at an auto parts store. That's about what it is worth to me.

I'd like to think that I am missing something here, but this is little more than Archie meets Jessica Rabbit. I think too many comics these days are masking under the profoundness of comics to hide a simple self-pleasuring tool. This is a hot chick that is very cute and a bunch of bumbling guys trying to get her to like them. Art is clean, stories are cute. That's about it. Maybe this is highbrow and intellectual, a commentary on visual pleasing or cheescake art, but I don't think so.

Re-readability: 4/10 (unless you laminate it for special uses ;)

*I always put re-readability in my reviews for people who like to keep their TPB to re-read.*

Before its voluntary departure from the Washington Post, "Liberty Meadows" had gained a loyal following that brought it back from possible cancellation more than once. In a sea of snippy animals and dysfunctional families, Frank Cho's strip brought us something fresh and original: Complete madness.

But in case readers weren't lucky enough to catch Cho's strip initially, it has been immortalized in "Liberty Meadows 1," which compiles the first nine issues. Expect nothing but madness, mayhem and a bit of wistful romance, and this kooky comic will not disappoint.

Welcome to Liberty Meadows, an animal preserve overseen by vet Frank and animal shrink Brandy. Nerdy Frank is instantly smitten with busty, kind-natured Brandy, but lacks the self-confidence to ask her out. As he struggles to admit his feelings, he must get to know the residents.

Unfortunately, those residents include a crazed cow who wants to kidnap celebrities (especially William Shatner), hypochondriac frog Leslie, chain-smoking pig Dean who hits on anything in a skirt, Truman the timid aquaphobic duck, and Ralph the midget circus bear.

This loony crew tries to deal with dates (where Brandy's crazed ex tries to kill Frank), the evil catfish Khan, camping trips with psychedelic mushrooms, falls into mine shafts, severed noses, truck-sized ticks, the insane stalker Cow kidnapping a celebrity and -- worst of all -- Dean's trip through the land of Cold Turkey.

It's hard to find a comic strip that is as relentlessly weird as "Liberty Meadows," and it's amazing that Frank Cho managed to keep these off-the-wall jokes going for so long. Or, for that matter, that he managed to make them up at all. Mad Cow kidnapping William Shatner? That one was priceless, I have to admit.

Cho straddles the line between realistic and cartoonish artwork -- on one hand, Brandy and Frank are very realistic looking. Especially Brandy's, um, "details." Their actions are all-too-human, and our hearts bleed whenever Frank's nerve fails him. On the other hand, the animals and some of the supporting humans are goofy-looking, and act accordingly.

"Liberty Meadows" was a refreshing, too-brief reprieve on the comic page, and fortunately the stories of Brandy, Frank and the loony animals can be easily revisited in the first collection.

Liberty Meadows is a (usually) 4 panel black and white comic strip that is refreshingly different.
The humour is aimed at adults and is frequently 'Looney Tunes' in nature.
There are lots of references to pop-culture, especially sci-fi.
The talking cartoon animal characters are great, but the reason you keep reading is the on-going storyline featuring the geeky Frank and his paralysing crush for the beautiful Brandy (If you've ever been a guy who is simply unable to speak to that 'one woman' you will understand).

Through much of this book Frank Cho is still refining most of the characters, they don't start looking like they do now for several issues.
There are several pages of new comic strip in the front that lead into the story, and (black and white) covers in the back of the book.
There are no sketch galleries in this edition.

This graphic novel is an adaptation of the immeasurably-more-subtle story of the same name to be found in Harrison's collection "Viriconium Nights". The artist has focussed on the violence of the story, leaving out the extraordinarily subtle relationship between character, philosophy and landscape which is Harrison's trademark. Forget this, and take the real trip: get "Viriconium Nights" and "In Viriconium" (called "The Floating Gods" in the US, but the British edition is better) instead.

As in all the work of M John Harrison, there is more going on in THE LUCK IN THE HEAD than meets the eye. Part of his metafictional world of Viriconium (a city that changes its name as well as its character in connected stories in his VIRICONIUM fantasies), this tale is brilliantly and darkly brought to visual life by the incredible draughtsmanship of Ian Miller. It is the story of a failed assassination attempt on the life of Mammy Vooley, the bizarre goddess-ruler-thing of Uroconium (as the city is called this time). Too bizarre for some, this will be relished by lovers of Lautreamont, delvers in the arcane, and fans of Harrison's often-oblique but always haunting fictions.

However successful this short story is in its text form, Luck in the Head becomes a visual masterpiece with some of Ian Miller's most outrageous illustrations and interpretations of the city's horror and vacancy as well as Chrome's loneliness and confusion. Ian Miller bombards his audience with crude depictions as well as intricate ones, all depending on the atmosphere he is trying to set. Very Successful Graphic Novel.

What an Excellent book a must have book for any Mopar fan.

This book is anything but a "restores guide" and contains very little information that cannot be obtained free via the internet.
I am in the process of restoring a 1968 Dodge Coronet R/T and wanted detailed information or at the least photos to help me with determining correct finishes and components. NOT IN THIS BOOK.
There were two pictures of my particular car and both were front quarter shots, one at a distance, and one showing the front grill.
The text reads more like an overview of the history of different B-body models that was compiled from factory ads than from a restorer's perspective. Even the production numbers were not broken down to reflect particular engine/transmission packages.
All in all I was extremely dissatisfied and disappointed with this book.

As an owner of two 68 Plymouths I expected a bit more restoration details about the Plymouth "B" bodys. The book seems to be more aimed toward the Dodge bodied cars and did not address as muck detail as I expected. I expected more information about the mechanical and electrical detailing of the cars, which would be common between the two makes. All in all the book is "OK", but not up to what I have come to expect from the "Original" series. This is the 6th "Original" series book I have purchased covering my cars, so my review is not meant to say this book is not what it is meant to be, but compared to my other "Original" books, this one did not meet my expectations. But if you are also a Mopar fanatic it is worth adding to your library.

Readers should be aware that this book is often cited as an egregious example of racist views that ignore the Native Americans' point of view. See "Rethinking Columbus", by Bill Bigelow.

This is a really old book in the "Weekly Reader" series that is still used in schools today (at least in my kids' school!) Drawings on every page show authentic dress styles and activities. The drawings are warm and light-hearted, and some are funny. Text is great for beginning readers and gives a thorough overview of the Thanksgiving story on more than 60 pages. It was written in 1931 as part of the "Really Truly" series of books--among the first non-fiction books printed for very young children. Very enjoyable classic if you can find one!

It is Thanksgiving night and I just finished reading this book to my four year old son and tucked him in for the night. This book was a favorite of my mother's when she was young. She shared it with me as a child and now I am reading it with my children. It tells the story of the Pilgrims starting in England; going to Holland and then coming across the sea in the Mayflower and ultimately landing in Plymouth where they form a friendship with the Indians and share a Thanksgiving feast. It is a nice story and the illustrations are wonderful. A fun way to share some history with children of all ages.