Mel Candido

The Further Adventures of Indiana Jones 22 (October 1984)

22354The art, from Joe Brozowski and Mel Candido, isn’t great or even good (occasional weird background details break the perspective), but it’s generally competent. And generally competent for this issue isn’t bad.

Priest continues to play fast and loose with the characters. Indy’s sentiments towards Marion are this odd annoyance thing. I think Priest is trying to show he likes her so he has to pester her, which suggests Priest hadn’t been reading the comic until this point. Or maybe the LucasFilms contact told them to tone down the romantic stuff.

This issue’s adventure wraps up Priest’s tedious first arc on the series, involving Marcus Brody, action hero, trying to save his career. Priest can’t write Indy as having a villain.

Wait, I can’t believe I ignored the weirdest part. Priest writes this stoic, virtuous Nazi secret agent out to assassinate Jones. It’s really weird stuff. Not good, definitely interesting.

Priest is also really bad with the setting. He writes too modern.

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p style=”font-size:11px;”>CREDITS

End Run; writers, David Michelinie and Christopher Priest; penciller, Joe Brozowski; inker, Mel Candido; colorist, Robbie Carosella; letterer, Diana Albers; editor, Ralph Macchio; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 12 (December 1983)

22344I can’t believe I forgot to mention Indy’s Spanish gypsy sidekick from last issue–he returns here–I think he’s based on Speedy Gonzales. There’s the yellow sombrero and the annoying dialect.

That lame character aside (made worse this issue with Marion falling for his “charm”), Michelinie continues to do pretty good work on Further Adventures. There’s this neat little subplot about these guys after Indy and Speedy continued from last issue; Michelinie just paces it all really well. I suppose Marion arriving so quick is silly, but she plays so well it’s forgivable.

Sadly, the art’s the problem here. Mel Candido is a terrible inker for both Kerry Gammill and Luke McDonnell, who split the pencilling chores. He’s a little better on McDonnell, which means the issue ends better than it starts, but not by much. It starts real ugly.

Great reveal of the relic at the end too.

CREDITS

The Fourth Nail, Chapter Two: Swords and Spikes!; writer, David Michelinie; pencillers, Kerry Gammill and Luke McDonnell; inker, Mel Candido; colorist, Bob Sharen; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

The Further Adventures of Indiana Jones 3 (March 1983)

22335There’s not a single woman in this issue; it helps O’Neil’s writing immensely.

The plot itself isn’t too bad. Indiana Jones saves a kid from getting lynched, then discovers the kid is really (or attests to be) 200 years old and his grandfather has the secret of immortality. Indy fights with the older one and there are a lot action set pieces. O’Neil really packs the issue with action scenes, can’t complain about him there.

But he sets the issue somewhere in the United States. Indy’s fighting Deliverance rednecks on one side and warmongering U.S. Army goes on the other. And O’Neil never reveals the location, even though Indy asks someone. Probably trying to cover a dumb answer.

O’Neil’s narration for Indy shows his continued disinterest in the comic; I’m being polite, he’s either disinterested or incompetent.

The multiple artists do decent work.

For period adventure, it’s nearly passable.

CREDITS

The Devil’s Cradle; writer, Denny O’Neil; pencillers, Gene Day and Richard Howell; inkers, Mel Candido and Danny Bulanadi; colorist, Bob Sharen; letterer, Janice Chiang; editor, Louise Jones; publisher, Marvel Comics.

Ka-Zar the Savage 22 (January 1983)

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Where the heck is Jones going with this comic book?

First off, the issue is a visual delight. Not because of the quality of the artwork, but because of the intricate page layouts. There is a whole page of a car chase from a birds eye view. It’s absolutely crazy stuff. Candido doesn’t do a great job finishing Frenz’s breakdowns, but with layouts like the ones in this issue… mediocre becomes spectacular.

Peter Parker is the issue’s costar, which is kind of fantastic. And Jones even gets away with Peter and Shanna getting busy.

But the threaten of a Parker dalliance is just a pit stop on Shanna’s journey this issue. She’s alone–with everything being taken from her (besides Ka-Zar dying, Zabu the sabertooth tiger is impounded–and she’s in a hostile environment.

Jones does an amazing job with Shanna as the real protagonist.

It’s a great comic.

Ka-Zar the Savage 21 (December 1982)

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Mel Candido is great inker for Frenz. For the most part, the issue looks great. Not great great, but great for a Marvel house style book, which Ka-Zar has apparently become. Right down to the Romita-style Peter Parker.

While the issue opens resolving the big Ka-Zar versus Kraven fight, it then becomes a conversation issue. Not quite talking heads, because the pacing isn’t slow enough. For example, Spider-Man and Kraven argue over whether they should fight, seeing as how they both worked together to save Ka-Zar.

The issue is then Shanna talking to Peter Parker about her life.

But somehow, it’s all very traditional. Jones doesn’t include any indulgences, but more… it seems like he isn’t interested. It’s a fine issue, but an unenthusiastic one.

However, the flashback backup is amazing. Mayerick’s art on this installment is singular and Jones writes a surprising hard cliffhanger.

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