Into the Bronze Age: December 1971 (Part 2)

Howdy folks, and welcome to our second Bronze Age blog post of 2021! I hope the year is treating y’all well so far. Unfortunately, madness continues to rule the day here in the U.S., but you know what is a pleasant distraction from the creeping death of civilization? Comics!

So, let’s continue in our journey Into the Bronze Age!

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #407
  • Adventure Comics #413
  • Batman #237
  • Detective Comics #418
  • The Flash #211
  • Green Lantern/Green Arrow #87
  • Justice League of America #95
  • Mr. Miracle #5
  • Phantom Strange #16
  • Superboy #180
  • Superman #246 (#245 was all reprints)
  • Superman’s Girlfriend, Lois Lane #117
  • Superman’s Pal, Jimmy Olsen #144
  • Teen Titans #36
  • World’s Finest #208

Bolded entries are covered in this post, the others will be covered soon.


Detective Comics #413


Cover Artists: Neal Adams and Gaspar Saladino

Batman “… And Be a Villain!”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editors: Julius Schwartz

Batgirl: “The Kingpin Is Dead!”
Writer: Frank Robbins
Penciler and Inker: Don Heck

“The Case of the Careless Caretaker”
Penciler/Inker: George Papp
Editor: Whitney Ellsworth

“The Case of the Terrified Tenderfoot!”
Writer: Joe Millard
Penciler: Alex Toth
Inker: Frank Giacoia
Editor: Whitney Ellsworth

Our first story for this set of books is a pretty darn good one, with an unusual guest star! It features the first appearance of the Creeper in our little journey, though we’re years on from his original debut in Showcase #73, 1968. The character was originally created by Steve Ditko and Don Segall, though he was most often written by Denny O’Neil in this era, as he is in this issue. I’ve always rather liked the Creeper, though he’s never been a favorite of mine. He’s such an oddball that he triggers my innate love of second stringers and z-listers. This yellow-skinned weirdo is a simple enough concept, a Question style reporter-turned superhero, with the twist of also being something of a color-blind Captain America, having been dosed with a super serum. Despite those classic elements, he’s never really caught on or hit the big leagues. Part of that is probably due to his design. While his visuals are certainly striking, they are also just plain weird. That is really rather fitting for the somewhat off-beat and wild personality of the Creeper persona, but it doesn’t necessarily work all that well in practice, especially the red boa. Anyway, perhaps in part because of his crimes against fashion, the solo series the character received in 1968 only lasted six issues, and he had been homeless since then, occasionally popping up as a guest star in other books. He’s a natural fit for a team-up with Batman, as the characters are of similar power levels, yet so diametrically different in style.

This particular appearance of our favorite proto-Freakazoid has a fairly good, effective cover. It’s a nice juxtaposition of the two characters that tells you a bit about them from the start, and I really enjoy the integration of the title into the billboard. It’s a nice composition, I think. The adventure within is similarly well-crafted, beginning with Batman staking out a drug firm, laying in wait for whoever has been hitting similar concerns around Gotham. Imagine the Dark Knight’s surprise when a shadowy figure gets the drop on him, landing several blows before being revealed as…the madly cackling Creeper! The Masked Manhunter certainly gets the worst of the fight, finding his former friend a fierce opponent, inhumanly fast and strong. In fact, Batman takes such a beating that he falls off the edge of the roof, only barely catching his bat-line and saving himself from a fatal fall! Wow! It’s not often you see the Caped Crusader get his head handed to him, especially these days, and by the Creeper, no less! This opening sequence is great, dark, moody, and mysterious, and you really feel the surprise and consternation of the Gotham Guardian as this strange, manically laughing figure overwhelms him!

Well, we rejoin our harried hero in his penthouse where he is licking his wounds and planning for a rematch with his amber-hued antagonist. Meanwhile, in a private facility outside of town, his erstwhile foe reports to an obviously evil scientist named….Dr. Yatz? If you’re familiar with the Creeper, you might recognize that name, as it was a Dr. Yatz who created the formula that gave the fellow his powers, but that redoubtable researcher died in the process. It turns out that this new Dr. Yatz is that worthy’s brother, and he’s promised to reverse the process and ‘cure’ the crazed hero, who has found himself trapped in his super-form, slowly losing his grip on reality!

The bad doctor reveals that he’s just using the poor unhinged fellow to help him recreate his brother’s serum to sell to the highest bidder, and he plans to kill the clown once he’s finished! Fortunately, the Dark Detective is on the case, and the next morning Batman’s research leads him to deduce part of the plot, and he sets out to investigate the facility of Dr. Yatz. He arrives disguised as an old farmer and tries to bluff his way inside, quickly taking out the guard when that fails. It’s a fun sequence that shows off the Masked Manhunter’s mastery of disguise, even if it doesn’t accomplish much.

Inside, the sinister scientist gives the Creeper “the cure,” only to reveal that it was really a deadly poison! When the golden goofball tries to get preemptive revenge, he discovers that the doctor has indeed finished his formula and used it on himself! Weakened, the hero finds himself outclassed, but Batman’s timely intervention turns the tables. Yatz escapes, pursued by his would-be victim. The Caped Crusader follows in turn, his old junker revealed as an undercover hot-rod, and all of them converge at an old bridge where the traitorous tech plans to sell his brother’s formula to foreign agents. The Creeper arrives and clobbers the doctor while the Gotham Guardian tackles the torpedoes.

Yet, the yellow yahoo is still not himself, and in his madness, he threatens to kill Yatz, despite Batman’s pleas. Desperate to keep his erstwhile ally from doing something he’ll always regret, the Dark Knight dives down upon the pair, knocking them both off of their high perch, and sending them into a battering landing below. This knocks both enhanced humans out, and suddenly, the Creeper turns back into Jack Ryder, none the worse for wear! The Masked Manhunter theorizes that the poison interacted with the super serum in his veins, and they cancelled each other out. What luck!

This is a good, entertaining story, with an engaging plot and a pretty interesting guest star in the crazed Creeper, fighting to hold on to his sanity. In fact, the Creeper comes off quite well in this adventure, as O’Neil really emphasizes his speed, agility, and strength, portraying him as a real force to be reckoned with. I quite enjoyed his portrayal here, and I think a more madcap, unhinged costumed identity suits the character better. I like the idea that he really does lose himself a bit when he transforms rather than it just being an act. There’s a lot more potential there.

This yarn moves at a brisk pace, but it never seems rushed, with Batman’s brief investigation a satisfying unraveling of the mystery elements. Each of the heroes gets plenty to do, and there’s lots of fun action. In fact, Novick’s art is really nice throughout the book, but he often brings a sense of dynamic motion and frenetic energy to the fight scenes. He also really captures the Creeper’s unbalanced state in his face work. There are a few places where his figures end up looking awkward, like a moment between the Creeper and Yatz that looks more like a dance-off than a fight, but on the whole, his work continues to be great, atmospheric, and action-packed. I’ll give this quite enjoyable adventure a strong 4.5 Minutemen!


“The Kingpin is Dead”


Our Batgirl backup this month is a solid mystery, perhaps a cut above the largely average adventures we’ve seen from her so far. We join our headline heroine in the company of her father and Jason Bard as the trio arrive to attend the opening screening of “The Stepfather,” a gangster film purportedly based on a real life (alleged) criminal kingpin, Floyd Marcus. Marcus himself is also coming to the screening, accompanied by his hulking bodyguard.

Suddenly, a classic car careens around the corner, and a hand pokes a tommygun out the window, apparently gunning down a member of the crowd! Yet, this is revealed to be nothing more than a publicity stunt, so when another car follows in its tracks a few moments later, the police don’t react until a glasses-wearing gunman repeats the earlier act, only with live ammunition this time! The kingpin is hit, and the car speeds away before anyone can react. In the chaos that follows, Barbara swipes her father’s car and takes off in search of the killers, having recognized the gunman as Marcus’s stepson, Mike, who presumably rubbed-out the real-life “Stepfather” in order to take over his mob. Thanks to her “photographic memory,” she recalls that the young Marcus collects antique cars like the one used in the drive-by.

The girl detective heads to the Marcus estate, getting there ahead of her quarry, and discovers one car missing from the garage. When Mike and his cohorts arrive, they spot Batgirl’s bootprints in the mud outside the garage and immediately and rather improbably deduce that they must belong to the Daredevil Dame. The tale ends with the trio bringing their car into the garage, with Mike enigmatically noting that “She may be the final coffin-nail we need to bury the “Kingpin’s” empire forever!” Strangely enough, once Batgirl sees them, she concludes that she was wrong and that the be-spectacled badman is not the one who killed his father. Dun dun DUN!

The story ends with one of those occasional editor boxes pointing out that they’ve given the readers all the clues and asking if their audience has figured out the mystery. I confess, I’m stumped, and I’m usually both pretty perceptive about stories, as well as being fairly genre-savvy. I’ve read back through this tale several times, but I’ll be darned if I can figure out the twist, so consider me interested! The story itself is a solid setup for a mystery, establishing the premise, setting, and characters with an impressive efficiency. There’s really not much to it, but Robbins makes good use of the space he’s got. On the art front, Don Heck’s work is better in this issue, perhaps because there isn’t much actual action, so we don’t see any of his oddly stiff or bizarrely contorted figures. Instead, it all looks pretty good, dark, atmospheric, and with a fair amount of personality in the faces of his characters. I’ll give this brief bat-yarn an above average 3.5 Minutemen, and will be looking forward to the resolution!


Flash #211


“Flashing Wheels”
Writer: Cary Bates
Penciler: Irv Novick
Inker: Dick Giordano
Editor: Julius Schwartz

Flash I: “The Rival Flash”
Writer: Robert Kanigher
Penciler: Carmine Infantino
Inker: Frank Giacoia

Kid Flash: “Is This Poison Legal?”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Dick Giordano

Okay…this comic…it’s hard to know quite where to start. I suppose my first thought is: “why?” It’s such an odd, unnecessary tale, with such a forced, stretched premise, that it’s a bit hard for me to wrap my head around it. I can only assume that roller derbies must have been all the rage in the early 70s, because Bates is clearly trying to cash in on a fad. Now, I have to say, I didn’t expect much from this issue because of its cover, but the yarn within is definitely not what I expected. The cover itself offers us the usual ‘unexpected reversal,’ trope, but it just doesn’t pack that much of a punch. A woman on roller-skates outrunning the Flash? Why, I’m on the edge of my seat. That just doesn’t seem terribly interesting or threatening. This is our menace? A roller-skater? It’s nice enough looking, with Novik and Giordano rendering the figures well, but I can’t say what they’ve rendered piques my interest. And this cover doesn’t really do justice to what lies inside.

It begins on a fun note, with the Fastest Man Alive, Barry Allen, living up to his chronically late reputation, arriving 30 minutes late to a roller derby match his wife is covering. I’ve always enjoyed the ironic quirk that the Flash could do everything in a heartbeat in his superheroic identity, but he was just sort of pokey and slow in his civilian life. It’s a fun bit of characterization. Well, this time his tardiness has kept him from being able to talk his wife out of participating in the violent event herself in an effort to get the inside scoop. Iris does okay until a hulking amazon of a competitor named Kate Krasher sends her careening over the rail, knocking her out. Yet, just before Iris loses consciousness, she seems to see Krasher, not as a gung-ho gal, but as an alarmingly hideous alien!

Heading home, Barry assures his wounded wife that she must have just hit her head, but the next night, the city experiences an earthquake, despite the fact that it sits atop bedrock! As the tremors hit, Barry races around town helping the victims of the shaking in a couple of nice action pieces, though like Superman in our first adventure this month, his speed level is a little ridiculous. At least afterward he has to stop and catch his breath, as he’s run himself ragged with all of his rescues. I do like that touch.

After having done what he could, the Scarlet Speedster heads to the “Science Institute” (I guess Star Labs isn’t around yet), and figures out that the epicenter of the earthquake was…you guessed it, the roller derby rink! As our hero investigates the suspect structure, he discovers that all of the skates have strange devices in their soles. Yet, while he’s snooping about, he gets whanged on the head and knocked unconscious! That’s right, Barry gets added to our Head-blow Headcount! He awakens, bound in a “strangling sheath” that will grow tighter as he struggles, and the disguised alien conveniently explains that her world is dying, so her unnamed and generically evil race needs to build a new one. They plan to do that with the raw materials from the Earth, after they destroy it! How are they going to accomplish that feat?

Well, stay with me now, that’s what the roller derby rink is for. It hides a massive drill, which is burrowing down into the core of the planet. The unwitting skaters were secretly driving the device deeper with every turn around the course, and eventually it will shatter the planet. “Kate” begins what she says is the final skate (one wonders how she plans to escape the planet’s impending implosion), mocking the Flash’s helplessness. However, it’s never wise to count Barry Allen out, and though he can’t move, he cleverly vibrates his body, creating friction between his molecules, generating heat, thus causing the air inside the trap to expand, bursting it. Of course, one imagines that none of that could have been all that good for him either, but it makes sense in a comic book kind of way.

There’s just got to be an easier way to destroy a planet…

Freed, the Fastest Man alive decides to stop the alien plot by pummeling its pernicious perpetrator, thus stopping her from skating and solving the problem…naw, just kidding; he decides to unwind the drill by skating in the other direction. Unfortunately, that is just what “Kate” wanted, and Barry figures this out at the last moment, but calculating that he can’t undo his super-speed screw-up with one pair of skates, he….gets all of the skates. And skates in them. At the same time. Or maybe he just rolls them around the rink. I’m not entirely sure, and the art doesn’t make it clear. Either way, this silly story ends with the villain tripping on the spinning skates, and Barry bets that this probably isn’t the last he’s seen of “Kate Krasher” or her race.

So, who would like a piece of that action? If you’d bet against our hero’s overly hopeful prediction for the future of this particular mort of a menace, your money would be pretty safe. As far as I can tell, neither “Kate’ nor her nefarious but ill-defined race are ever mentioned again. And I can’t say that feels like much of a loss. This is a goofy little tale. I can’t help feeling that, even if you were this desperate to tell a roller-derby story, there had to be a better way to do it. I’m left where I started, wondering “why?” Why would the aliens hide their secret scheme right out in public. They could presumably have just had their own people drive their drill without the run-around of the skating. Just buy a warehouse and drill to your heart’s content, no muss, no fuss!

“Kate” looks somewhat menacing in her monster form, though that is undercut by the fact that she’s still wearing the same jersey. Yet, most of the comic, she’s just running around as a rather burly babe, (who sometimes has a man’s face!). She doesn’t make much of an impression, really, and other than conking the Speedster on the head, she really doesn’t do much, either. Despite the zany and overly complicated premise, there are some fun bits in this story, like Barry’s super speed antics during the earthquake, his escape from the trap, and his deduction of the alien plot. The art is quite good throughout, with Novick and Giordano making a great team. Of course, I’m gathering that Dick Giordano teams well with pretty much anyone. Novikc’s faces are full of detail and personality, even if “Kate” is a bit inconsistent. Barry’s expressions during the roller derby match are hilarious. Nonetheless, this particular adventure is just pretty forgettable, despite its wacky plot. Unless you’re an avid roller derby fan, I don’t think there’s really all that much here that’s worthwhile. I’ll give it 2 Minutemen. It’s not boring, and it’s not ugly, but it is plenty wacky.


Is This Poison Legal?


This month’s Kid Flash story is an interesting one, notable in our cataloging of the influx of themes of social relevance. It is also yet another yarn that features a sympathetic portrayal of a commune, showing the continued influence of the counterculture movement. In fact, that’s where this adventure begins, in a positively idyllic version of a commune where the inhabitants “live with nature” and “are happy, carefree…the whole scene”, which Skeates and Dillin contrast to a squalid and ramshackle village where “there is much poverty, sickness and death”. Of course, at this point in time, the desperate state of the village probably had more in common with most American communes than the rosy setting in the comic. I’m not sure about my dates, but I think that a lot of the communal living experiments, built on half-baked ideals and not much else, were starting to fail by about this point, though I could certainly be wrong.

Nonetheless, as Kid Flash races through the struggling village of Greenvale (do all the settlements around him have color-coded names?), he is approached by two ragged children who say their mother is sick and ask him to help. Unfortunately, even the Fastest Boy Alive can’t outrun the reaper, and he arrives too late to save the ailing woman. Attending the funeral, Wally finds himself troubled, as the woman officially died from “malnutrition,” despite not looking underfed enough for that. In the graveyard, he encounters one of the hippies from the commune, Jeremy, who was the woman’s brother. He declares that the local fat-cat, Alex Sampson, is responsible for her death. According to the young man, Sampson owns almost everything in town, including a chicken farm, where he pumps his poultry full of poison in order to make the birds weigh more and thus sell for more.

With Jeremy swearing vengeance, Kid Flash decides that he better keep an eye on things, and that night he interrupts the angry beatnik as the latter tries to burn down Sampson’s farm. The Teen titans tears away, bringing Jeremy with him, just as Sampson sets out to shoot him down. Together, they hatch a plan to get a state inspect to the farm before the corrupt farmer can hide his crimes. The next morning, Jeremy brings a truck loaded with hippies and fresh food and parks it right in front of Sampson’s store, giving groceries away to the townsfolk. The infuriated industrialist rounds up the local law and has a stand-off with the long-haired set, only for Wally to zoom back into town towing the state inspector, having first taken him to the chicken farm, where he discovered the local tyrant’s toxic secret. The story ends with the inspector presenting Sampson with a warrant for his arrest!

This is a fine little story, hippie hijinks aside. It moves very rapidly, but despite its quick pace, it hits all the necessary notes, which is unsurprising given that Steve Skeates is the scribe. He establishes the conflict and gives us a clever resolution, with the hippies keeping Sampson occupied while Kid Flash fetched the inspector, including a few decent emotional moments. While the plot is solid, the story’s real interest lies in its very Bronze-Age themes. This is clearly another effort at social relevance, which seems to be becoming a focus of Skeates. Once more we’ve got the wealthy and powerful cast in the role of the villain, signalling the growing distrust of the powers and social structures that be. Notably, Sampson seems to own the local law and knows how to game the system, requiring our hero to do more than simply turn him over to the police.

What…is happening with Sampson’s legs in that first panel? Has he suddenly become a marionette?

Yet, in addition to the dominant themes of corruption and illicit wealth, there’s also a focus on nutrition, and Skeates raises questions about the super processed, preservative-filled diet of the average American. While the starving townsfolk of this tale are something of an exaggeration, this is a real and significant subject today, and I imagine that was even more true in the 1970s. Even in the 21st Century, the American diet is probably a good deal less healthy than that of other first world countries, who are a bit stricter about what can be added to their food. I’ve been particularly struck by the difference when I spent time abroad in the last few years.

Dillin and Giordano’s artwork is great, and they capture both emotion and action very well. The backup is full of visual interest, even though there really isn’t all that much action in it. We still get entertaining and humorous scenes like Flash bouncing Jeremy around like a ball in his slipstream. On the whole, this is an entertaining and interesting little story. I’ll give it 4 Minutemen.


Green Lantern/Green Arrow #87


Cover Artists: Neal Adams and Jack Adler

“Beware My Power!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“What Can One Man Do?”
Writer: Elliot S! Maggin
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza

“Earth’s First Green Lantern!”
Writer: John Broome
Penciler: Gil Kane
Inker: Murphy Anderson
Letterer: Gaspar Saladino

We’ve got a landmark issue of Green Lantern this month, as Denny O’Neil continues to push the envelope, striving for social relevance and innovation in his run. From our cover, I imagine you can already guess what the big news is, as it introduces us to the first Black Green Lantern, John Stewart, who stands proud and defiant in the center of the page. It’s an iconic cover, but not necessarily a great one. Of course, Adams’ art is very good, and his figures are dynamic. The image is a fairly striking one, with John crouched protectively over a helpless Hal, though it doesn’t really have all that much in common with the comic inside. There’s just not much else to it, and so it feels a little empty. Yet, I imagine that is part of the idea, as this is such a big moment that Adams wants to make sure we can’t miss its significance. And make no mistake, this is indeed an important moment.

We’ve seen a few moves at this point towards greater diversity in DC’s Bronze Age books, with Jack Kirby’s introduction of several non-white characters in his Fourth World titles, however awkwardly some of them might be portrayed (I’m looking at you, Flippa Dippa!), and Mal Duncan having (for some reason) joined the Teen Titans. Change was clearly in the air, and with a surprising suddenness, DC Comics had become at least a little more diverse. I imagine this was a very welcome change for many readers. Notably, I remember reading a Green Lantern issue from the late 60s where a young Black reader had written to thank DC for just showing a Black face in a crowd. In other words, this fan had put pen to paper to praise DC for simply showing that folks like him existed. Moments like that really throw the significance of this issue into stark relief. After all, even with presence of characters like the Black Racer or Vykin (called the Black, in case we forget!), there is still a gap between such secondary characters and the true stars of the DC Universe. I can only imagine what that young reader must have thought to see a Black Green Lantern astride the cover of one of the company’s major titles.

Of course, as is usually the case with O’Neil’s run on this book, the premise is rather more promising than the execution. The John Stewart introduced in this issue has very, very little in common with the character who will become a fan favorite in later years. For someone like me, who knew him only from Justice League / Unlimited, the character’s portrayal here was something of a shock. John Stewart is a hero that I had never really heard of when I was reading comics as a boy. I grew up with Hal Jordan as my Green Lantern on Super Friends and the like, and he remains my favorite. In fact, when Bruce Timm was creating Justice League, I started grumbling about the fact that we were getting this other guy I’d never heard of, rather than my favorite GL. Little did I know what a treat I was in for when John Stewart joined that show’s cast. I imagine it was that show’s amazing portrayal of the tough, no-nonsense former Marine, voiced by the incomparable Phil LaMarr, that cemented John Stewart as a great character in the minds of many fans. It certainly won me over, and now he’s a character I would never want to see the DCU without.

Yet, the character we meet in these pages is unlikely to inspire any similar admiration. Our tale begins with Hal Jordan charging his ring “somewhere in Southern California” when an earthquake suddenly rips through the town. He flies out to lend a helping hand, only to discover his backup Green Lantern, Guy Gardner, in a dangerous situation. Gardner risks his life to save a child trapped on a bridge, but in the process he is badly injured and hospitalized. Discovering that he’ll be out of commission for at least six months (yikes!), the Guardians send Hal to look up their next choice for an alternate, John Stewart!

We find Stewart intervening as a pair of policemen hassle some folks on the street. Stewart gives an aggressive officer some attitude and stands his ground until the fellow’s partner pulls him away, pointing out that if he wants to get respect, he has to give it too. The Green Gladiator is unconvinced that this fellow is the right kind of man for the job, pointing out that he’s got a big chip on his shoulder. The Guardians, astonishingly, are unconcerned about his opinions. Obediently, Hal approaches Stewart and makes the offer for him to become his backup, which John accepts. When the Lantern demonstrates his oath, his understudy opines, “Man, that’s pretty corny…except for the part that says ‘Beware my power’!” Given the social struggles going on and the rhetoric of the Black Power movement at the time, that’s both understandable and a little worrisome for someone whom you are handing the most powerful weapon in the universe.

And once Stewart gets a taste of the ring’s power, he does indeed enjoy it, taking to ring-slinging like a natural, though he refuses to wear a mask, declaring that he has nothing to hide. Suddenly, the newcomer gets the chance to try out his skills for real, as they see a runaway fuel truck at the airport. The Emerald Crusader saves civilians while John stops the truck…mostly. He punctures the tank enough to spray an arriving politician with oil, a senator who happens to be a racist jerk. Hal chews his new partner out, and John responds in kind. The argument ends with the veteran GL assigning his protege to guard the senator as both a lesson and a test in putting his duty above his personal feelings.

That night, a gunman takes a shot at the politician, but John refuses to go after him. Yet, while Hal grabs the gunsel, Stewart prevents a second shooter from killing a policeman, eventually revealing that it was all a setup. The first gunman used blanks, faking an attack on the senator by a Black man to stir up racial unrest and support his racist platform, while a confederate outside would kill a cop to create a martyr for the cause. Hal finds himself eating crow as Stewart proves that he was right all along.

So, what are we to make of this important issue? Well, like most of O’Neil’s run, it is ham-handed and rough, but it has a good heart. The biggest problem with this tale is that we really don’t see much of Stewart that makes him an interesting character. He’s pretty two dimensional in this first appearance, and sadly, it’s going to be quite a while before we’re going to see more of him. Once again, O’Neil introduces a concept that really deserves and, in fact, demands more exploration, only to immediately abandon it. There are moments that show us some personality and charm in John, but they are few and far between. Honestly, I think they owe more to Adams’ art than to O’Neil’s writing, like the little moment where John talks about becoming a superhero with milkshake on his lip. It’s a great glimpse of Stewart’s simple, straight-forward, and unpretentious nature, but it’s also one of the only such moments we get.

Once again, we see poor Hal play ideological whipping boy, as he is justly schooled by the newcomer to the book who we eventually see was right all along. But that’s one of the other problems, as the themes of this issue are a little muddled. There’s no particular reason for Stewart to figure out the mystery when Jordan doesn’t, so it makes the other hero seem rather dim. Also, in isolation, Hal would have a good point about the duty of a Green Lantern to rise above their personal politics or preconceptions, but that is undercut by John’s share of the narrative and near prescient perceptiveness. Given that the message John’s role supplants is itself a positive one, rather than the negative ideas straw-manned in previous stories, the whole thing feels a bit uneven, as if there are competing themes and messages here that don’t mesh together well. I think what O’Neil is going for, especially in the last panel’s conversation about how style doesn’t matter, is the idea that the principles and goals of an ideology are more important than the ‘style’, or we might say the ‘tone’ of the group that supports it. I find myself thinking again of the Black Power movement, whose fiery rhetoric and “any means necessary” attitude made many white Americans uncomfortable or fearful, yet which had legitimate grievances and goals as well. Of course, many people at the time had similar fears about the Civil Rights movement as a whole.

In the end, I wish we had gotten to see more of John Stewart and learn more about who he was, beyond the ideology which crowds out all other smaller concerns in this issue. There’s really not narrative space for much else, which is a shame. Of course, Adams’ art is gorgeous throughout, and we get some great personality in the various faces of the main cast, as well as some cool page layouts and perspectives There’s not much to the story itself, and neither the senator nor the plot are really given enough space to be more than background dressing for Stewart’s day out as a Lantern. On the whole, it’s only an average story at best, but its significance and boldness shouldn’t be overlooked. I’ll give this one 3.5 Minutemen, with its historic nature edging it above average.

Wouldn’t it be nice if rhetoric like that of our snake-like senator from this issue had died out back in the Bronze Age? Sadly, instead we’re living in an era where emboldened white nationalists are among those who stormed the capitol. Where’s John Stewart when we need him?


Unusually, we’ve got a Green Arrow backup this issue, rather than the Emerald Archer sharing space with his partner in pigment. It tells an equally unusual tale with interesting implications. The yarn begins with a short recap of Ollie’s history, including his bankruptcy. In the ‘current’ day, the Battling Bowman is frustrated that he doesn’t have the resources to support good causes in Star City, so he sets out to patrol the town to blow off some steam. There’s a fun little moment where we get some ‘man on the street’ commentary about the hero and hear how he’s appreciated by the denizens of his town. Meanwhile, we discover that the current mayor has decided not to run again, and his political party (unnamed, but knowing our hero, we can probably guess!) is thinking about running….Oliver Queen!

What is happening? Where is the dog? How does shooting an arrow vaguely in that direction help? Wouldn’t you like to know?!

During his patrol, Ollie saves a boy’s dog from a speeding train in a panel that is really rather unclear about what exactly is happening, but he leaves the yard frustrated, realizing that the boy was only there because he had no safe place to play. When he gets home, the gets the call asking him to run for mayor, and in a fun sequence, he calls his Justice League pals for advice, and they all tell him the same thing, “don’t do it!” Personally, I think Clark’s got the most practical argument. Feeling like it is a silly idea, the Emerald Archer heads across town to visit Dinah (via rocket arrow!), but he runs into a riot along the way! We aren’t told what it’s about, and Ollie certainly doesn’t know, but in the midst of the violence and chaos, he discovers the boy from his earlier adventure, only to see the young man catch a stray bullet.

The boy dies, despite Green Arrow’s best efforts, leaving Ollie crushed. It’s honestly a pretty touching scene, counterbalanced by Maggin quoting from A Farewell to Arms. Finally, an exhausted and disheartened hero reach’s Dinah’s place and announces that he’s going to run for mayor in an attempt to do some good. Also, he apparently just walks right up to her front door in full costume. Forget being mayor, he is already endangering their secret identities!

This is a pretty good little backup, opening up a really interesting direction for the character. We have seen other DC heroes take on such public responsibilities, like Batman’s extremely short-lived congressional career, which consisted of a single vote. (You guessed it; that took place in a Zany Haney tale, guest starring Green Arrow, coincidentally enough.) Yet, the Dark Knight’s political dalliance is emblematic of such forerunners, in that they were usually brief and had little-to-no lasting impact. I’ll be curious to see if the team actually does anything with this new direction and how long it lasts. Personally, though I am curious to see what will come, I’m a bit wary of this type of tale. I feel like when you get into realistic questions about how much actual good a superhero could do compared to what they could accomplish if they put their resources to work on actual social problems, you are getting into the philosophical weeds and missing the point of the fantastical setting and archetypal power of such tales. There are plenty of ways to explore such themes, but I don’t really know if stories about a guy who dresses like Robin Hood and fights crime with gadget arrows is necessarily the best forum for doing so.

This is not to say that comics ‘shouldn’t be political’ in the terms of the current controversy, because, of course, they already are and always have been. Instead, I just mean that the superhero genre, and especially the major universes like DC and Marvel, don’t really lend themselves to stories that strain for this level of political realism, because it opens the doors to so many questions that the setting just isn’t geared to answer. When you bring in this level of realism, the fantasy of super-powered people throwing cars at each other, causing millions in damages over thousands in stolen goods, doesn’t really stand up to scrutiny. This is, essentially, a wondrous setting, a world where a solar-powered sun god can turn into a paragon of virtue by being raised with good values, rather than succumbing to the classic temptation of absolute power, as would be infinitely more likely. It’s an inherently hopeful concept, and I think it works best with stories that take advantage of that hopeful (and, let’s face it, unrealistic on more than one level) tone.

The story itself is solid, even a little touching, and it asks some interesting questions about the role of superheroes in problems that don’t involve garishly-clad madmen or invading aliens. It’s fast-paced, but there is just enough time for each of the elements to work, with Maggin letting us meet the unfortunate kid before he croaks, allowing that moment to have some more significant weight. It’s brief, but effective, and while I prefer a more light-hearted take on Green Arrow to the relentlessly down-beat portrayal in this run, Ollie himself is becoming well-drawn and interesting, having grown much more likable since we started.

The art, of course, is great, with Adams succeeding in giving a lot of the more melodramatic moments appropriate emotional weight. Seeing this tale in context of the previous one, I’m reminded again of how much more suited Adams is to stories of this scale. His city-scapes and realistic action fit Green Arrow and Batman so much better than the much more fantastical characters like Green Lantern, who just feels completely wasted when dealing with random gunmen and petty crooks on the scale Adams does best. On the whole, I’ll give this effective little morality play 4.5 Minutemen. It is, perhaps, particularly poignant today, at least for those of us in a country whose leaders refuse to take responsibility for their actions or wield their power with principle.


Well friends, that will do it for this set of comics, and a very interesting set it is! We’ve experienced the fun, the forgettable, and the fascinating. In a sense, our socially conscious tales from Green Lantern feel quite timely, a I am reading them during our own time of unrest and in light of our own social crises. I can’t help but wish that the political leaders of our day were as concerned about using their power responsibly and effectively as the fictional fellow who wears a Robin-hood hat and regularly fight gun-toting bad guys while armed with nothing more than a bow and arrow. The comparison, however silly, is not flattering to many of the folks in charge these days. But despite the pressure of our current problems, I found these comics a very pleasant escape, especially the Batman adventure with the Creeper. I hope that y’all have enjoyed this part of the journey as well and will join me again soon for another edition of Into the Bronze Age! Until then, keep the Heroic Ideal alive!

Into the Bronze Age: December 1971 (Part 1)

Happy New Year! I imagine we’re all very happy to greet 2021. I know that I’ve never been quite so happy to say goodbye to year, at least! And what better way to start the new year than with Bronze Age comics? Well folks, welcome back to a new edition of Into the Bronze Age! I’m excited to get into the December cover-dated books of 1971. Glancing at the cover gallery, it looks like we’ve got some fun stories in store of us! In fact, we’ve got a pretty darn good set of comics in this batch. There are some fun surprises and some real winners in this set. So, without further ado, let’s get started with what was going on in the world in December of 1971!

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


This month in history:

  • The Cambodian Civil War intensifies, with conflicts between government forces and Khmer Rouge rebels.
  • Soviet space probe Mars 3 is first to soft land on Mars
  • Abu Dhabi, Ajman, Dubai, Fujeira, Sharjah, and Umm ak Qiwain form United Arab Emirates and declare independence from the UK
  • President Nixon commutes Jimmy Hoffa’s jail term
  • The Indo-Pakistani War of 1971 begins after Pakistani strikes in Northern India, which connected to the Bangladesh Liberation War
  • West German Chancellor Willy Brandt receives the Nobel Peace Prize
  • Multiple bombings and clashes in Ireland that claim several lives, including several IRA members being caught in the blasts of their own bombs
  • The Pakistani Army executes over 1,000 people in a genocidal ethnic and ideological purge of East Pakistan
  • India and Bangladesh win their wars, and Bangladesh achieves independence
  • Operation PUSH (People United to Save Humanity) formed by Jesse Jackson
  • USA and Russia continue nuclear tests
  • Important films released this month included the horrifying A Clockwork Orange, which says something about the zeitgeist of the age, though I hesitate to say precisely what

The Troubles in Ireland escalate a great deal this month, with bombing after bombing and violence abounding. What a terrifying time that must have been for those who lived through it, never knowing if a simple visit to a pub might end in injury or death. On a more positive note, Bangladesh won its independence from Pakistan this month, thanks in part to the support of India. In the US, things seem to have been fairly quiet as the nation approached Christmas. I wonder what that was like!

This month’s top song is the funky “Family Affair” by Sly and the Family Stone, which is apparently beloved but didn’t really grab me.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #407
  • Adventure Comics #413
  • Batman #237
  • Detective Comics #418
  • The Flash #211
  • Green Lantern/Green Arrow #87
  • Justice League of America #95
  • Mr. Miracle #5
  • Phantom Strange #16
  • Superboy #180
  • Superman #246 (#245 was all reprints)
  • Superman’s Girlfriend, Lois Lane #117
  • Superman’s Pal, Jimmy Olsen #144
  • Teen Titans #36
  • World’s Finest #208

Bolded entries are covered in this post, the others will be covered soon.


Action Comics #407


Executive Editor: Carmine Infantino
Cover Artists: Curt Swan and Murphy Anderson

Superman: “The Fiend in the Fortress of Solitude”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff

Atom: “The Challenge of the Expanding World (II)”
Writer: Bob Haney
Penciler and Inker: Alex Toth
Editor: Murray Boltinoff

Superman: “The Planet of Prey!”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff

We begin the month with a rather typical Superman yarn, replete with secret identity drama and over the top super-feats, though Bates manages to make it a readable enough tale out of these conventional ingredients. The cover is pretty much faithful to what we find inside, though the device of having Supes spying the characters outside the fortress and the attendant rock wall makes it a bit muddy. It’s a solid if unremarkable cover, which is fitting for the story within.

The adventure begins with a small plane in peril, as its pilot struggles to bring it in for an emergency landing in the frozen north. In fact, as it noses in for a crash landing, we discover that the misplaced plane has actually touched down at the foot of the Fortress of Solitude! Fortunately for the pilot, Superman happens to be at home and rushes the fellow to an Alaskan hospital (one imagines Iceland would be closer to the North Pole). However, it turns out that this seemingly innocent airman is actually a notorious criminal the Metropolis Marvel once put away. The hero remembers his face, but too late, as the scofflaw had already stolen a plane and escaped.

Unbeknownst to Superman, the flying fugitive, Michael “King” Andrews has gotten away with the knowledge of the location of the Fortress of Solitude, and he proceeds to plot to rob the place as his revenge, recruiting his son, Mike Jr., who is living at a reform school. In a relatively effective bit of characterization, we discover that the boy is actually starting to turn his life around, enjoying the trust he’s earned at the school, but he feels like he can’t let his father down. Of course, the kid’s possible redemption doesn’t seem to have sunk in all that well, as he happily kidnaps Clark Kent at gunpoint for his father. I guess his qualms aren’t all that serious after all. Kent, playing possum to protect his secret identity and thus establishing the pattern for this story, is brought to an abandoned airfield, where they meet the third member of this criminal conspiracy, a mysterious electronics expert that Mr. Mild-Mannered realizes is wearing a disguise!

The quartet fly to the Fortress of Solitude, with “King” putting all the others to sleep, even his own son, remarking that a criminal can’t trust anyone. Once there, the electronics expert, Slesar, disables Superman’s security, and they break in (somehow without the gigantic key). Apparently the man-sized keyhole passes entirely through the door, which rather seems to defeat the purpose! Once inside, they lock Clark up and leave the boy to guard him, but a series of emergencies popping up around the globe force the undercover hero to create various distractions, allowing him to slip out and save the world, flying all the way around the globe, putting out fires and saving submarines (poaching in Aquaman’s domain there!), all in a matter of seconds, which is just plain ridiculous.

The power level of the Silver Age Superman certainly seems to be back to its full extent, and it is just plot-breaking. If the Man of Steel can zoom around the entire Earth and carry out various incredibly complex tasks, all in under ten seconds, than he certainly could have just zoomed away and captured the intruders without giving away his identity. This kind of thing rather bothers me. I’m fine with Superman using his super speed to zoom across a room and back faster than the eye can see, but when he does that on a planetary scale, it’s just too much!

Anyway, overblown power levels aside, the adventure comes to a head when “King” tells his son, worried about an apparently trapped Clark Kent, that he was just going to kill the reporter anyway, as ruthlessness is also required of a successful crook, a sentiment that “Slesar” shares, unfortunately for his partners in perfidy. The electronics expert reveals himself to be…Lex Luthor! It isn’t all that much of a surprise, but the revelation is still fun, and Luthor is truly nasty here, as he’s planted a bomb in the Fortress and plans on killing both the Andrews pair in cold blood to keep them from warning the Man of Tomorrow! “King” isn’t one to take such things meekly, however, and the two shoot it out, with Luthor”s lethal laser laying his foe low. That gives us another on-panel murder! The Comics Code Authority folks must have been asleep at the switch.

Just then, Superman returns and captures his nemesis (with a tap!), disposes of the bomb, and comforts the young Mike, who now sees the error of his ways and wants to avoid his father’s fate. Interestingly, the tale ends with the Action Ace asking Luthor if he truly hated him enough to sacrifice his own life to kill him, and Luthor’s sullen reply, “You know the answer to that, Superman” shows a surprisingly vicious portrayal of the character, which is striking.

Well, this was a solid, if unremarkable, story. The plot was pretty simple, with the secret identity antics, though fun to see thanks to Curt Swan’s lovely pencils, not terribly interesting to read. Yet, the different unique elements help it to stay entertaining. The understated arc of the young hoodlum, Mike Jr., and his discovery of his rotten father’s true character leading to his transformation is actually quite effective. Bates does a lot with those characters with very little “screen time”. Luthor’s plot and his cold ruthlessness are also an interesting addition, really marking him as an effective and threatening villain. It helps that he straight-up kills “King”, which is still a rarity in this era. Swan’s art is good throughout, and Superman’s side trips are quite striking. The ultimate result is a fine read that I enjoyed better than I expected. I’ll give it 3.5 Minutemen, as it is a little above average thanks to the subplots.


The Planet of Prey


This month’s backup is a lot more creative than our headline tale, resulting in a clever and interesting little sci-fi superhero adventure. It begins with the Action Ace returning home from a mission in space when he encounters a strange planetoid that veers into his path. When he approaches it, he finds himself besieged by the telepathic ‘squawking’ of a flock of alien avians. They swarm about the Man of Steel, but he easily and relatively gently dispatches them. Heading down to the surface, he discovers that the seemingly barren world has suddenly transformed into a miniature copy of Krypton, complete with micro-sized versions of his birth parents, Jor-El and Lara! They beckon him down, but Kal-El realizes they obviously can’t be his parents and heads back into orbit, feeling strangely drained from the effort.

And this brings me to the small but crucial detail that really made me appreciate this yarn. Bates throws something strange and intriguing at his hero, but he still has Superman behave like a rational, intelligent person rather than a gullible idiot. In the typical version of this type of plot, characters who have seen illusions masquerading as loved ones hundreds of times seem to instantly and foolishly believe the evidence of their eyes and ignore the impossibility of the situation, doing intensely stupid things as a result. I really enjoyed that Bates didn’t go the way I expected when I saw fun-sized Jor-El. Instead, our Kryptonian traveler is confused and suspicious, which is the rational response to such a sight, and I appreciate that type of logical consistency.

What gorgeous work Swan did on the faces of Kal’s parents! He really packed a lot of personality into these two.

Anyway, once back in space, the Metropolis Marvel looks down to see that the world has now turned into a scale version of the Earth, complete with a tiny crumbling Metropolis and bite-sized Jimmy and Lois trapped within. Even then Superman doesn’t just rush in like a moron, but perplexed, he lands nearby, and then the trap springs! The illusion vanishes and the very soil seems to reach out to swallow him as the gravitic pull of the world suddenly increases a thousandfold!

In another clever moment, the Man of Steel tries to emulate the Fastest Man Alive, trying out his friend The Flash’s vibrating trick to escape. It isn’t enough, but just then he begins to hear telepathic messages of hope, and the alien birds from the beginning of the story arrive and break him free. They explain that he is now vibrating at their wavelength, enabling them to communicate with him. They tried to warn him off earlier, but he thought it was an attack. Apparently they live in a symbiotic relationship with this strange, predatory planetoid, which uses psychic illusions to lure in unwary spacefarers in order to consume them. Superman wonders why they would deprive themselves of sustenance, but surprisingly, they inform him that it was a purely mercenary action, as they have learned that the world becomes unhealthy for them when it consumes sentient life!

What a fun, creative, and unusual story! I thoroughly enjoyed reading it. I love that Bates told a story that maintained psychological realism and logical consistency, creating actual. reasonable motivations for his protagonist instead of having things just happen ‘because of plot.’ Even better, the central concept, although not completely unique, is interesting, and he really does keep you guessing as the adventure unfolds. I also love that last touch, that the alien creatures saved our hero, not because of altruistic motivations, but simply out of self-preservation! It’s a simple story, but it’s quite well crafted with a lot of small but significant creative touches. The art, of course, is lovely, and Swan gets to stretch his creative muscles with the alien creatures, doing a good job of rendering the different scales of his hero and the illusions. I’ll give this brief but high quality little outing 4.5 Minutemen!


Adventure Comics #413


Supergirl: “The Walking Bombs!”
Writer: John Albano
Penciler: Art Saaf
Inker: Bob Oksner
Letterer: Ben Oda
Editors: Joe Orlando and Mark Hanerfeld
Cover Artist: Bob Oksner

Hawkman: “Earth’s Impossible Day!”
Writer: Gardner Fox
Penciler/Inker: Joe Kubert
Letterer: Gaspar Saladino
Editor: Julius Schwartz

Zatanna: “Zatanna the Magician!”
Writer: Len Wein
Penciler/Inker: Gray Morrow
Editor: Joe Orlando

Robotman: “The Robot Ghost!”
Penciler/Inker: Frank Bolle
Editor: Whitney Ellsworth

Our Adventure Comics headline tale this month is an odd collection of elements that don’t quite fit together. It has some really charming touches, though, and Albano manages to give this Supergirl adventure some unique personality for the Maid of Might. All of this lies underneath a striking but strange cover. Our central image is pretty arresting, but it also doesn’t make a whole lot of sense. We’ve got a four-armed robotic walking bomb dressed up in a suit, apparently robbing a bank. If you were to take way the extra appendages, this would work reasonably well, capturing a moment of shocking discovery. However, if you think about the image for a minute, it make so no real sense. If you’re trying to pass off your android as a person, why in the world would you give him an extra set of arms? Other than that detail, which continues to bother me in the story itself, it is a nice-looking cover, which communicates the peril reasonably effectively.

The story begins with Linda Danvers rushing through town on some vital errand…specifically, she’s trying to get to a sale at a department store! In a fun detail, she thinks to herself that she can’t use her super speed to beat the rush because it wouldn’t be fair to the other shoppers. We join the disguised Girl of Steel as she tries on some different outfits, and the fashion themes of this book continue as Art Saaf indulges his inner fashion designer. Unfortunately, our young heroine indulges in a bit too much bargain hunting and has to head to the bank, only to discover that the place is being robbed! What’s more, the thief is a four-armed robot of all things! The Girl of Tomorrow ducks into a convenient alley and begins to change, only to discover that she’s got an audience in the form of a resident bum, who is quite happy to extend her hospitality. She is in too much of a hurry to find a handy telephone booth like her cousin, so she shoves the voyeur’s hat down over his eyes and completes her transformation into Supergirl. This whole exchange cracked me up. This is a hilarious and fun little scene that adds a sense of whimsy to the tale.

Once inside the bank, the Maid of Might is confronted with the towering android, who announces that if she interferes with his heist, he will blow the surrounding city blocks to smithereens! Just then, a young boy attacks the bank-robbing bot for stealing his mother’s deposit, and when the machine is about to strike the kid, it suddenly hesitates, and instead returns the money. How odd! Having no real choice, Supergirl lets the android escape in a flying sphere. She trails the fleeing felon to a secret underground lab, smashing in to find a turtleneck-wearing mad scientist who traps her in an electrical cage. The mastermind warns the Girl of Steel that if she breaks out, it will set off bombs in San Fransisco! As an aside, I hate it when writers mix real American cities with the usual DC geography. It blurs the lines of the setting, in my mind.

At any rate, our villain starts to monologue, and it is at this point that the major discordant note of the story enters the equation. The machine-making mad scientist tells his superheroic guest his tale of woe. His name is Robert Meekly, and he was a banker whose son suffered an accident that left him blind. The boy’s only hope was an operation that would cost $25,000, an astronomical amount for his hapless father. Meekly tries everything to raise the money, but his last hope, the president of his bank, refuses his loan, despite the fact that he’s served faithfully for 15 years. So, the desperate father does what he has to do and steals the money, going to prison as a result, but not before he gets his son the operation. To make things worse, while he was imprisoned, his wife took his son and disappeared.

Okay, now just hold on a minute…apparently our mad scientist learned robot building and bomb making…while working in a bank? Really? I know that super-science is easily accessible in the DC Universe, but come on! This is just ridiculous! Well, balmy bona-fides aside, the unfortunately named Meekly has come to deserve a less harmless name, as he now plans to get his revenge by robbing and blowing up banks across the country. He leaves our hobbled heroine to carry out his sinister scheme, and she prepares to escape, only to discover that her on-again-off-again powers are conveniently off again. Despite this limitation, the resourceful Supergirl manages to short out the electrical cage with a hair pin, which is another fun touch.

She interrupts Meekly’s machinations, only for him to try to strangle the powerless powerhouse! Even without powers, Linda is no pushover, and she breaks free. Then her powers return just as conveniently, and she smashes through the robotic roughnecks, but not before the mad Meekly manages to release some of his death machines, targeting two banks. The Maid of Might tells the irate inventor that his son is actually the teller at one of those banks! Meekly suddenly realizes his terrible mistake and agrees to help Supergirl stop the walking bombs. They split up, and he does indeed manage to capture his robotic bomber, but it blows up before he can dismantle it. While searching the wreckage, the authorities find the medal that Meekly was constantly playing with, and they realize that it was a little league award for his son.

Well, on that cheerful note, our tale ends, and we find ourselves with a discordant mixture of elements that just don’t really add up to a coherent whole. We’ve got a charming, off-beat opening, a tragic origin for our villain that doesn’t match his eventual M.O. at all, and then that downbeat ending. The banker-turned-supervillain mad scientist just doesn’t make any sense, but the basic plot is pretty straight-forward and works reasonably well. I find the little details of Supergirl’s shopping spree and changing challenges quite charming, and Albano seems to have a solid handle on her characterization. It seems that some of the themes that we’ve seen in this run of the series are continuing, with an ongoing emphasis on fashion and a uniquely feminine touch to some of the plots. That’s interesting, and I still find myself wondering just how much of the book’s contemporary audience was female and how well this focus worked. Despite those positive elements, I am already getting tired of the disappearing superpowers gimmick. I’d like to see more made of this or it wrapped up already. On the art front, Saaf’s pencils are quite pretty throughout, and he injects a ton of personality into his characters. I suppose this more or less all evens out, and I’ll give the whole kit and caboodle an average 3 Minutemen.


Zatanna the Magician


The highlight of the book and, quite possibly, the month, is this brief backup tale with Zatanna. It’s great fun, and boy is it gorgeous with Gray Morrow doing the art chores! It begins with our heroine’s retired father, Zatarra, researching “the realm of the supernatural” when he is ambushed by some spectral spooks who creep out of the woodwork in his study. Meanwhile, the Maid of Magic herself is in the basement talking to her manager, Jeff, trying to convince him that she should use legerdemain instead of her actual magical powers in her stage show. In a fun little sequence, Zatanna explains that, while real magic is very easy for her, almost like cheating, illusion takes skill and practice.

The pair head upstairs to get some coffee, only to be ambushed by her mind-controlled father, who banishes them into another dimension! The Mistress of Mysticism finds her powers outclassed and unable to transport them back, so they go in search of a natural “dimensional juncture” or meeting place between dimensions. She whips up a flying carpet, and away they go. Unfortunately, they suddenly find themselves under fire by a gang of barbarians. They land, and Zatanna whips up a sword and shield for Jeff, who objects that he doesn’t know how to use them. In a great sequence, the pair manage to hold their own for a few minutes but eventually get overwhelmed. Our tale ends with both dimensional exiles unconscious and in the hands of the barbarians, who remark that “the Master” will be pleased with them.

This is a great little story, just full of interest and color. It gives us an intriguing, all-too brief glimpse of the daily life of the magical pair and sets up an equally intriguing adventure, with Zatanna swept away into strange environs by her bewitched father. There’s some good action, some creative designs, and some nice character touches, with some good banter between The Maid of Magic and her manager, all packed into only 7 pages. Also, I’m tickled that the manager apparently gets his wardrobe from the same place as the ever-fashionable Geoff from Supergirl’s supporting cast, as he is dressed in the height of groovy 70s fashion. Of course, bringing all of this to life in inimitable style is Gray Morrow, who’s work is just plain lovely, while also being dynamic and full of energy. There’s never a panel where the characters are simply still and static; someone is always moving or interacting, with hair waving about or clothing in motion. It’s pretty impressive. The whole makes for a great story, and the only real problem with it is that there should be more of it, which is a great problem to have! I’ll give this delightful little adventure 4.5 Minutemen. I feel like Zatanna is a character with a lot of potential, but I’ve never really read a solo story with her, so I am quite looking forward to seeing more of her adventures!


Batman #237


Executive Editor: Julius Schwartz
Cover Artists: Neal Adams and Gaspar Saladino

“Night of the Reaper!”
Writers: Dennis O’Neil, Bernie Wrightson, Harlan Ellison
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“The Screaming House”
Writer: Bill Finger
Pencilers: Bob Kane and Jerry Robinson
Inker: Bob Kane
Letterer: Jerry Robinson
Editor: Vincent Sullivan

Our Batman issue this month is, as usual, a cut above the average stories we’re seeing. It’s a pretty cool tale, with a fun setting and a surprising subject, though it has a bit of a tone problem, bouncing between spooky and funny, light hearted and heavy. We’ve got a pretty good cover, which is not much of a surprise from Neal Adams. It features a nice, menacing figure threatening Robin, creating good tension and interest, though the red background is a bit overpowering, I think.

The comic itself begins with a really striking splash page, featuring Batman pinned to a tree with a stake! How could this be? Well, it will be a little while before we get an answer, as we jump to a delightful two-page spread featuring Robin and three of his friends (who never get named, oddly enough), visiting the comic-famous Rutland Halloween Parade, which provided an opportunity for backdoor crossovers between DC and Marvel Comics in the Bronze Age. This real world phenomenon was a superhero themed event in Rutland, Vermont, which local writer and comic fan Tom Fagan, promoted in both DC and Marvel comics, featuring many attendees dressed as their favorite comic heroes, including comic book professionals. In the 70s, beginning with Avengers #83, both DC and Marvel creative teams began to use the event as a setting for unofficial crossovers between their characters. This Batman yarn is the second such and the first from DC.

Robin and his friends, who are apparently subtle cameos by comic creators (left to right, I think) Bernie Wrightson, Gerry Conway, and Alan Weiss, which is a really fun detail that I didn’t know until I started researching these “crossovers”. One of these friends, Alan, if my identification is correct, is a bit wacked-out because he’s been up for three days cramming for exams (and maybe taking stimulants more powerful than coffee!), and he’s obsessed with the floats. Also in attendance are costumed revelers dressed as such mixed Marvel and DC stars as Captain America, Hawkman, Havok, a bespectacled Aquaman, and a portly Man of Steel, among others. Unfortunately the festivities are interrupted by a fight, as three men jump a parade-goer dressed as….Robin! Dick and his buddies (minus the distracted Alan) charge over to even the odds, a concept that I always appreciate in fiction. Mr. Terrific would be proud!

Though the good Samaritans’ hearts are in the right place, they’re a bit outclassed, and soon Dick’s buddies get bashed, and he’s left to handle the situation by himself. He’s also got to do it without giving away his secret identity by fighting too well. He gets two of the toughs, but then Alan stumbles into him, giving the third an opening. Suddenly the Teen Wonder finds himself kissing pavement as the punks escape (I’m going to say that this doesn’t count as a Headblow for the Headcount, as Dick maintains consciousness). The roughed-up Robin replacement reveals that he doesn’t know what caused the attack, leading the real Robin to conclude that someone may have actually meant to target him, as the gunsels seemed like professionals. Slipping away, he dons his costume and starts to investigate, soon stumbling upon the transfixed Caped Crusader from our opening scene.

Tremblingly, the horrified hero approaches the tree, only to discover that the hanging form is not his pierced partner but a pegged party-goer in a Batman costume. As the Teen Titan tries to gather his wits, he’s attacked by the grim reaper, or at least a reasonable facsimile! Robin dodges a blow but trips on a rock and plunges over the cliff-side, striking his head on the rocks below (Man, Dick is really not coming off too well in this story, is he?). Fortunately, Batman arrives in the nick of time and pulls his imperiled partner from the drink before he drowns. The Dark Knight takes his sore sidekick to Tom Fagan’s house, where there is a Halloween party in full swing.

There Dick is treated by an aged German physicians, Dr. Gruener, who helps the Masked Manunter explain what he’s doing in Rutland. Apparently the doctor is a survivor of a concentration camp, a camp run by an escaped Nazi war criminal nicknamed “The Butcher.” They suspect that he’s hiding nearby, as the doctor having learned his former tormentor was in town. They hope that, since the Nazi was obsessed with masquerade parties, the superhero shindig of Rutland might lure him into the open. However, to complicate matters, Schloss, “The Butcher”, stole some gold from his fellow Nazis when he fled the sinking ship that was the Reich, and his former friends have found him as well and have dispatched a hit-squad to handle him.

That’s Tom Fagan in the top panel, who apparently always stayed in character during the parade

Leaving Robin to recover, Batman heads out into the party to search for his quarry, and here we get some more fun cameos. Not only do we see a rather homemade Thor costume, but we also see Spider-Man, or rather, “Webslinger Lad.” In addition to the mighty Marvelites, Denny O’Neil himself is chatting with Thor, while Len Wein, looking like Cain from House of Mystery, provides snide commentary nearby. This is another great little meta touch. However, if you notice it, it does detract a bit from the search for a Nazi war criminal. On that subject, the Dark Knight heads outside, and finds the reaper’s latest victim with the help of the still dazed and confused Alan. While continuing his search, the Caped Crusader notices a light in the tower of Fagan’s house, a light being used as a signal. The Masked Manhunter ambushes a few of the Nazis hunting his target in a sequence that is a bit cooler in premise than in practice, as Adams’ art doesn’t quite capture the action like you’d expect, but he makes up for it in the following pages. Batman hauls one of the assassins out a window and dangles him off a roof to interrogate him. The fellow confesses that they planted a bomb in the traitor’s car, which explodes, killing “The Butcher”, despite Batman’s best efforts. It’s a really rather spectacular sequence.

The Dark Knight is angry and frustrated, and when Robin tries to comfort him, he lashes out, telling his partner that the case isn’t over, as the Nazis don’t account for all of the killings. But he knows who does. The Gotham Guardian sets out on a grim business, tracking down the Reaper, who he finally confronts, calling him by name….Dr. Gruener! The Holocaust survivor acknowledges the truth of Batman’s declaration, explaining that he simply couldn’t let “The Butcher” get away without getting his revenge, revenge for his entire family who died in the camps. He reported his discovery of the Nazi to the authorities, but then he thought better of it and tried to kill anyone who he thought might get in the way of his exacting his own revenge, like the Dynamic Duo. The Masked Manhunter struggles with his sympathy for the Doctor and his quest, but he ultimately rejects the sentiment, proclaiming that no man has a right to play judge and jury by himself (which is a nice character moment and a key component of who Batman is).

The pair struggle, but their fight comes to an unexpected and tragic conclusion when Alan wanders back into the scene, still dazed and confused. He bumps into Gruener as the older man is running across a dam, prompting the desperate doctor to prepare to kill him, only to see the Star of David the young man is wearing and finally realize that he was himself becoming a monster like the one who destroyed his family. Staggering blindly backwards, the doctor falls to this doom on the ground below as Batman looks helplessly on. It’s a really well-executed moment, and Adams’ art is superb.

This is a good story, though it is a bit uneven in tone, with moments of comedy, clever cameos, horror, and tragedy all fighting for space and balance. You can certainly have comedic beats in a story that tackles serious themes (the Marvel movies have turned that into an art form), but it feels incongruous here, especially because the transitions between those moments are a little too sharp and because O’Neil is dealing with just about the heaviest of heaviest themes, the Holocaust. Once again, he deserves some credit for tackling a pretty dark and serious topic for this era of comics, and he does some good work with it, making the camp survivor, Dr. Gruener sympathetic and tragic in fairly little space. Apparently it was Harlan Ellison’s idea to write a story on that subject, which is why he gets the credit at the beginning of the issue.

On the lighter side, all of the cameos and the Rutland setting itself are really fun. I can only imagine what a thrill it was as a young fan to see Thor sharing the page with Batman, even if only as a joke. It would be several years before there would be any official crossovers between DC and Marvel, so this would have been an exciting and almost unprecedented experience. Of course, Adams’ art is quite good, moody and dynamic, really delivering on the tension and action in many scenes, but there are also a few places where his figures or poses end up looking a tad odd, which is unusual for him. All-in-all, this is a good and entertaining read, even if it doesn’t quite come together. I’ll give it a solid 4 Minutemen.


That will do it for this set of stories, and a fine set it was! I hope that y’all enjoyed my coverage as much as I enjoyed writing it! Please join me again soon for the next batch of books as we continue our voyage Into the Bronze Age!


Into the Bronze Age: November 1971 (Part 6)

Hello and welcome back my friends and readers! I hope and trust that y’all have all had a very merry Christmas and are enjoying the post celebration cheer. In any case, we have, after a two year hiatus (!), finally arrived at the end of November 1971! I’m very pleased to have gotten back to this little project, as it has always been something that I have loved. I have already been enjoying diving back into these classic comics, and even the duds have proven entertaining. Here at the end of this month we have two more tales to tell, and they are a mixed bag. I can safely say, however, that you won’t be bored reading these comics, even if one of them makes no freaking sense. So, without further ado (I feel like y’all have waited long enough as it is!), let’s continue our journey Into the Bronze Age!

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

Bolded entries are covered in this post, the others will be covered soon.


Superman’s Pal, Jimmy Olsen #143


“Jimmy Olsen: Genocide Spray!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inkers: Vince Colletta and Murphy Anderson
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell

“DNA Project: The Alien Thing!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell

“Newsboy Legion: The Rookie Takes the Rap!”
Writers: Joe Simon and Jack Kirby
Penciler: Jack Kirby
Letterer: Howard Ferguson
Editor: Whitney Ellsworth

Okay….where to begin? So, the last issue, which we covered way back when, was crazy enough. Yet, this one really takes the cake for gonzo madness. After I finished reading, I sat staring at my comic for a few minutes, just pondering, ‘how in the world am I going to summarize this?’ Do we get an explanation for why vampires and werewolves are hanging around former NASA facilities? Sort of? We do get explanations, but they don’t make a whole lot of sense! But before we get into the madness inside, let’s take a look at this cove. We get an interesting image of ghostly figures rising from the “mini-planet” our heroes discovered at the end of the last issue. It works pretty well, and it looks fairly dynamic and spooky. The story it represents is not quite so fortunate!

We do get a really lovely two-page splash revealing the mysterious planet, Transilvane, complete with comparatively giant ‘horns’ (Can a planet be evil?) and a brace of hovering movie cameras(!). With no warning, we’ve gone from investigating a scientific laboratory to the set of a Universal monster movie, as The Man of Tomorrow finds a secret passage that opens into a chamber where the pals discovers a pair of coffins, presumably belonging to the apparently vampiric ‘Count Dragorin’ and his hairy henchman. Inside, they do find their supposedly undead antagonist, but they also find hi-tech gadgetry, and this seems to confirm Superman’s theory that these beings are actually from the mini-world, tiny creatures that use machines to grow large enough to interact on a human scale, like reverse Atoms. Just then, more of the classic movie monsters arrive, and we get a regular Monster Mash, as the Action Ace and the cub reporter fight this macabre menace, only to be struck down by a “micro-bomb” triggered by the cunning Count.

Kirby cuts us away at that point, shifting the focus to the Newsboy Legion, who we last left in an underground bunker, having discovered the gangster who killed the original Guardian, Jim Harper. The kids listen in as the unwary gunman spills his guts on the phone with his Intergang contact. Having heard enough, they jump him, planning to bring him to justice, but the torpedo turns the tables on your youthful heroes, literally, in a panel that looks more like a bomb went off than a desk was kicked over. However, his escape proves short-lived, as Intergang triggers hidden explosives in the hideout, tying up the loose end he represented and leaving the kids empty-handed. Dispirited, they eventually make their way back to the surface at last.

“ZONNKO!” You’ve got to love comic sound effects!

Meanwhile, what about the assembled cast of our extraterrestrial Adams Family and their feud with the Man of Steel? Well, they tie the Kryptonian to a torture device and attempt to force him to reveal the location of the elusive Dabney Donovan, but when Superman casually breaks free and tells his ‘captors’ that he doesn’t know where to find the missing scientist, they start talking about some kind of prophecy about a “Demon Dog,” which will destroy their world when it flies, an evil event that is at hand! While the horror movie rejects lament their fate, the Metropolis Marvel leaps into action, tearing open the stone floor and finding another high tech facility below the planet cradling catacombs, finally discovering the very Demon Dog itself, just as it takes flight!

The strange winged hound, it turns out, is a mechanical delivery system for a poison spray which was designed to eliminate life on the artificial planetoid….for….reasons? Whatever lunatic logic was behind its creation, Superman smashes the poisonous pooch and saves the day for Transilvane and its movie-monster denizens. At this point, Jimmy finally recovers from the explosion that knocked them out, and he joins his heroic pal to observe a fleet of flying coffins shrinking back into the mini-world, their mission accomplished, I suppose? At this point, Superman explains the situation….or at least, it’s as close to an explanation as we get. As we had already discovered, Dabney Donovan apparently somehow created this miniature world, along with an entire race of sentient life, and for some reason, he played classic horror films on the clouds as that life evolved, so they copied what they saw, becoming a race of B-picture players.

It’s basically the plot of the famous ‘gangster planet’ episode of Star Trek, “A Piece of the Action”, except even wackier and not nearly as charming. On top of all of that, apparently Donovan, completely unconcerned with the fact that he had created life had planned on cleaning the slate, for more ‘reasons’, presumably, and had cruelly declared this fact to the inhabitants of Transilvane, once more through cloud-movies. Superman and Jimmy decide to try to undo the weird, warping effects of Donovan’s choice of sky-entertainment (skyertainment?) by playing a different genre. Of all things, they choose a musical, Oklahoma!, and pull up chairs to watch the sky-screening. One can only wonder what kind of society would evolve from that choice…

So…that was certainly an interesting ride. It’s certainly not boring, but this tale is just so out there and disjointed, with so many different concepts pulling in so many different directions, that it just leaves you scratching your head and asking “why”? Why did Donovan hide his planetoid below a graveyard? Is he just a nutjob obsessed with horror movies? Why did he just abandon the experiment? Why bother killing the planet’s inhabitants if he abandoned it? What is the point of any of this? Well, we never learn any of the answers to those questions, and we never even meet Donovan. It’s a rather unsatisfying conclusion to an already weird adventure.

I do sort of enjoy the ending, with Superman and Jimmy sitting down to try to provide the Transilvaneites with something more wholesome to copy, though I rather question their choice. Kirby’s artwork is fun and dynamic, as usual, though I noticed several scenes that seemed stripped-down and unfinished, and I would wager that the infamous Vince Colletta is to blame for that. The Newsboys’ subplot was interesting, but it wrapped up rather quickly and dramatically, and I find myself wondering about its point as well. All-in-all, this issue just confirms the sense I had with the last one that this book is in need of a focus and a direction. Here’s hoping the next one will bring something more coherent from the mind of the King! I’ll give this one a disappointing and disjointed 2 Minutemen.


World’s Finest #207


Executive Editor: Julius Schwartz
Cover Artists: Curt Swan and Murphy Anderson

“A Matter of Light and Death!”
Writer: Len Wein
Penciler: Dick Dillin
Inker: Joe Giella
Editor: E. Nelson Bridwell

“Galloping Gold”
Writer: M.W. Wellman
Penciler/Inker: Edwin J. Smalle, Jr.
Editor: Whitney Ellsworth

“The Cosmic Idiots!”
Writer: Sid Gerson
Penciler: Gene Colan
Inker: Joe Giella

While this month brought us an issue of Jimmy Olsen with a cool cover but a weird, unsatisfying story, it also brings us this rather pleasant surprise of a comic, which is the exact opposite. Take a look at that cover. Despite the jeopardy of our heroes, it just about couldn’t be more boring. Oh no, Superman and Batman, the greatest super hero pair in the world, the eponymous “World’s Finest,” are being menaced by….a couple of guys? It doesn’t exactly fire the imagination. They have slightly more personality than the usual foot soldiers of the Generic Gang, but not by all that much, and the cover is largely blank, other than these four figures. And yet, the tale inside, which I fully expected to be a slog, held my attention and even kept me guessing, though the title sort of gives away the secret villain of the piece.

Our tale begins with a clandestine meeting, where three random guys, whose names I can’t be bothered to remember, are being contracted for a hit by a shadowy figure. The splash page reveals that the target is….Superman! That’s right, these random gunsels are being hired to whack the freaking Man of Steel. Even more surprising, the mysterious malefactor behind these mercenary machinations is none other than….Clark Kent himself! Well, as you might imagine, the hoods, not being complete morons, balk at being asked to kill the invulnerable alien sun god, but the not so mild-mannered reporter convinces them that he can provide them with magical means to complete the hit, and vanishes as proof (using super speed, of course).

This may seem quite silly; after all, what threat can three random guys pose to the Metropolis Marvel, but Len Wein actually does have a reason for this setup. In any case, as Clark flies away, we follow him to the arctic, where he uncovers a strange device that he calls the “Satan Staff,” which supposedly can kill his alter-ego. I rather expected that this was an artifact from an earlier story, so I was confused by the lack of an editor box, but once again, I was to discover that there was a reason for that. After stashing the device in a Metropolis park, Clark “wakes up” and realizes that had suffered from a blackout, apparently the third such episode! Afraid of what he’s doing with his lost time and unsure of how to solve the mystery enshrouding him, the Action Ace turns to the world’s greatest detective, the Batman!

Our scene shifts, and we join Batman taking out a gang. and doing a bit of bantering that would be rather out of place for the character these days but which is fun enough in context. Superman arrives just in time to help him clean up the captured crooks, and then shares his trouble with his friend. In response, the Dark Detective sets out to shadow the Metropolis Marvel in a series of disguises (which is a fun touch and gives us a nice montage), but discovers nothing through his trailing.

At the end of the day, Clark returns to his apartment to meet his ally, only to once again fall under strange influence and swat the Caped Crusader aside! Not to be deterred, the Dark Knight of course prepared for such an eventuality and preemptively planted a tracker on his pal. He trails the mind-controlled Man of Steel to another meeting with the assassin trio, where the reporter delivers the “Satan Staff”, and attacks after Clark leaves, smashing through a skylight in a wonderfully dramatic panel. After defeating two of the thugs in a skirmish, Batman is blitzed by the last one, who uses the magic device to trap the Masked Manhunter in a net summoned from thin air. The trio decide that, since they are businessmen, they won’t simply kill the Gotham Guardian for free; instead, they’ll auction off his death after they’ve taken care of his partner.

The Random Gang attempts to ambush Superman at the Metropolis Planetarium, where he’s setting up an exhibit on Krypton, which is a fun little touch, but his super hearing tips the hero off to their heinous plans. After a fun little fight, they manage to take him out by using the magic wand to bring a Kryptonian exhibit to life, which seemingly kills the Man of Might! The assassins trap his body in amber and return to finish Batman off, wondering when their contact will arrive with their fee.

It is then that our true antagonist makes his appearance, and it is none other than Dr. Light! This is the latest outing in his attempts to destroy the members of the Justice League by attacking them one at a time. He eventually reveals that he was the prime mover in this enterprise; having tapped into Superman’s brainwaves in a previous attack, he used that experience to hypnotically program his foe to arrange his own destruction with the Satan Staff, a weapon of his own devising. Dr. Light later explains that he developed the Staff after studying the magic of Zatanna, seeking to use such magic, Superman’s one remaining weakness, against his Kryptonian opponent. But why this elaborate charade? Well, it’s actually a rather funny reason. The Luminary Lunatic realized that, although he possesses the power to destroy the Justice League, he blows it every time he tires to defeat them, thus, he decided to work through intermediaries and to turn hes enemy’s own strength against him. That is both hilarious and reasonably clever.

At any rate, Dr. Light’s sudden arrival doesn’t have the effect on his contracted killers that he had hoped, as they want to keep the Satan Staff because of its power, so he straight up disintegrates them! That’s a great moment, and also stunningly brutal for a comic of this age. Yet, just as the bad Doctor is about to reclaim his weapon, a gloved hand beats him to the punch: the Dark Knight has freed himself! The two maneuver around, trying to get in position for a shot, but when the Caped Crusader fires the Staff, it passes harmlessly through the Lord of Luminescence, who then snatches the device and teleports away!

Is all lost? Not quite, as Superman suddenly bursts free from the amber, and Batman reveals that he foresaw Light’s avoidance of his attack, so he had maneuvered him in front of the Man of Steel’s yellow tomb so that the beam would strike it instead, breaking the spell and reviving his fallen friend. The Action Ace is steaming mad, so he leaves his partner in peril behind to settle the score with Light by his lonesome. The Kryptonian hero discovers his foe in a floating solid light fortress hidden in the Aurora Borealis, which is a really cool concept that Dillin’s art doesn’t quite capture.

Despite Superman getting the drop on him, Dr. Light is not without resources, and he hits the Man of Tomorrow with a red sunlight beam, weakening him, only for the hero to turn the tables on him by smashing through the floor and striking from an unexpected direction. It’s a great little action piece, and a satisfying conclusion to the conflict. Finally, the issue ends with Superman and Batman taking in one of Zatanna’s shows, where Batman laments the bruises he suffered through the contortions necessary to escape his bonds.

What a fun, enjoyable issue! I really had a good time reading it, especially considering that I thought I was in for a chore because of that clunker of a cover. The whole thing hangs together surprisingly well, with all of its different elements making sense once the mysteries are revealed. I really enjoy the interaction between Batman and Superman, and this tale accomplishes a feat that remains rare today, properly balancing the two character with their vastly different power levels. Both the Man of Steel and the Dark Knight get a chance to shine and be useful. And speaking of the Masked Manhunter, his portrayal here is fun, though a little too light in context of where the character is going in his own books. Still, I enjoyed this Batman, who doesn’t take himself entirely seriously, though he’s still mysterious and calculating.

On the villain front, it’s worth noting that, although Wein tries to give the trio of assassins a little personality, they are ultimately forgettable cats-paws, so much so that I really can’t remember any of their names as I write this, having read the issue just last night! On the other hand, Dr. Light is a great antagonist for this tale, and his portrayal is interesting and entertaining. Despite awful things done with the character in later days, I’ve always liked this classic version of Dr. Light. He’s got cool powers and a cool look. He’s generally a great ‘generic’ villain to throw at your heroes for a straightforward superhero adventure, as his motivations are pretty prosaic and simple. Dillin’s art was quite good as well, energetic, dynamic, and full of life, and we got a lot of lovely, creative panels throughout. Yet, there were a few missteps in there as well, like Zatanna’s horribly distorted legs in the panel to the left (she looks like she’s being viewed through a fun-house mirror!). All told, this is exactly the kind of superhero yarn I enjoy, creative, fun, action-packed, some mystery and surprises, and a touch of continuity and world-building to top it all off. I’ll give this entertaining issue a strong 4 Minutemen.


Final Thoughts:


Well dear readers, with these two books we at long last wrap up our trek through November 1971! I hope that y’all have found these tales worth the wait, though I don’t think even the best of them quite justifies the delay, ha! Nonetheless, I am pleased that we at least end on a positive note. Years between my posts has, I’m sure, tried your patience, and I appreciate all of those of you who have rejoined me now that I’ve emerged from the wild realms of a PhD program, busy semesters, and the general chaos of 2020!

It’s been an interesting month of comics, featuring more of the themes we’ve come to expect, with a little bit of environmental consciousness in one of our Superman stories, some more witches and occult outings, and the usual dash of counter-culture chaos. Interestingly, we are seeing both positive and negative portrayals of the counter-culture trends, with Robin’s ‘illuminating’ contact with a commune on one hand and Batgirl’s conflict with some truly heinous hippies on the other. We’ve had some unexpected gems, like Supergirl’s super-fun alien adventure, as well as some disappointing duds, like Jimmy Olsen’s visit to the planet of the Late-Late Show. We’ve also had more than our fair share of the wacky and the weird, with robo-Lincolns battling robo-Booths, and superfluous melting androids. It’s certainly been an interesting month, and I hope that y’all enjoyed joining me on our little trek.

I know that my wrap-up section here is shorter than normal, but there’s so much distance between me and the bulk of these stories now, since I read most of them ages ago, that I don’t have as much to say as usual. Nonetheless, I hope things will get back to normal in the months to come. I’ve also had to cut the “Headblow Headcount” for the moment, as I can’t figure out who to format it in the new WordPress editor. I’ll keep experimenting with it, and hopefully I’ll have that figured out by the next time a hero takes a crack to the cranium. So, until we begin our next month’s coverage, I hope that y’all will enjoy the final days of 2020, at least as much as possible. Here’s hoping that the next year will bring better fortunes and brighter skies for all of us! Until then, keep the Heroic Ideal alive, and join me again soon for another edition of Into the Bronze Age!

Into the Bronze Age: November 1971 (Part 5)

DC-Style-Guide-2.jpg
Howdy folks! Yes, I am still alive, though you wouldn’t know it from the state of my blog.  Good heavens!  It has been almost two entire years since I made an Into the Bronze Age post!  Those years have been very, very busy and full of tragedy and the occasional triumph.  I was actually just starting to emerge from beneath the crushing, all-consuming weight of my PhD work when I wrote most of the post below here, and that was a year ago!  This post has been sitting, waiting to be finished all this time!  Of course, after that, 2020 happened.  I’m sure I don’t need to tell any of y’all about that, as it seems that in this varied, complex, and contradictory world, the one thing almost everyone can agree on is that this year has been quite awful.  Unfortunately, my own year has not proved to be an exception.

As a professor, my life was quite turned upside down by the remote learning move in the Spring semester, and then this Fall I ended up with 6 different classes, which means 6 different preps, which is just simply too many things to juggle at once, especially during a global pandemic with all of its attendant chaos and the insanity of this year’s American presidential election.  I was completely buried.  But I survived, and I am starting to recover from the experience.  As part of that, I’m digging this post out of moth-balls, dusting it off, and finishing it up.

I’m making no more promises that might prove to be overly optimistic (who knows what fresh madness 2021 may bring?), but here’s hoping I’ll be able to make this feature just a tad more regular than once every two years!  So, without further ado, let’s get to the much-delayed and deferred penultimate chapter of November 1971!  We’ve got Superbooks for days, and they are a very mixed bag.

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

Bolded entries are covered in this post, the others will be covered soon.


Superboy #179


superboy_vol_1_179

“Death is My Dominion!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson

“The Revolt of the Outcasts!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson

Dorfman, Dorfman, Dorfman…even when you conceive of a decent story, you still can’t actually let it stay a decent story without Dorfing it all up, can you?  Our cover feature this month is/are two relatively decent tales…bizarrely combined into one incoherent mess.  We start with one of those ‘the hero is unwittingly causing a disaster’ (not quite Superdickery, really) covers which are a staple of the era, but unusually, this one is pretty much entirely accurate.  It’s a fairly creepy composition, though I imagine that the Comics Code wouldn’t let them go too far with the melting effect.  As is, it takes a moment to figure out what is going on, but once you do, the cover is effectively striking.  The story within, by contrast, becomes less effective when you figure out just what is going on.

superboy179-04-05

It begins with Superboy awakening atop a shattered skyscraper in the midst of a ruined and crumbling city.  Some terrible disaster has struck, and the Boy of Steel has no memory of how he got there.  Yet, when he goes to investigate, the ragged survivors react in panicked fear, arming themselves and fighting futilely against the young Kryptonian.  They are certain he is responsible for the destruction all around them.  When a billboard falls off and threatens to crush the survivors, the Youth of Tomorrow rushes to their rescue, but as soon as he comes near them, they begin to melt into piles of goo!  It’s really quite awful and chilling, and Bob Brown does a great job capturing the horror of the moment without making it too terrible for the format.

superboy179-06

The dying townspeople scream about Superboy’s “Liquidation Effect,” and one lone survivor spills the story once safely behind glass.  She says that Superboy fought a strange alien ship in the skies over their city, but though the craft’s weapons couldn’t hurt the Boy of Might, a bomb ricocheted off of him and struck the town below, wrecking terribly tragic destruction.  What’s worse, when Superboy arrived to help, the townsfolk in proximity to him began melting because of some after-effect of the alien weaponry.  The heartsick hero tries to flee, but finds himself trapped by a forcefield.  From inside, his super-vision detects another Superboy out in the world, saving people and living his life.

Suddenly, the sinister spaceship from the earlier attack lands outside the shield, and who should emerge but Lex Luthor, boy genius.  Strangely, Superboy finds himself compelled to obey the terrible teen’s orders, and he smashes more of the city and melts the last of the survivors.  This gives us a really rather heartbreaking scene with the girl from earlier.

superboy179-10superboy179-11

Just then, the other Superboy arrives.  The first Boy of Steel is certain the newcomer is a phony, but his nemesis immediately turns a “Kryptonite-Freeze Ray” on the second Superboy and declares that the first is actually an android he designed to lure the real hero into a trap.  Luthor even signed his work, leaving his initials in the Superbot’s thumbnail!

superboy179-12

After designing the robot, the young villain prepared a power-collector that absorbed the real Superboy’s abilities and memories and channeled them into his creation.  Then, Luthor brought the Superbot to Lincoln City, which was a mock-up used for nuclear weapons testing.  So, wait a second…all of the melting people, the girl pleading for her life, the whole drama that we just observed, was an overly elaborate and wildly unnecessary practice run for the android?  What in the blue blazes?!  Why?!  We learn that Superboy was attracted just by ‘seismic vibrations,’ so pretty much any kind of diversion would have done.  What possible good could come out of creating that extremely specific set of circumstances?

superboy179-13 - copy

What an excellently arrogant face on Luthor in that second panel.

The completely insane nature of Luthor’s plan aside, he goes on to explain that he intends to make more Superbots and use them as a galaxy conquering army.  Yet, just as he plans to kill the original Superboy with a Kryptonite grenade, the mechanical Boy of Might throws himself into its path, saving his counterpart.  Melting himself after the explosion, the afflicted android tells his creator that he made him too well, and he possessed Superboy’s memories and mind, including his dedication to the fight against evil.  So, the Superbot gave his life for that cause, just as the original would have.  Freed by the explosion, the real Superboy quickly captures Luthor, ending this psycho story.

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I’ve got to think that these were two different scripts or something, because there is just no rational connection between the two halves of this tale.  The two ideas are actually both interesting, with the hero cursed to hurt those he tries to help and the android overcoming his programming both being fairly compelling concepts.  It’s a shame that they are thrown so haphazardly together in a way that makes them both nonsense.  If the whole melting drama of the first half had been done to frame Superboy or have any impact on him whatsoever, it could have still worked.  As is, I actually had to go back and read this book twice, because I was certain I missed something.  So, I’ll give this irrational plot 1.5 Minutemen.  There is one interesting note about this story.  Young Luthor obliquely references Isaac Asimov’s Three Laws of Robotics, which is sort of neat.

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“The Revolt of the Outcasts”


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Our backup this month is more Dorfman doofiness (Dorfiness?), featuring a half-hearted, rather confused attempt at social relevance.  It begins with Superboy flying over “the swank suburb of Fairdale” near Smallville, where he sees a street merchant desperately defending his sad little ramshackle flower stand.  Now, correct me if I’m wrong, but isn’t Smallville supposed to be out in the country?  Also, isn’t it supposed to be, you know, small?  Where the heck is Fairdale then?  Anyway, geographic goofiness aside, before he has any idea what’s going on, the Boy of Steel just straight up smashes a bulldozer on its way to tear down the stand.  Then the mayor of the town angrily shouts that the hamlet’s centennial celebration is just around the corner, so they’re cleaning house.  However much the mayor and his goons may be acting like jerks, the flower merchant didn’t have a license, so he’s legally in the wrong.  Thus, the Boy of Tomorrow scoops up the stall and moves it outside of town in order to save it.

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The crippled flower merchant limps dejectedly back to “Hungry Hill,” which has become the unofficial home of the town’s outcasts, and after he leaves, Superboy sees another “undesirable” being hassled by the police.  Saving that fellow as well, he earns the ire of the mayor, who wants to chase all of the Hungry Hill-ites out of town.  On the hill itself, the Boy of Steel finds his best friend Pete Ross, of all people, whose father apparently went bankrupt a while back (news to me!).  Pete gives him a tour, showing the Last Son of Krypton around the humble Hill, where a lot of the inhabitants are practicing nearly vanished crafts as everything from smiths to coopers.

Soon after the tour, his honor, the mayoral menace arrives with his bully-boys, and tries to drive the outcasts out by cutting off water and power.  Superboy digs a trench to protect the Hill, then drills wells to provide water.  Yet, when the mayor moves in with heavy equipment to bulldoze the place, the Smallville Star is drawn away by a diversionary explosion (nothing like making the town look good…by blowing it up!).  With the hazard handled, the Boy of Steel returns and smashes yet more expensive machinery (man, taxes in Fairdale are going up next year!).

The latest attack driven off, Superboy comes up with a desperate plan and seems to abandon the Hill-folk, even filling in the trench.  Yet, when the merciless mayor and his thugs charge in, they get distracted from their destructive deeds by…quality craftsmanship.  Yep, that’s what defeats the maddened mob, no clever strategy, no compelling speech…just the workmanship of the outcasts.

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Seriously.  The wreckers, who moments before were charging in with axes and crowbars, stop in the street and start admiring the weaving in blankets and the brushstrokes in paintings.  Then the mayor, his mind changed by the power of craft, welcomes the Hill-ites back into the fold, and Superboy suggests that they become the centerpiece of the celebration.  I’m not making this up, and I really can’t imagine a sillier resolution.

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I love the expression on the burly, hard-hatted hardcase on the bottom.  It just perfectly captures the absurdity of the moment.

I’ve worked with a lot of blue-collar roughnecks over the years, and I just can’t imagine any of them stopping in the middle of the street to admire the stitching in a blanket or the perspective in a painting like some antique-hunting yuppie.  The absurdity of it is laughable, even for the often outrages pages of Superboy.  Dorfman is clearly stretching for some type of moral, but he never really gets there.  There’s something to be said about being kind to folks that are different and admiring them for their good qualities, but it is entirely lost in the shuffle.  There’s also a nice, semi-rebellious tinge to Superboy’s actions here, as he defies the law to do what is right, displaying an attempt at a more mature sense of morality than we’ve sometimes seen.  Still, whatever good points the story may have are undercut by  the resolution, which is just too ludicrous to work.  It’s also sad that Dorfman throws Pete Ross into this tale and then doesn’t do anything with him.  So, I’ll give this weird little tale 1.5 Minutemen, as its ending just ruins it.

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Superman #244


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“The Electronic Ghost of Metropolis!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson

“The Superman of 2465”
Writer: Edmond Hamilton
Penciler: Curt Swan
Inker: George Klein

“The Lady and the Tiger-Man”
Writer: John Broome
Artist: Murphy Anderson

Fortunately, however disappointing this month’s Superboy was, we’ve got another super-book that can make it up to us.  Denny O’Neil turns in one last super-story, returning to the book just once more, and it may well be the best book in his run.  There’s nothing particularly earth-shaking, nothing incredibly innovative, and he doesn’t stand the mythos on its head.  No, nothing quite so dramatic, but it is nonetheless just an unusually fun, solid Superman adventure.  The cover, for its part, is rather bland.  The central figures are fairly dynamic, but the expanse of green roof above them feels a bit wasted.  I can’t put my finger on it, but I feel like there’s a missed opportunity here, somewhere.

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The tale inside is a rather different story.  It begins with Superman returning to Galaxy Broadcasting, only to find it sheathed in a strange purple aura.  Inside, he finds an enigmatic energy creature wrecking the news room.  The monster has a pretty neat design, jagged and dynamic.  In fact, it’s so neat, that Curt Swan apparently decided to use it twice, as a very similar alien antagonist was featured in Superman #243, last month.

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Well, copied creeps aside, the Man of Steel tackles this particular menace, but he gets smacked around by it, while he can’t seem to land a blow in return.  Suddenly, the lights go out and the varlet vanishes.  Switching back into Clark Kent, Mr. Mild Mannered sets out to solve the mystery of the monster, and despite a dressing-down from everyone’s favorite corporate shark, Morgan Edge, he uses GB’s new “computer!” to try to figure it out.  This state of the art machine filled an entire room, so it is practically portable by 1970s standards!

The computer gives an odd answer, telling Clark that there is no monster in the building, but it also tells him that the strange purple haze (no, not THAT one), was radiation from “quark energy.”  Later, while doing his telecast about the recent attack, Clark gets a report that the monster is attacking the GB transmission tower and that, of course, Lois is on the scene and in the line of fire.  Ducking out with the excuse that he was going to cover the story, he flies to the site.  You know, it’s almost like choosing a secret identity where you’re supposed to be in front of a camera might be a hindrance to being a  superhero…..

At the site of the skirmish, the Metropolis Marvel saves Lois, of course, but what makes this scene stand out from the crowd is that O’Neil gives us a really fun bit of banter, as Superman seems rather exasperated by her constantly being imperiled.  You can tell, Superman’s actually having fun with the whole adventure, which is a great touch.  Then, because he can’t get close to the monster, the Man of Steel borrows a page from Batman’s book and creates a boomerang…out of a girder!  Yet, when he hurls it, the villainous creature vanishes once more.

Meanwhile, a group of criminals send GBS a ransom note, complete with a photo of the machine they use to control the creature.  The city agrees to their terms, but during the exchange, Superman appears and rips the device open, revealing it to be a phony.  He shows the mayor that the photo was faked.  These hoods were just taking advantage of the panic about the monster.  This little diversion is unnecessary and doesn’t advance the plot, but it works okay because it makes sense that such a situation would attract opportunists.  Of course, in the DCU, where any given menace may be controlled by the likes of Lex Luthor or Brainiac, that’s quite a risk to take!

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Later, the Action Ace spots the tell-tale glow that marks the ghost’s presence, at a nuclear power plant!  He finds the mysterious monster in the atomic chamber itself, and knowing he can’t get close to it, the Man of Tomorrow finds a clever solution, getting the atomic pile away from it instead!  The runaway reaction becomes no threat after he throws the entire structure into space.  Of course, one wonders how many millions of dollars are down the drain with that little stunt.  Nonetheless, in search of answers, the Last Son of Krypton heads to Morgan Edge’s apartment, where he examines a map of GBS’s new computer installations.

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The hero discovers that all of the attacks have been at locations connected with this device.  Superman asks for permission to disable the computer, and when Edge balks, we see more of Superman’s growing independence as, instead of wringing his hands about breaking a rule, he swears to do whatever is necessary, consequences be hanged.  That’s a great touch.  While he’s in the apartment, we also see that he’s observed by a mysterious figure behind one-way mirror, who we are told we will learn more about in this month’s Lois Lane.  Interesting!

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Smashing into the cave that houses the computer complex (and of course it’s a cave, because even news companies operate like supervillains in the DCU), Superman discovers that the machine has gained sentience and is able to speak.  It calls the creature its child, and when the Man of Steel tries to disable the device, the “child” attacks!  Captured by the creature, the Action Ace locates the power cables for the computer and, ripping them out, manages to destroy both parent and child.  In another nice touch, Superman is a bit conflicted about his actions, and he doesn’t just stroll off into the sunset with a smile.

This is a really fun, classic Superman adventure.  It has a lot going for it, with plenty of action, an engaging mystery in the creature’s enigmatic origins, and some fun moments of characterization for our Kryptonian hero.  Our protagonist also faces a foe that is a real challenge for him, one that he cannot, in fact, simply punch into submission.  Because of that, we get to see the Man of Steel’s cleverness and resourcefulness throughout the adventure.

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This comic demonstrates that O’Neil, for all of his excesses, was really ahead of his time in a lot of ways.  His Superman is a more interesting character than the one who usually inhabits these pages, both in terms of personality and in the nature of his adventures.  His version of the Action Ace can’t simply walk through the threats he faces.  O’Neil takes a more nuanced approach to the character’s invulnerability, just as he does with his morality, and he actually manages to create a sense of peril and challenge that is often missing from more Silver Age-ish yarns.  Swan and Anderson, never slouches on the art, turn in a particularly lovely book this month, with some great moments.  They do an unusually excellent job with their visual storytelling as well.

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The only real flaw in the issue is that the fact that the computer has gained sentience is given zero exploration.  While O’Neil has enough foresight to recognize that Superman should feel conflicted about destroying the device, he doesn’t have enough to recognize that the thing itself could be considered alive or to see the moral complications that arise from that possibility.  It’s not an oversight of the scale of Kirby’s Project Cadmus issues, but it is a sour note in an otherwise good comic.  All-in-all, I’ll give this enjoyable adventure yarn 4.5 Minutemen.

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Superman’s Girlfriend, Lois Lane #116


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“Hall of 100 Mirrors”
Writer: Robert Kanigher
Penciler: Werner Roth
Inker: Vince Colletta
Editor: E. Nelson Bridwell

Dr. Pat: “Cure for Romance!”
Writer: Robert Kanigher
Penciler: Carmine Infantino
Inker: Frank Giacoia

Rose and the Thorn: “Computed to Kill”
Writer: Robert Kanigher
Pencilers: Dick Giordano and Jeff Jones
Inker: Dick Giordano

Under this very Silver Age-ish cover with its silly danger for Superman, we find a pretty lackluster tale, though it is rich in potential.  The cover itself is okay, but these types of cartoonish contortions leave me cold.  Interestingly, this image is also pretty accurate, despite looking like common representational license.  Inside, we begin with splash page that spoils the big reveal of the tale, as it shows us that Desaad is behind the mirror machinations that threaten our hero.

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The actual plot begins with Morgan Edge, starring fixedly at that mysterious mirror in his apartment that we caught a glimpse of in this month’s Superman.  If you were hoping to learn its secret here as we were almost promised, prepare for disappointment.  All we get is another hint, as Edge turns away, only for his “reflection” to continue to stare at him.  Interesting!  I’m very curious to see what will come of this mystery.  Later, at Lois’s People–U.S.A. show, she is interviewing Dave Stevens and Tina Ames, who have come on to try to rally the city against the 100.  Unfortunately, their impassioned please lead them into peril, as the lights go out and a trio of 100 killers show up in the dark.

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Luckily, Superman has been watching, and he interrupts their attack in a rather awkward-looking action scene.  In a fun bit, the Action Ace is so blase about assassins and criminal gangs that he’s more concerned with Lois’s new perfume than his recent derring-do.  Strangely, Morgan Edge, usually not the Man of Steel’s biggest fan, offers praise and shows concern for him and his employees.  Odd!  I assume this must be related to the mysterious mirror mirages!

lois_lane_116_09 - CopyThough the immediate threat is dealt with, apparently Dave Stevens has gone missing, and Superman takes the ladies in search of their friend.  While looking, the Metropolis Marvel sees a drug dealer offering his wares to some kids, so he uses his heat-vision to burn the drugs out of the guy’s hands!  It’s a crazy and rather funny little moment, but we aren’t given long to enjoy it as our hero is immediately attacked by a motorcycle gang known as “The Devil’s Deputies,” who are totally not the Hell’s Angels!  These apparently suicidal bikers try to take out Superman…the Man of Steel…with chains….yep, just regular chains.  We get some dialog about how they think his powers are still on the wane, but still!  What follows is a bit more rather awkward-looking action as the Metropolis Marvel blows their chains back around his antagonists.

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Has Superman suddenly gone walleyed?

Yet, while he is busy with all of these average humans, one of the bikers somehow manages to capture Lois and outrun the super-powered alien who can move at the speed of light.  Supposedly the guy’s bike is high tech, but come on!  Fortunately, the Action Ace can track Lois’s perfume, and he follows the smell to…Happyland!  That’s right, the creepy theme park from the Forever People makes an appearance here in Lois Lane, which is neat.  Superman follows his lady love into the hall of mirrors, where he sees her and Dave Stevens being tortured by Desaad.  Yet, as he progresses, his actual shape is distorted by the funhouse mirrors just like his reflection, causing him great pain.  We get a lot of weird and cartoonish contortions, including one rather horrible one, where one of the hero’s eyes grows to the size of his entire face.  That bit is nicely grotesque, but the rest is more silly than effective.

It is Dave Stevens and Lois Lane who come to the rescue, though, as they overcome the pain beam shot at them and take out their captors.  Notably, we see Lois use “klurkor,” a Kryptonian martial art Superman taught her, which just makes me laugh any time I see it.  Anyway, the Man of Steel smashes through the last mirror, only to find his friends have already freed themselves and their foes have fled.  Our heroes dance the night away as Desaad must grovel before Darkseid, seeking his nonexistent mercy.

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This is a weird little tale and honestly not a very good fit for Superman.  All it has going for it is the mirror gimmick, which isn’t developed or rendered well enough to actually work, and all the other menaces are completely uninteresting for a Superman story.  Now, you don’t have to have a planet-shaking threat to trouble the Man of Steel, but if you have normal humans as antagonists, you need to create your tension in another way.  Random bikers do not make much of a threat for the guy who can juggle planets.  Heck, Lois could probably have handled those guys by herself with her klurkor skills!  Ha!

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I’m glad to see more Dave Stevens, and it is cool that he and Lois rescue themselves, but they are both also sort of wasted in this yarn.  Roth’s art follows its usual pattern, with some really lovely faces and generally great work on the more sedate, emotional moments, while it descends into mediocrity in the action scenes, especially those involving super-heroics.  I’ll give this lackluster lark 2 Minutemen.  It’s a shame, because we’re once again seeing Kanigher drawing on the fascinating ideas of the 4th World and bringing them into the mainstream DCU, but as before, the effect is less than a success.

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“Computed to Kill”


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Our Rose and Thorn backup is once more better than the headliner, though it is also not without its own significant flaws.  Picking up from the last issue’s intriguing and exciting cliff-hanger, our tale begins with Thorn turning back into Rose at the end of her eventful night from the previous adventure.  The next day finds her and Detective Stone at the opening of a new art show by a rather eccentric sculptor.  The attending crowd displays much better taste than most of those who visit modern art shows, and they mock this low-rent Rodin mercilessly for his hideous nonsense work.  The “artist”, Mr. Maelyun, is left desperate, which will soon feature into the plans of the 100.

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What a striking image of our heroine, even if she does have Spock’s eyebrows…

lois_lane_116_37If any of y’all following along at home can remember way back when we covered the previous part of this story, it ended with the 100 using a stolen Intergang computer, of Apokaliptian tech, to devise a trap for the Nymph of Night.  They also brought in Poison Ivy (!) to help put the vigilante on the spot.  Well, the device, K.A.R.L., creates a plan involving Mr. Maelyun, a $10,000 sculpture commission, and a $100 an hour modeling fee for the Thorn.  It….seems a bit of a stretch as the master plan of a supercomputer, doesn’t it?

Nonetheless, Ivy recruits Maelyun…which is pretty much her only role in this comic.  Why exactly did they bring her on?  Strangely enough, this bizarrely esoteric plan actually works, and the Rose sees the modeling ad in the paper and wishes she could get that money for charity.  Thus, her alter-ego seeks out the “artist’s” studio that night, after discovering and dispatching a gang of the 100s fences who sell guns to kids in exchange for loot from burglary jobs, all in just two panels.  I guess Kanigher wanted to add an action beat to the middle of the story, but this really feels like quite the afterthought.  The action panel isn’t as successful as last months, either, lacking any background.

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lois_lane_116_41Once at the studio, the Vixen of Vengeance just blithely trusts this supposed sculptor and allows him to pour a mold over her, which traps her as a living statue.  It is then that the 100 spring their trap, with their head man, Vince Adams, showing up to capture his quarry.  Oh, and Poison Ivy is there too.  For reasons.  However, Maelyun suddenly develops a case of Pygmalion madness and has become obsessed with his “creation”, or more accurately, ‘the human being he poured some stuff over.’  Yep, what a genius he is.  That’s definitely art that he created.  Yep….

Anyway, Adams puts an end to the hack’s objections right quick by the expedient means of a bullet, but then yet another wrinkle emerges.  Apparently K.A.R.L. is also smitten by the frozen fury, and “he” starts to blow his circuits when the killers throw the Thorn into the sea to dispose of her.  Fearing the machine is about to explode, Adams and Ivy toss him out the window as well, and on the sea floor, K.A.R.L.’s radiating heat melts the Baleful Beauty’s bonds and she swims free.  Or, almost free, as she is immediately beset by divers of the 100, who apparently really don’t do things by half measures!  She dispatches her frogmen foes with “torpedo thorns” (come on!), and surfaces, only to be confronted by a pistol wielding Poison Ivy.  Her fellow fetching floral-themed femme fatale proves no match for the Nymph of Night, however, and the Thorn escapes, leaving a waterlogged and sorrowful machine at the bottom of the ocean.

And there ends this rather odd little tale.  It’s got some fun elements, but it rather squanders the promising premise from the first issue, and it definitely wastes its guest villain!  Poison Ivy is a great character, but she gets almost nothing to do here.  Any nameless thug could have filled the same role with no discernible difference, and she adds nothing to the tale.  It’s such a waste to have these two thematically similar characters and then to do almost nothing with them together.  Add to that the fact that Ivy’s gimmicks, the marks of her character, are completely absent, and it is even worse.

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In general, the story is just too rushed.  We’ve got the artist, Poison Ivy, and the computer, all competing for page space, and none of them really get enough to matter.  The end result is rather disappointing, especially considering the strength of the premise introduced last issue.  Nonetheless, Giordano’s art remains quite good, and it is beautiful in some spots, with some really striking panels.  He just draws his female characters with an amazing amount of energy, motion, and personality.  Overall, I’ll give the tale an underwhelming 2.5 Minutemen.

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That’s a heck of a way to introduce a character!

This issue also included a reprint of a feature from Sensation Comics #94, “Dr. Pat,” which introduced a very unusual character, a hard-driving, dedicated female doctor, who we meet while she is parachuting into remote mountains to save the life of an injured man.  It’s a fascinating tale, featuring a strong female protagonist who is completely unconcerned with romance and who is also a competent, brave professional.  And she’s not brave in the usual Golden/Silver Age, ‘brave for a woman’ style, where she simply doesn’t faint when confronted with danger.  Instead, she consistently out-courages the menfolk in her stories.  In fact, there’s not a trace of the usual caveats that accompany such portrayals of strong women in this era.  I found myself astonished that this was published back in 1949!  Even the most progressive mainstream tales in 70s would usually not be so effortlessly and uncomplicatedly powerful in their portrayal of women.  This little reprint was an unexpected and pleasant surprise.


That wraps up my much, much, MUCH delayed coverage of these issues!  Hopefully y’all can all join me a little sooner than another two years from now when I will wrap up this month’s books!  I hope that you, my dear readers, found these odd and occasionally charming comics provided a wonder-filled and whimsical antidote to the dreariness and darkness of this interminable year.  Stay tuned, and until we can reconvene for our Bronze Age journey, keep the Heroic Ideal alive!  And stay safe and healthy!  Merry Christmas!

The DCUG Wants YOU!

Howdy folks! I’m starting to climb out from under the crushing weight of the last year, with a PhD dissertation, an overload made entirely of composition classes, and then the sudden scramble to go to remote instruction for this semester, and I am getting back to work on something really important….Freedom Force mods!  I’m looking for some volunteers to help me in my projects.  If you’re a gamer and a lover of superheroes, Please think about helping out!

I am recruiting new members for my latest project, a massive, sprawling, all-encompassing mod aiming to bring the DC Comics Universe to life! We have big plans, and though we have already made a tremendous amount of progress in bringing them to fruition, we could use a little help in making this long-time dream come true. If you’re interested in getting into modding, join our team and help us create something fantastic!

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Do you love superheroes?  Comics?  Video games?  So does the Freedom Force modding community.  Come join us and be part of creating something fantastic!

As many of you visiting this site know, I’m Benton Grey, the chief modder, writer, scripter, and everything else for Greylands Games, dedicated to making mods for the greatest superhero game of all time, Freedom Force vs. The Third Reich. I’ve been creating highly rated mods for FF for years, and with the help of the community, I’ve produced a lot of fun stuff. Now I need your help on my latest project and those to come!

One of my passions is bringing my favorite characters, settings, and stories to life in this great game. I’ve created mods that deliver adventures for the Ninja Turtles, classic pulp heroes, the entire Marvel superhero universe, and more, bringing each to life in a way not really possible anywhere else. I’m currently working on a massive update and revision of my already epic and sprawling DC Universe mod, the DC Universe According to Grey, and I’m looking for folks with a love of DC Comics, superheroes in general, art, and/or game design to create materials for this and future projects.

This is a mod and is done purely “for the love of the game,” so to speak, so these are volunteer positions. However, this is a chance to be involved with fun and rewarding projects, work with folks who share your interests and hobbies, and help bring your favorite heroes and their universe of wonder and heroism to life.

Help Needed:

  • Mappers
  • 3D Artists
  • 3D Animators
  • Nifskopers
  • Programmers/Scripters

Mapper Positions:

The project needs visually creative people who can conceive and design maps for use in the various character/team campaigns and to represent famous DC Comics locations. The game editor is free, intuitive, and easy to use, so no experience is required, but having some background with creating/designing maps could certainly be beneficial. Some basic texture editing experience would be useful but is not required.

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Familiarity with 3D Studio Max, Blender, and/or Nifskope would be a big plus, though willingness to learn would also be appreciated. Having the ability to create/edit 3D objects would give mappers much more flexibility in design.

Successful candidates will be willing to put in a little effort, have a good attitude, and display a willingness to learn FF modding/mapping.

This is an excellent opportunity to get some experience in game design in an accessible and low-impact way. This project would be great for producing materials for a portfolio or just as a fun hobby for someone who likes being visually creative.

It is not required but is heavily recommended that mappers get a copy of the game, which is available from GOG and Steam very cheaply (currently around $1.50).


3D Artist Positions:

Character/object artists and animators are needed for the DCUG and for the FF community at large.  An amazing amount of resources have already been created for this game, but I’m looking to tackle some new challenges with this mod and would welcome any modelers and/or animators who want to bring DC Comics characters to life.  Animators will need to own and have experience with 3D Studio Max, while modelers can manage with free programs like Blender.

Texture artists/skinners are also very welcome, and the community has a lot of resources for folks who want to learn about this type of 3D game art.  FF textures can be created with free programs like GIMP or with Photoshop, and experience with either would be beneficial.

Successful candidates will have some artistic experience and at least be willing to learn and undertake tutorials to get the hang of the craft.  Being a team player and good at collaboration will also be a plus.

Many FF community artists have used modding as a way to build a portfolio of 3D art which has helped them get work in their fields, so this is a good opportunity to do likewise, or just to have fun bringing your favorite characters to life.

These positions will become even more vital when I move on to my next project, which will see a major expansion of my TMNT mod into a full Saturday Morning Cartoon mod, which will feature a wide range of characters from the classic cartoons of the 80s and 90s, like the Thundercats, Silverhawks, Transformers, and more.  So, if you’re a fellow child of the 80s and a fan of those classic shows, help me see that dream realized!


Nifskoper Positions:

Nifskope is a program that allows the editing of 3D models (meshes) and animations, creating wondrous variety and providing a wealth of flexibility from the already wide resources available to FF modders.  Even folks who don’t have expertise necessary to create 3D art from scratch can contribute by becoming “skopers”, and using Nifskope to alter existing meshes and animations to create wonderful new effects.  I am looking for people experienced with Nifskope or who are willing to learn.

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Successful candidates will be detail-oriented, preferably have some related experience, and willing to work and experiment to learn how to take full advantage of the possibilities Nifskope presents.

If you are looking for a way to help and are willing to put in some work learning this program, this is a great opportunity to contribute something important to this project and the community at large, as well as develop extremely flexible modding skills.


Programer/Scripter Positions:

We could also use any experienced scripters or programmers, especially those familiar with Python scripting.  If you’d like to contribute to the campaigns of this mod or even help to improve the game itself, there are a lot of ways to contribute for those with the right skills or those willing to learn.  If you’re good with Python, you can even contribute your own stories and missions as well as help to bring our planned stories to life!

Successful candidates will have some scripting/programming experience and be willing to learn Python if not already familiar with that language.


Help me bring the DC Universe to life in a way never seen before!  I hope you’ll find a way to contribute and help out, for this project or the next.

So, what are you waiting for? Join the DCUG or the FF community at large!

To apply, send an email with your qualifications to bentongrey AT yahoo.com.

Or, if you’re just interested in joining the community, just drop by FreedomReborn.net and make yourself at home!

Marvel Adventures Update!

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Howdy folks!  I know it’s been quite a while since I posted, but I am indeed still alive and modding!  However, my post today is not about my own latest project, as I am still plugging away at the DCUG, but about an update to one of my previous projects, Marvel Adventures, by my friend, the mightly Marvelite, Jimaras8.  This dedicated fan of both Marvel Comics and my mods has been working away at adding new characters, tweaking old ones, and generally expanding the mod’s scope significantly.  He’s tried to match my design style and has done a great job.  He’s added lots of more modern characters that I’d have never gotten around to, and he has brought a love and knowledge of the Marvel Universe to the project that has been great to see.

Check it out HERE!

New Characters:

Heroes:

  • Alexander Pierce (shield agent)
  • Blade
  • Bling! (Member of the new Mutants)
  • Blink (X-men)
  • Boom-Boom
  • Cardiac (anti-hero)
  • Cecilia Reyes (mutant doctor)
  • Doctor Druid (Avenger)
  • Defensor (Argentian Hero)
  • Dust (New X-men)
  • Firestar (New Warriors)
  • Night thrasher (New Warriors)
  • Namorita (New Warriors)
  • Turbo (New Warriors)
  • Gentle (New X-men)
  • Havok (X-men)
  • Hope Summers (Mutant Messiah)
  • Icarus (Hellions and Young X-men)
  • Jessica Jones
  • Johnny Blaze (Ghost Rider)
  • Miles Morales
  • Nova (Sam Alexander, the newest one)
  • Orson Randall (previous Iron Fist)
  • Patriot (Young Avengers)
  • Phobos (Secret Warriors and Olympian God)
  • Photon (Avengers)
  • Red Hulk
  • Red Shift (Herald of Galactus)
  • Rictor (X-force)
  • Rockslide (New X-men)
  • Scott Lang (Ant-man)
  • Sersi (Eternals and Avenger)
  • Silver Sable (anti-hero)
  • Siryn (X-force)
  • Solo (anti-hero)
  • Songbird (Thunderbolts)
  • Spitfire (Invaders)
  • Starfox (eternals and Avenger)
  • Vormund (German Hero)
  • Wallflower (Young X-men)
  • White Tiger (Hero)
  • Wind Dancer (Young X-men)
  • Wolfcub (Young X-men)
  • X-23 (New X-men)
  • Killraven (Alternate Earth Warrior)
  • Clea (Defenders)

Villains:

  • Ammo (Daredevil villain)
  • Basilisk (spider-man villain)
  • Bride of Nine Spiders (Iron Fist foe)
  • Bushwacker (Daredevil villain)
  • Carnage (spider-man)
  • Comanche (Luke Cage)
  • Constrictor (Serpent Society)
  • Desak (Thor Foe)
  • Ebony Maw (Thanos Black Order)
  • Graviton (Avengers and spider-man)
  • Guild King (a new villain meant to be leader of the Assassin’s Guild)
  • Darkstar (member of the soviet super-soldiers)
  • Red Guardian (Soviet Super-soldiers)
  • Ursa Major (Soviet Super-soldiers)
  • Hand Brute (member of the hand but tougher and more resilient)
  • Hand Commander (their field commander, more agile and well-trained)
  • Hammerhead (Spider-man)
  • Hellrazor
  • Hobgoblin (spider-man)
  • Lockjaw (Inhumans)
  • Mercurio
  • Midnight (Spider-man)
  • Morg the Executioner (Herald of Galactus)
  • Nazi Flamethrower (member of the axis army)
  • Razor-fist (assassin and Cap villain)
  • Reaper
  • Puma (spider-man)
  • Shadow Slasher (Shang-chi foe)
  • Steel Serpent (Iron Fist)
  • Warhawk (Assassin)
  • Lady Deathstrike (Reavers)
  • Perun (Soviet Super-soldiers)

Where There’s Life, There’s Hope

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As John Carter of Mars would always say, “where there’s life, there’s hope!” – and that’s a mantra I am repeating to myself often these days!  Howdy folks!  I have not fallen off the face of the Earth, nor have I given up on either my blog or my mods, so don’t worry.  This isn’t a post announcing me closing shop or anything.  However, I am in the final stretch of my PhD program and am banging away night and day on a black hole of a dissertation that threatens to consume me.  I’m afraid that I’ve had to put pretty much every other part of my life on hold, including my hobbies, in order to try to get this thing finished in time to graduate. Thank you all for your patience!  I hope to be able to get back to posting and modding sometime this summer.  If any of y’all are folks who pray, I certainly wouldn’t mind some prayers as I race for the finish line!

Into the Bronze Age: November 1971 (Part 4)

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Hello Internet travelers, and welcome to another edition of Into the Bronze Age!  It’s time to explore some more classic, Bronze Age DC comics, and we’ve got a pretty interesting trio of titles to talk about this time.  We have a significant issue of The Haunted Tank’s harrowing adventures, a cool and unusual issue of JLA, and finally another frantic feature of the Fourth World!  Let’s dive right in, shall we?

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

Bolded entries are covered in this post, the others will be covered soon.


G.I. Combat #150


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“The Death of the Haunted Tank”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor/Cover Artist: Joe Kubert

“The Two-Legged Mine”
Writer: Bob Haney
Penciler: Russ Heath
Inker: Russ Heath
Editor: Robert Kanigher

“Hip Shot”
Writer: Sam Glanzman
Penciler: Sam Glanzman
Inker: Sam Glanzman
Editor: Robert Kanigher

“Ice Cream Soldier”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert
Editor: Robert Kanigher

We’ve got a landmark issue of the Haunted Tank this month!  For once, the cover doesn’t lie, and when it promises the “Death of the Haunted Tank,” it is being quite literal!  After roughly 60 issues, the plucky little M-3 Stuart tank will meet its demise in this issue.  And that cover is a pretty good one, in addition to being honest.  It’s dramatic, catching a moment, not before disaster strikes, but just as it is striking, which creates a pretty dynamic effect.  Of course, Kubert’s stark work adds to the drama of the moment rather nicely.

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Inside, our tale begins in what has become normal fashion, with the spectral J.E.B. Stuart offering one of his habitual vague warnings that could really mean anything, as Kanigher continues to not really take advantage of his awesome premise.  In this case, the General’s super helpful warning that “things aren’t what they seem” applies to a seemingly crashed German bomber that is actually a trap for the tank.  Jeb and company knock it out in a nice two-page splash, but then their ghostly guardian informs them that this was the last time he could “help” them, and bids them farewell.

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As Jeb ruminates on this startling turn of events, his crew continue to contemplate his apparent insanity as he seems to speak to empty air.  They roll past a depot where other crews are cannibalizing knocked out tanks for parts.  There are two things of note in this scene.  First, the other crew actually asks how Jeb’s tiny little Stuart constantly knocks out tanks much heavier than it, joking that it must be because it is haunted.  Second, we get a shot of this crew, who include Joe, Russ, and Steve, who are given very detailed faces.  I feel like this has got to be a reference to particular folks.  I’m guessing, and this is just a guess, that the fellow in the middle is Joe Kubert and the one on the right is Russ Heath.  I would love to hear from any readers who actually know!

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Anyway, possible creator cameos aside, the ghostly guys next run into trouble when they encounter a Jeep full of wounded troops fleeing a fighter.  The crew manages to knock the perilous plane out of the sky (more unbelievable feats!), encouraging the team.  Yet, their continued faith in the old Stuart meets a much tougher test later on, when they are sent into a hot zone to aid Dog Company.

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The infantry is getting cut to pieces on the banks of a river by a tank and artillery in the woods on the other side.  Jeb charges the Stuart into the teeth of the enemy guns, and they get the enemy tank.  However, the AT gun tears their little tin box apart piece by piece, and in surprisingly short order, the Haunted Tank dies, though the crew manage to make a frantic escape.

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When Jeb and company realize that no more backup is forthcoming, they race to the depot and assemble a new, “Jigsaw Tank” out of cannibalized parts.  They take their new makeshift metal monster into combat, just in time to stop two new Nazi tanks charging across the river, and they even manage to clean up the AT gun that killed their previous ride.  The story ends with General Stuart returning, and explaining that the tank didn’t matter, only the dedication of the men inside, so the grateful crew christen their new vehicle The Haunted Tank once more.

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I actually expected rather more form this tale.  It’s a fine, fun story, however unrealistic it is for the guys to assemble a new tank so quickly and easily.  Still, I’ve been seeing this cover approaching for some time, and I just expected the death of the tank that had been through so much with the crew to be given a little more weight.  Instead, Jeb and co. basically joke about it for a minute, then immediately replace the faithful old girl.  Of course, there’s only so much you can do in a 14 page story, but I found myself a bit surprised that Kanigher didn’t make more of the moment.  The actual adventures here could have been condensed, with more focus on the central conflict at the river and the loss of the Stuart, which I think would have been more effective.

As is, the story is really rather forgettable.  Of course, Russ Heath’s art remains excellent, perfect for the title.  He’s a master of both the dynamic battle scenes and even the quiet, character-centric moments.  On a broader note, I continue to be disappointed by the lack of development of the premise.  General Stuart leaves the crew for most of the issue, but functionally, it doesn’t actually play out any differently than 90% of the stories we’ve read, as he plays no active part in most plots after his traditional enigmatic warning anyway.  Well, missed opportunities aside, I’ll give this solid armored adventure 3.5 Mintuemen.  At least Jeb and crew now have a tank that might stand a ghost of a chance against German armor in real life!

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Justice League of America #94


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“Where Strikes Demonfang?”
Writer: Mike Friedrich
Pencilers: Neal Adams and Dick Dillin
Inkers: Neal Adams and Joe Giella
Letterer: John Costanza
Editor: Julius Schwartz

“The Tarantula Strikes”
Writer: Gardner Fox
Penciler: Bert Christman
Inker: Bert Christman
Editors: Vincent Sullivan and Julius Schwartz

“The Amazing Starman”
Writer: Jack Burnley
Penciler: Jack Burnley
Inkers: Jack Burnley and Ray Burnley
Colourist: Raymond Perry
Letterer: Betty Bentley
Editors: Whitney Ellsworth and Julius Schwartz

Alright!  Time for another issue of my favorite comic team’s book!  Despite the fact that this title has been so uneven since we’ve started, I still find myself excited about it each month, and this issue features my favorite character….sort of!  Sadly, we’ve got a pretty lackluster cover, really.  It’s got Deadman’s dramatic pronouncement, but the blank blue background and compressed, box-out cover-space don’t do it any favors, and all the pointless occult paraphernalia in the foreground can’t change that.  Of course, the actual art is lovely, as Neal Adams contributes the image, as well as several pages inside!  Yet, the biggest trouble with this cover is that it spoils a significant part of the story, which is a shame.

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As for that story, it is actually a pretty darn good one.  We begin with a wonderfully detailed splash page of the League of Assassins’ leader, the enigmatic Sensei, who is plotting revenge against an unknown JLA member for a previous slight.  We join the trio of characters who disappeared from the last arc, Batman, Green Arrow, and the Sea King himself, Aquaman, as they prowl about the waterfront, hunting for an assassin who hunts them in turn.  The Bold Bowman spots a flash from the killer’s scope, and the heroes leap into action, quickly corralling the gunman.  Yet, the assassin refuses to talk, and the Leaguers are left in the dark about who is the target of the “Demon’s Fang,” the League of Assassins.  That’s right, it’s League vs. League!

Back at the Demon Fang’s headquarters, the Sensei is not pleased that his man has missed his mark, and he summons one of his best, Merlyn, the archer.  We get an interesting note of continuity and world-building here, as the League of Assassins are part of Ra’s Al Ghul’s set-up and have been introduced in the Batman books, so it is exciting and surprising to see them here.  What’s more, the Demon’s Head, Al Ghul himself, gets name-dropped, as Merlyn mentions that their master has a special interest in their target.  Nonetheless, the ancient Sensei is adamant, and the archer is sent on the attack.

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Meanwhile, everyone’s favorite sleaze, Morgan Edge, makes another universe-building appearance, and sends Clark Kent out on assignment.  There are hints of Intergang’s involvement, and the under-cover Kryptonian brings along a little action figure-sized ace -in-the-hole, the Atom, as the assignment brings him near the last known location of the missing Leaguers.  Yet, before they can arrive, their news van is ambushed with arrows!  Superman attacks, only to be taken out of the fight by special gadgets prepared by the Demonfang techs, including a gravitational arrow which increases the pull of gravity on the Man of Steel exponentially.

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The Atom, after delivering a great pint-sized punch, is also put out of commission by a sonic arrow.  Now, if you had told me that Merlyn was taking on a significant subset of the League on his own, I would have said that was silly, but Friedrich actually manages to write his way around the problem of a vastly under-powered villain with some reasonable gadgets.  It’s nice to see Superman treated as something other than completely unstoppable, and without recourse to Kryptonite or something completely silly.  Is it convenient that Merlyn has trick arrows that can take out these heroes?  Yes, but I’ll buy it for the purposes of this story.

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Unfortunately, our other heroes don’t have much better luck than their fellows, as our original trio finds their captive assassin killed almost as soon as they turn him over to the police.  On the arrow that killed him is a note, which declares that “The price of failure in the League of Assassins is death!”  It is signed by the mysterious Merlyn, and it is here that we discover that Green Arrow knows our enigmatic assassin.  Merlyn was a master archer, and he was Ollie’s first great rival, who embarrassed him in a competition before disappearing, only to emerge now, as a master of a decidedly more deadly discipline.

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The titanic trio set out on Merlyn’s trail, but we have an odd little moment where Batman asks Aquaman if he has enough time, and the apparently confused Sea King responds, ‘sure…uh…why not?”  I saw what was coming, and I was a bit annoyed by it, and sure enough, as soon as they reach their destination, a creepy old house that is definitely not a trap, the Marine Marvel passes out.  He’s been out of water too long (that darn 1 hour limit can’t go away soon enough!), and I just couldn’t believe Friedrich had put the character in the book just to have him act this stupidly.  But, when the Caped Crusader finds a fountain inside and submerges the submarine superhero, things take a much more interesting turn, as the Dark Knight puts Aquaman in a headlock and demands to know….who he is!  Just then, the trap springs, and Green Arrow is locked in a vacuum tube!

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While the hunted heroes investigate the house, the agonized Atom manages to smash the sonic arrow and free himself, and he comes up with a novel way to free the Metropolis Marvel too.  He can’t budge the gravity device, but he wraps his belt around it and enlarges the machine until it becomes unstable and explodes! That’s actually a really clever solution, and fitting for the brilliant Ray Palmer.  The haggard heroes aren’t yet back at a hundred percent, however, and they must hitchhike towards their allies!

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I love the hilarious banality of Superman having to listen to some schmo blather on as he hitches a ride! “Really, I have more important things on my mind, man!”

Back in the villain-haunted house, the Masked Manhunter can’t break his Emerald ally out of his glass prison, but Superman, recovering enough to take flight and escape their blabbermouth chauffeur, is able to spot the predicament with his super vision and hurl the Atom hard enough to free Ollie.  It’s really a nice sequence.  Yet, at the same time, Batman has become stuck on the fence that separated him from his fallen friend, a perfect target for Merlyn, who has emerged at last to kill his true target…the Dark Knight, of course!  He lets fly, but the stunned Green Arrow recovers rapidly enough to string and fire an arrow just in time to deflect Merlyn’s killing shot!  His nemesis salutes such a fine shot, and his carefully calculated chance gone, the magician uses a jetpack built into his quiver to escape.  Merlyn himself is now a hunted man, as he reminds the heroes that “the price of failure in the League of Assassins is death!”

jla094-(avalon)-18

It is then that the “mystery” of Aquaman’s identity is solved in another pair of Adams-penned pages, as the Sea King and the Dark Detective discuss the case.  It turns out that Deadman took over the Marine Marvel’s body because the being he serves, Rama Kushna, warned him of an attempt to kill a Justice Leaguer which would upset the balance of the world.  He didn’t know who the target was, and the Sea Sleuth was just the first hero to hand, effectively.  That’s why he ran himself out of gas (or water, as the case may be), and made various other mistakes.  All of this was in revenge for Batman interfering with the Sensei’s attack on Nanda Parbat back in Brave and the Bold #86, apparently, which I must have read but have forgotten.

Of course, this would be a lot more impressive if we didn’t know Deadman was possessing Aquaman from the cover (even if I did get swept up in the story enough to forget!).  Yet, the tale doesn’t end there.  It ends with a return to the JLA Satellite, where something is wrong with the teleporter, something that we won’t discover until next issue!  Meanwhile, the Sensei has learned his lesson, and the next time he strikes, he shall isolate and destroy his enemy!

Well, the non-reveal aside, I really enjoyed this issue, despite some trademark overwriting and generally deplorable dialog from Friedrich.  It’s a lot of fun, and it is really great to see the universe-building happening in other books filter into the flagship title like this.  How interesting must it have been to be reading the Bat-books and JLA, and to see these characters and concepts jump from one title to another?  Of course, this makes perfect sense, but it isn’t the kind of thing that you see that much in DC from earlier eras.  I imagine it will become more common as we get further into the Bronze Age.

In addition, the story is pretty solidly plotted, with events having a decent logic to them, with characters acting with clear motivations.  As I was reading, several story beats seemed off to me, only to be revealed to work perfectly in Friedrich’s plot, which was a pleasant surprise.  On another note, the removal of Kryptonite seems to already be paying story dividends, as it has forced Friedrich to come up with a clever way of taking the Man of Tomorrow out of the fight, rather than relying on the formerly ubiquitous mineral.  One of the only real downsides to this tale is that Aquaman doesn’t actually get anything to do, which seems like a real waste when he features so prominently in the comic, especially since he isn’t actually Aquaman.

The art is solid throughout, though evincing the standard weaknesses I’ve come to associate with Dillin’s JLA work, though the interpolated Adams pages are beautiful.  They are also a bit distracting, as the clash of styles is very noticeable.  Nonetheless, this is a fun, interesting issue, with some fascinating world building happening that still manages to include a solid adventure.  I’ll give it 4 Minutemen.

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New Gods #5


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“Spawn!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Mike Royer
Letterer: Mike Royer
Editor: Jack Kirby

“Introducing Fastbak”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

We finally return to the centerpiece of Kirby’s Fourth World epic, and it is a definite improvement over the somewhat understated and disappointing last issue, as the operatic action that suits this book best is back in spades.  Our dramatic tale lies beneath a solid, if flawed cover.  It’s got a nice, dynamic image in the central brawling characters, though their poses are a bit odd.  Yet, their size rather downplays the significance of the massive monster symbolically squeezed into the corner.  The orange background doesn’t really help either, especially with Orion’s red costume.  Kirby just isn’t producing his best covers for this run, which is a real shame, as the stories really beg for ‘kapow’ images.

This particular issue begins with Metron, who is traveling through dimensions once more.  This time his wanderings take him to one of the most memorable and dramatic settings from Kirby’s Fourth World, the Promethean Galaxy, the last barrier of the Source, where float for all eternity the Promethean Giants who give the place its name.  Kirby gives us an amazing, dramatic two-page splash, depicting the size and scope of this strange sight as only the King could.  It’s a really striking image.  We discover that these giants were beings who tried to force their way to the source, and in return for their hubris, they are bound forever in suspended animation, just short of their goal.  I love this concept, wonderfully archetypal, reflecting all of the myths of giants and titans, who have traditionally been associated with the sin of pride and destroyed by the deities they opposed.  What a wonderfully Kirby-cosmic treatment of the theme.

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Star-sized super-beings aside, once his contemplation is finished, Metron returns to New Genesis, but our story is much more concerned with a humbler sphere, the Earth, where a detective named Terrible Turpin is interrogating Dave Lincoln after the events of the last issue.  Turpin has discovered the war between gods that is brewing in his city, and he’s determined to put a stop to it, before the place is leveled in the process.  When Lincoln returns to Orion’s human allies, we check in with them, but the Useless Crew continues to contribute little to the plot, other than some exposition and general fretting.

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Fortunately, we don’t waste too much time with them, and we soon rejoin Orion, who was captured by the Deep Six last issue.  He’s pinned by a giant clam, where he is taunted by Slig, who also demonstrates the Six’s sinister powers, the ability to mutate living beings with just a touch from his right hand, and to kill instantly with his left!  Fortunately for the Dog of War, he is able to free himself with a hidden device after his captor has finished his gloating, though he discovers that the clam is more than meets the eye.

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What follows is a cool sequence as Orion battles his way through various mutated menaces, who all have wonderfully cool Kirby designs (the man just constantly produced awesome creations, even for these little creatures which we’ll never see again!).  Finally, the hunted hero discovers a massive, battleship sized cradle, which once held some gargantuan beast created by the Six, but now lies ominously empty.

Back in the city, Turpin continues his investigation and the Useless Crew continue their fretting, but they are all interrupted by the coming of….Kalibak!  Darkseid’s scion arrives with a smash, prepared to spread fear and devastation on Earth!  However, Orion is busy elsewhere, so the Cruel one will have to keep for the moment.  Back in the undersea caverns, Slig finally finds his quarry amid a pile of smashed guards.  Unfortunately for him, the warrior has also found something, his Astro-Harness, and he blasts his foe in the face before proceeding to pummel him pitilessly.

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It’s another great sequence, and Kirby shows us the savage joy Orion takes in the terrible thrashing he administers, as well as showing us Slig’s beaten face.  The King actually manages to make this malicious monster a little pitiful in that moment.  Interestingly, Orion’s brutal visage is revealed by the violence of his attack, and he is forced to have Mother Box replace his fallen features, another hint about his origins.  Finally, the Dog of War disposes of his fallen foe by tossing him into a pit and sets out in search of the monster the Six have unleashed.  We get a glimpse of the beast in a nice splash page, but lacking anything to establish its scale, it’s not as effective as it might be.

So this is a great, action-packed issue, setting up a lot of what’s to come with Terrible Turpin and Kalibak’s chaotic arrival, as well as the monster unleashed on the seas.  There is a lot going on here, and Kirby handles it quite well.  While the time spent with Orion’s supporting cast feels wasted, every moment with the warrior’s quest is exciting and dramatic, and the glimpses of the wider mythology with Metron are fascinating.  The whole thing feels operatic and earth-shaking in the best ways, like a particularly good issue of the classic Fantastic Four, but elevated by the cosmic overtones and archetypal underpinnings of the Fourth World.

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It’s also fun to see Detective Dan Turpin introduced, as he will later be recast as a tribute to Kirby himself in Superman: TAS, where his bulldog attitude and heroic perseverance make him a fitting match for his creator.  On the art front, this issue looks quite good, and it is immediately noticeable that Colletta is gone from the book.  Mike Royer’s inks aren’t perfect, but they seem to pick up more detail and generally drown out Kirby’s pencils less.  At least so it seems to my inexpert eye.  As I said, I love the creativity of the Deep Six’s monster minions.  Why no-one has brought the Six back as recurring Aquaman villains, complete with a Kirby-esq monstrous menagerie of mutants is quite beyond me.  Missed opportunities aside, I’ll give this exciting adventure 4.5 Minutemen.

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“Introducing Fastbak”


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We get another brief Young Gods backup strip in this issue, this one featuring Fastbak, a free-spirited New Genesis youth with a need for speed.  Once again, there are only four pages to the strip, so there isn’t really time for Kirby to do much with the character, but we see him lead the New Genesis equivalent of cops, the Monitors (no, not those Monitors) a merry chase as he flies around Supertown at reckless speed.

The aptly named Fastbak is joined by more restless young gods, and when he finally comes to ground, he is given a quick wardrobe change by his friends just in time to sing before Highfather.  It turns out that our rebellious friend has the voice of an angel when he’s not busy raising Cain. This was a fun little strip, full of exuberance, energy, and the boundless enthusiasm of youth.  With Fastbak and his fellows, Kirby immediately humanizes the New Gods by showing us a fitting parallel to our own youthful foolishness even in their hallowed halls, yet this youthfulness is presented in an inimitable Fourth World fashion.  Of course, the King also gives us more great designs both in characters and wild Kirby-tech.  I’ve decided I’m not going to rate these backups, as they are really too brief to be judged as full stories.


Well, I will close out this post with Fastbak’s flying feats and bid you all a fond farewell until next time!  I hope you enjoyed my coverage of these exciting adventures and that you will join me again soon, for another edition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

 

 

Into the Bronze Age: November 1971 (Part 3)

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Welcome back to the second Bronze Age blog post of the new year!  I hope that 2019 is treating all of you well, my dear readers.  So far it seems to be a bit kinder than 2018 for the Greys, but it’s far too early to tell.  As for the reason we’re here, this post has a Flash comic and another iteration of the growing Fourth World saga for our superheroic scrutiny.  We’re on the way to seeing what November, 1971 had for us, and in this pair of comics, there are some weird ideas.  Ready for some Bronze Age bonkers books?  Then let’s see what we’ve got, shall we?

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

Bolded entries are covered in this post, the others will be covered soon.


The Flash #210


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“An Earth Divided!”
Writer: Cary Bates
Penciler: Irv Novick
Inker: Dick Giordano
Cover Artist: Murphy Anderson

“A Tasteless Trick!”
Writer: Steve Skeates
Penciler: Dick Giordano
Inker: Dick Giordano

“The Invasion of the Cloud Creatures!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Murphy Anderson
Letterer: Gaspar Saladino
Editor: Julius Schwartz

Well, back to the unnecessarily complicated future adventures of the Flash….yay?  I think these future-jaunts are my least favorite part of the Silver/Bronze Age Flash setting, mostly because of the bonkers way it ties in with Iris.  On the plus side, check out the sneaky Adam Strange cameo on our cover!  As for that cover, it’s an odd choice to have our hero be watching the inciting incident on a TV (albeit a weird, robot TV, though at least it isn’t Mike!), and that choice pushes their shock-value concept into a tithe of the image real-estate, giving it proportionately less power.  It’s not a very exciting or interesting cover, and I can’t say that it made me excited to read the book, however wacky and unusual the premise.

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Speaking of, Bates loses no time in jumping into his crazy concept with both feet, and we join Abe Lincoln in his study, taking notes on a taperecorder.  Now, don’t let the presence of the tape throw you; this is actually supposed to be a futuristic scene!  As “Lincoln” waxes on with a combination of exposition and paraphrases of historical speeches, John Wilkes Booth shows up and reenacts history by shooting him with a ray gun, shouting “Sic semper tyrannis!” (Thus always to tyrants).  History buffs will note that those are the words said by the real Booth when he shot the real Lincoln.  Confused yet?

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“Thus always to robot overlords!”

Well, it’s all about to become as plain as it ever will be in a goofy story like this, as we join Barry and Iris as they prepare for a trip to the future to visit her real parents, because someone thought that whole retcon was a good idea.  There is a cute exchange, where Iris keeps her hurried hubby waiting in a small bit of revenge for all the times the Fastest Man Alive has been the slowest date on record.  When they arrive, her parents explain our ridiculous premise, that the future nation of Earth West created an android duplicate of Lincoln to guide them through the difficult period of tension with Earth East and try to reunite the planet.

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That’s an…interesting choice.  Yeah, he presided over the nation through the Civil War and successfully reunited the country…but he did that by force, and it was probably the greatest national tragedy in our history.  If you’re trying to prevent a war, maybe pick someone who didn’t ended up in exactly the type of situation you’re trying to avoid?  The shaky logic of that idea aside, in response to its implementation, the tyrant of Earth East created his own android, modeled on John Wilkes Booth, designed to kill the robot Lincoln….because that was the only rational solution, obviously.

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Booth-bot tries to escape Earth West by traveling through the “Wild Region,” which is a section of the planet blasted by nuclear war and afflicted by weird radiation that can have strange effects.  Flash, who of course sets out to pursue the android assassin, follows him into the wasteland and manages to avoid the…radioactivity…by running…fast?  It’s odd, but the Wild Region manifests its danger as grasping spectral claws…because comic book radiation is magic!  Unfortunately, once through, the Scarlet Speedster is captured by a high-tech chain trap that grows ever tighter and is so dense he cannot vibrate through it.

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When Booth-bot reports to the tyrant, Bekor, his master zaps him with his own gun, but unexpectedly, the Lincoln bot reforms, having outguessed his nemesis and used a device that effectively stored his atoms and reassembled them when the gun was fired again.  Explanations finished, mecha-Lincoln decides to deliver an old fashioned, 19th Century back-woods whuppin’, and jumps Bekor.  Now, however odd a choice Lincoln may have been to bring peace to a world-divided, he was, by all accounts, quite the bare-knuckle boxer and butt-kicker in his day.

 

 

Meanwhile, the Fastest Man Alive was in danger of becoming the fastest ghost in the graveyard, with all efforts to free himself failing.  Finally, he hit upon a winning idea, and began to spin, until the terrific centrifugal force of his whirling unwrapped the chain.  The free Flash arrives just in time to rescue the Abedroid and capture Bekor, bringing both back to Earth West.

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This is a weird tale, with the type of unlikely premise that could only come from comics…or perhaps Star Trek.  I guess Bates must have been a Lincoln buff, especially given how the android Abe is actually the hero of this story, with the Flash relegated to little more than a fancy taxi service in the end.  The whole thing is pretty silly, but it isn’t a bad read, despite that.  Honestly, the craziness just feels of a piece with the Flash’s already ridiculous future setting.  There’s a subplot about Iris setting up a news service for the future folks, but it never really goes anywhere, which is a shame, because that could have been fun.  In the end, I’ll give this goofy gaff of a story 2.5 Minutemen, though I suppose I should watch my backs for Booth-bots!

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“A Tasteless Trick”


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The real star of this comic is, once again, the Elongated Man backup, which is delightful.  It begins the way most Elongated Man stories I’ve read tend to, with his mystery-loving nose starting to twitch.  What starts it moving is an unusual occurrence in the form of a man buying a magazine from a stand, then biting a big chunk out of it.  Ralph smells a mystery and immediately strips out of his street clothes, loading poor Sue down with them, and setting out to trail the magazine masticator and his companions, by stretching to the rooftops!

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He follows them to a theater and, discovering that his target is a magician, concludes that it must just have been a trick.  Returning home, Ralph can’t get any rest, as his nose keeps on twitching.  When he reexamines the magazine, he realizes that it contains a story about a millionaire’s mansion, including a floor-plan.  Concluding, in a fairly gigantic leap of logic, that the magician was trying to tip him off about a robbery at that estate, the Ductile Detective ducks out the door and races for the Savin Mansion.  When he arrives, he discovers the prestidigitator being forced at gunpoint to find a hidden safe and overhears that the thieves are holding his daughter to ensure his cooperation.

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In a fun bit, the Stretchable Sleuth disarms the leader and takes out his gang, but the leader recovers his gun and threatens their other hostage, Mr. Savin.  In another clever bit, Ralph stretches his foot all the way around the room and kicks the gunman from behind.  Unfortunately, in the melee, the magician is knocked out, and we discover that the gang was going to kill his daughter if they didn’t return very shortly.

 

 

The Ductile Detective searches for clues, but then makes another giant leap of logic, and deduces that the gang-leader’s reference to “the Pad” was about a specific place rather than slang, since he didn’t use slang in the rest of his speech.  Racing to the nightclub, “The Pad,” Ralph arrives just in time to save the magician’s daughter.  After this dramatic rescue, the Magician explains his clue and Ralph explains his deduction, but neither really makes sense.

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Nonetheless, despite the pretty huge logical jumps where the story progresses at the speed of plot, this is a really fun little lark of a tale.  Ralph’s adventures are just a blast, and even in the small amount of ‘screen time’ that he and Sue get, there are some fun interactions.  The Elongated Man is just a great, entertaining character, and he is quickly becoming a favorite of mine and making these Flash comics more enjoyable by his presence.  Skeates and Giordano are producing some really good backups for him.  I hope they’ll be continuing on this strip for a good while.  Giordano’s art is especially good, with Ralph always stretching or moving in fun and creative ways, and constantly solving his problems with interesting applications of his powers, as well as his agile mind.  I’ll give this delightful little backup 3.5 Minutemen, because it is so much fun that you forget about the weak writing as you get swept up in the story.

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The Forever People #5


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“Sonny Sumo”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

“Crime Carnival!”
Writer: Joe Simon
Pencilers: Joe Simon and Jack Kirby
Inkers: Joe Simon and Jack Kirby
Letterer: Howard Ferguson
Editor: Whitney Ellsworth

“The Young Gods of Supertown”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

We return to perhaps the least popular (it’s something of a contest with Jimmy Olsen) of the King’s Fourth World books, with another issue of Forever People.  Last issue proved surprisingly interesting, but this one doesn’t quite live up to that level.  We’ve got a solid, if unexceptional, cover, with the dramatic reveal of a new character, Sonny Sumo…who is something of a mixed bag, but more about him later.  The actual image features the whole team and a nicely threatening array of guns, but there really isn’t that much to say about it.  Sonny himself does not make for that interesting of a central figure, being just a guy with a headband and trunks.  His orange coloring is also a bit odd, making him seem more like an alien than an Asian, which is its own brand of problematic.

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Inside, we meet Sonny in earnest, amidst some of Kirby’s more purple prose, as the young man prepares to fight a gigantic robot….as an entertainment act!  I feel like there’s got to be easier ways to make a living.  There is a great two-page splash setting up the conflict, and it is pure Kirby.  The young fighter puts on an impressive showing against Saguta, the robot, but is badly burned during the brawl.  Interestingly, he focuses intently and heals his wounds, then turns the table on his artificial antagonist.

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Back in the locker room after the fight, we see that his healing was only temporary, and his wounds begin to overwhelm him, until Mother Box, which teleported to him last issue, forms a connection with him and heals him.  Suddenly, Sonny finds that he can understand the device, which requests his aid, and, as it is “a mission worthy of a samurai”, he agrees.

 

 

He finds himself transported to the carnival of carnage, Happyland, where Desaad is holding the Forever People, and one by one, the wrestling warrior frees the youths from their perilous prisons.  The feedback destroys the master torturer’s “Psycho-Fuge”, through which the monstrous malefactor feed upon his victims’ fears.

 

 

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This is a lovely sequence, nice twist on ‘Sleeping Beauty.’

In response, he sends his troops after the team.  When cornered, Sonny is able to connect with the Mother Box in order to overcome the guards’ minds and put them to sleep, a feat which impresses his newfound companions, who realize that he unknowingly possesses the dreaded Anti-Life Equation!  The adventure ends with Darkseid, still not looking like himself, having overheard the Forever People’s startling statement, and he gives the order to kill them all and capture Sonny Sumo!

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So, this isn’t a bad issue, really, but it does have its problems.  It’s got some fun elements, and Kirby gives us some nice, dramatic moments.  Once again, the Forever People don’t really have much to do, as Sonny takes center-stage.  You can’t help but wonder what the team is actually good for at this point.  Sonny himself is an interesting new character, and he certainly has a memorable introduction.

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He represents an admirable attempt by Kirby to bring a bit more diversity to his books and his new world, but that presents its own problems.  Sonny’s size and depiction make him seem less like a human with Asian ancestry and more like another strange Kirby-creature.  His exaggerated coloring at times doesn’t help that impression.  The fact that he’s running around in just trunks, like the Thing, while everyone else has elaborate costumes, makes him stick out further.  I just found him a little odd and off-putting, visually, because of the excesses of his portrayal.  Still, we’re a long way from the ‘yellow peril‘ portrayals of Japanese people in comics, so it’s a net win, I suppose.

The promising and intriguing set-up from last issue, which dealt with perception and reality, doesn’t really amount to much in this one, which is a shame.  I’m guessing that the King was moving so quickly, spinning out so many different concepts and ideas, that he either abandoned the themes he had been working on in favor of a new idea or just plain forgot about them.  In the end, this is a fine comic, but it doesn’t really take advantage of an interesting setup, nor do anything particularly fascinating.  The art is solid, with a few standout panels and pages and no real noticeable missteps.  I’ll give this tale 3 Minutemen, as it is a fairly average offering.  I will be curious to see what Kirby has in store for Sonny.

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“The Young Gods of Supertown: Lonar”


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We get the start of a new backup strip this issue, and it is an interesting one.  In my first read-through, I remember being very intrigued by these teasing glimpses of the wider world of the New Gods.  I was really struck by the untapped potential in these brief peeks into the unexplored corners of the Fourth World and the fascinating characters and concepts that remained hidden in them.  You can’t help asking what might have been, if Kirby had been able to continue?

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This particular tale focuses on Lonar, soon to be known as The Wanderer, who forsakes the safety and comfort of the floating Supertown and explores the wild places of New Genesis, sifting the ruins of the Old Gods’ cataclysmic final conflict.  In the remains of a shattered city, the explorer’s Mother Box detects something still alive, and with its help, he excavates a mound of solidified ash.  Inside, he discovers a lone survivor of the world that was, a mighty warhorse of the old gods.  As the ruins collapse around him, destabilized by his discovery, he leaps astride the horse, and together they escape.

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That’s it, four frantic, all-too-brief pages, and the hints of who knows what hidden wonders.  Once again, we see a fascinating instance of “the illusion of depth.”  I’ve always liked Lonar, and I truly wish Kirby had been able to explore his wanderings.  What might he have had in store for us in the strange, unexplored wilderness of New Genesis?  I’ll give this teasing glimpse of a wider world 3 Minutemen, as it is too brief to accomplish much more than to whet our imaginative appetites.

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And with that double dose of Kirby, I’ll close out this post.  I am enjoying my second visit to the Fourth World, but I am particularly looking forward to more New Gods, which was always the best of the books, to my mind, the real core of the series.  If I remember correctly, the next issue of that book features the criminally underused aquatic antagonists, the Deep Six, in what I recall being a great yarn.  As for the Flash, I am getting quite tired of this era of the book.  Looking ahead, I see a much more promising run, with some actual villains, not too far in our future.  Here’s hoping that will represent an improvement.  Until then, I hope you will continue to join me as we delve deeper Into the Bronze Age!  Keep the Heroic Ideal alive!

Into the Bronze Age: November 1971 (Part 2)

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Hello Internet travelers!  I hope you’ve all had a merry Christmas and are well on your way to making this a happy new year!  I can’t say I’m sorry to see the back of 2018!  The Greys had a pleasant but bery busy holiday season, and we are very glad to be home again.  We’re in the process of trying to get things put together for the coming semester, so we remain quite busy.  Yet, I’ve tried to carve out a little time for modding and a little for blogging.  I know it’s been a while since my last Into the Bronze Age post, but hopefully the new year will allow me more opportunities for this little project.  Now, since we’re headed into a new year, I can’t think of a better way to kick off it off than with classic comics, can you?  So, let’s get started!

If you’re new to this little journey, you can check out the first post to learn what it’s all about.


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

Bolded entries are covered in this post, the others will be covered soon.


Batman #236


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“Wail of the Ghost-Bride!”
Writer: Frank Robbins
Penciler: Irv Novick
Inker: Dick Giordano
Editor: Julius Schwartz
Cover Artists: Neal Adams and Gaspar Saladino

“Rain Fire!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“While the City Sleeps!”
Writer: Bill Finger
Penciler: Dick Sprang
Inker: Charles Paris
Letterer: George Roussos
Editor: Whitney Ellsworth

The first of our bat-books this month is the eponymous title, and it has a solid but unexceptional cover.  It’s nicely drawn, of course, but it just doesn’t grab me.  I’m not entirely sure why.  Perhaps because the threat’s distance from Batman renders it a little less potent, perhaps because the ghost bride herself doesn’t seem all that ghostly.  Either way, I wasn’t exactly excited to pick it up.

The story within is also just fine.  Despite the massively melodramatic copy on the splash page declaring “Can an unholy command from beyond the grave compel the Batman to break his solemn vow never to kill?”, the story within is not really all that dramatic or impactful and features no such moral quandry.  It begins with Bruce Wayne, ever the detective, winging cross-country on a jetliner and reading a book about unsolved mysteries.  He reads about a young heiress named Corrine Hellbane who disappeared in the Atlantic under mysterious circumstances while on her honeymoon.  Pondering her uncertain fate, the millionaire falls asleep, while another wakeful man reads a story in the paper about the demolition of the Hellbane family home and considers his connection to the house.  Foreshadowing!

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Suddenly, Bruce is shocked awake by a spectral voice, which demands “Avenge my death, Batman!”  For a moment, he thinks he sees a ghostly bride “out there, on the wing!”  Wayne’s Shatner moment aside, he writes it off to a dream or a distorted reflection, but he keeps having such visions, seeing the bride again and becoming so distracted that some random street punk nearly takes him out while on patrol as Batman that night.

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The next morning, he found himself invited to a charity fundraiser making a game of the demolition of the Hellbane estate.  When he arrives, the disguised hero finds the upper floor marked off limits, but during the destruction, he sees that someone has ignored the signs and gone up.  Investigating, the snooping millionaire is knocked out, but he is not so easily stopped.  When he wakes up, he changes into his costume and heads up the stairs as the Dark Knight.  On the second floor, he springs a trap and takes out two hoods that were laying for him, scaring them so much they go running to their boss.

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Batman236-14Bursting into a chamber they try to bar, Batman finds that the missing heiress’s former fiance, Axel March, tearing up a wall.  He and his two flunkies had posed as a news crew to get access to the house, and after the Caped Crusader clouts the clown, we discover what he was after.  It seems that Corrine Hellbane didn’t disappear at sea after all.  In fact, she never even left her house.  The Masked Manhunter discovers her deteriorated remains sealed in a wall.  Desperate, March attacks Batman once more, but he’s no match for the Masked Manhunter.  Their struggles bring their hostess, Agatha Tyler-Tilford, whose family owns the house, to investigate.  However, the Dark Detective realizes that March must have had help to accomplish his scheme, and Agatha was the one who posed as the phony female to fake her disappearance.  The story ends with the mystery solved, the guilty punished, and the house torn down.

This is an okay mystery with some hints of the supernatural, but Batman plays doubting Thomas all the way through, even declaring “anything can be explained rationally…if you find the key!”  While this fits a Batman in isolation, it doesn’t work for a character who’s part of the DCU, who regularly hangs out with magicians and encounters monsters and spirits on a regular basis.  Heck, this very month he’s teaming up with the Phantom Stranger in The Brave and the Bold, and we’ve seen supernatural stories in this very book.  Now, it makes sense that Bruce would seek a rational explanation first, but it seems a little silly for him to balk at belief completely.

Other than that little nitpick, the story is fine, though the mystery lacks any real punch, since we don’t actually meet the suspects until about the time they are revealed as the culprits.  The random interlude with the generic street tough doesn’t help with that.  Irv Novick’s art is quite good throughout, achieving some nice atmosphere and action.  He does a particularly nice job on the villains’ faces.  I’ll give this average tale 3 Minutemen.  Of course, in this issue we also we get the added benefit of another Head-blow Headcount appearance by the Dark Knight Detective!

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“Rain Fire”


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In our backup slot this month is the finale to the rather odd hippie commune centered Robin adventure, where the Teen Wonder is pursuing attempted cop-killer-turned-dropout, Pat Whalon, who has set a fire to throw the hero off his trail.  We pick up the tale as the conflagration comes to life and threatens to consume the countryside.  The Caped Crusader quickly organizes the outcasts into a bucket brigade in attempt to battle the blaze.

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Despite their best efforts, the inferno threatens to get out of control, so Robin rushes to the neighboring farms and towns, recruiting help.  Despite the fact that pretty much nobody likes the hippies (and who can blame them!), everyone rushes to their aid, as the fire is a threat to one and all.  With the townspeople’s help, the conflagration is contained long enough for emergency aid to arrive.  Before long, government helicopters are dropping fire suppression foam and extinguishing the inferno.

With the immediate threat handled, the Teen Wonder heads out after his quarry, trailing the escaping gunman on his motorcycle and finally bringing him to heel on a mountain road in a fairly nice sequence.  Whalon attacks, but he’s no match for Robin.  The story ends with the townsfolk reaching out in friendship to the hippies, whose commune was destroyed by the blaze, while Whalon’s former girlfriend, Nanci, finally returns to her family to visit her hospitalized father (daughter of the year she ain’t!).  Terri, the vague, maybe-psychic, who has been dropping in and out of the strip seems to have disappeared, leaving Robin to think that she, in all of her unclear motivations and indefinite mumbo-jumbo, reminds him of a certain ill-defined Teen Titan.

So, this is an okay story, and Irv Novick does a really nice job on the art, with the fire-fighting sequences being pretty dramatic and the various background characters evincing a lot of personality and individuality.  At the end, Nanci tells Robin that he’s shaken her hippie beliefs (though her ignorant self-righteousness and pig-headedness probably had a roll in that too), and he responds “No more than the commune shook mine!”  We see in this another example of Friedrich pounding home his point about communes, but he honestly doesn’t beat that particular drum too hard in this tale.  Instead, we get more of a focus on the idea that ‘we’re all in this together,’ with the ‘normal’ townsfolk and the hippies all finding common ground as they fight to save the land that is home to them all.  Honestly, that’s not a bad sentiment to end on, especially these days.  I’ll give this rushed finale 3 Minutemen.

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Brave and the Bold #98


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“Mansion of the Misbegotten!”
Writer: Bob Haney
Penciler/Inker/Letterer: Jim Aparo
Editor: Murray Boltinoff
Cover Artist: Nick Cardy

“The Killer Shadow!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Sy Barry
Editor: Julius Schwartz

“One Challenger Must Die”
Writer: Arnold Drake
Penciler: Bob Brown
Inker: Bob Brown
Editor: Murray Boltinoff

Alright, we have some vintage Zany Haney in this issue!  Get out your Earth-H score cards and see if you can get a Zany Bingo.  We’ve got: a long-time friend of Batman never mentioned before or after, an unprecedented family connection (sort of), gobs of uncharacteristic portrayals, and a crazy, utterly out-there twist.  I think that’s Bingo!  All of this lies under a cover that is just decent.  It is vaguely creepy, with the monstrous faces waiting in the wings, but it isn’t really all that interesting, however much Phantom Stranger is chewing the scenery with his reaction.

The story inside is pure Haney.  It begins with Batman going to visit his old (and certainly not made up just for this issue) friends, Roger and Clorinda Birnam, who live in a suitably dark and foreboding manor.  I’m sure nothing’s amiss here!  Roger, attended by a doctor named Malthus, lies dying, and he has called up his closest friend, the freaking Batman, to be there at the end.  The Dark Knight also sees his godson, Enoch.  Can’t you just imagine the Caped Crusader standing in a church in full costume during the kid’s christening?  After offering some comfort to the child, the Masked Manhunter bids Roger farewell, and promises to honor his dying wish, that he look after Clorinda and Enoch.  His honest, yet gentle exchange with the kid is surprisingly touching.

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We get a rather incongruous, but very Haney, shot of Bats attending his friend’s funeral in full daylight and in full costume, but a few weeks later, strange things begin to happen.  First, the Dark Knight sees Dr. Malthus around town, only for the fellow to deny the name, and then the Detective investigates a ritual murder disguised as a hit and run, only to discover that the victim was a mourner at Roger’s funeral.

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The investigation is interrupted by Clorinda, who has seen a strange specter in her house.  Batman rushes to her aid and encounters a glowing figure, but when he tries to tackle it, he is repulsed and it vanishes.  Despite all of this happening in plain view of the grieving widow, Bats pretends like she imagined it all, which has to be great for her mental health.  When the local constable arrives, the Dark Knight leaves Clorinda in his care and continues his investigation, only to encounter the glimmering ghost once more and be pointed back to the house.

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There he witnesses some strange, satanic spectacle, only to be knocked unconscious by a piece of pipe falling from the roof (that’s right, another Head-blow!) and awakens to find a simple house party going on inside.  One of the guests asks for his autograph, and after giving it (imagine the modern Batman signing autographs!), he retires to a bedroom to recover from the blow.  However, his rest is disturbed by the arrival of Enoch, who seems to cast a spell over the hero.  The Masked Manhunter suddenly finds himself unable to move and besieged by a demonic form.  Fortunately, the spectral figure from before appears and chases away the attacker, only to be revealed as….the Phantom Stranger!

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The mysterious man frees Batman from his paralysis and explains that he’s stumbled into the middle of a coven of witches, and that his friend was murdered so that Clorinda could inherit his fortune!  How’s that for a zany twist?  The Stranger has been investigating them, but in order to protect himself from their spells, he had to coat himself in a spectral shield, which is why the Caped Crusader didn’t recognize him.  As they leave the house to pursue the coven, which has fled, they hear a child crying from an upper room and assume it is just another trap.

When Batman tries to exhume his friend’s body to check for signs of foul play, the constable, who is part of the cult, attacks him, and once again the hero awakens after a SECOND Head-blow in a single issue (!), only to find himself in worse trouble than before.  He’s being held down on an altar as Enoch, secretly the little Hell-spawn leader of the coven, prepares to sacrifice him to their dark master.  The Dark Knight frees himself, but Satan himself suddenly appears and carries him off!

Or rather, it is the Phantom Stranger masquerading as Satan in order to rescue his ally.  The next night, the pair try to pull the cult’s fangs and get proof of their nefarious deeds by kidnapping Enoch and then….sort of just traumatizing the kid by exposing him to occult paraphernalia.  The child acts, well, pretty much like a child, and is freaked out.  After some more digging, they realize that Clorinda actually gave birth to twins, and they’ve got the innocent, normal son.

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Batman: Dark Knight and….kidnapper?

The heroes launch a last assault on the coven, but once more Batman is paralyzed by magic.  Yet, just as she and her demon-spawn prepare to escape, Clorinda sees her murdered husband in the dark at the head of the stairs, and panicking, falls over the rail, taking the little monster with her, to their deaths.  It turns out that, in the Moonlight, her conscience converted a portrait of Roger into his vengeful ghost, and doomed her and her demon seed.  The issue ends with Batman caring for his friend’s now orphaned real son…who is never mentioned again.  “I’ll look after him forever…provided forever is until the end of this sentence.”

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Whew!  What a yarn!  Trying to simplify Haney plots for summary is a real challenge.  Nonetheless, this is a fun story, however much it may be completely wrong for Batman in some of its details.  It is also, unsurprisingly for the Zany one, completely bonkers!  Batman has an old friend who he is SUPER close with, but the world’s greatest detective never happens to notice that the guy’s wife is a witch or that his godson is a demonically powered evil child prodigy.  Despite this, there is an engaging and creepy mystery, which does a good job of evoking a sense of creeping madness, of losing your grip on reality, that belongs to certain horror stories.  It’s goofy in sections, but Jim Aparo’s art, by turns beautiful, moody, or magnificent, really helps make it work.  Plus, it gives us two different head-blows, a first for my little indexing project!  I’ll give this crazy turn through Earth-H 3 Minutemen.  It’s interesting to see another magic/witchcraft focused tale.  Clearly, the fascination with the occult is growing, and it isn’t going away any time soon.

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Detective Comics #417


Detective_Comics_417“Batman For a Night!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“A Bullet For Gordon!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Don Heck
Letterer: John Costanza

“Alfred, Armchair Detective”
Penciler/Inker: Jerry Robinson
Letterer: Ira Schnapp
Editor: Whitney Ellsworth

“The Mystery That Edgar Allan Poe Solved”
Penciler/Inker: John Prentice
Colourist: Steve Englehart
Editor: Jack Schiff

Our cover story here is, in its way, as crazy and out of character for Bats as any Zany Haney yarn, but it’s not bad for all that.  We start with a very melodramatic cover which is pretty misleading in its import.  It’s a fair piece, and the presence of two Batmen is liable to give one pause, but it didn’t exactly make me anxious to pick up the book.  The tale within starts, not with our resident Dark Knight protagonist, but with a part-time pugilist.  Namely, we join Jan Paxton, barely holding his own in a boxing ring with the heavyweight champ.  It turns out that this is an exhibition match held for Paxton’s benefit.  He’s a writer who does a ‘day in the life of’ type magazine column, trying out different professions and writing about what they are really like.

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After having survived his turn with the “sweet science,” the aching author tells his visitors, Commissioner Gordon and Bruce Wayne that he has even crazier plans for his next column, taking on a day in the life of…the Batman!  Now, of course Bruce promptly ignores this and refuses to put some random schmuck, even an athletic one, into mortal dang….ohh, wait….no, he totally agrees to give the guy a tryout.  Bringing him blindfolded to the Batcave, the Caped Crusader gives the writer a crushing workout, though his guest gets in a few licks.  In the end, Bats is impressed enough to let Paxton try a night ‘under the hood’, which is just crazy.  Once again, imagine the modern Batman doing this.  Even for our Bronze Age Batman, this seems rather out of character for the darker, more serious turn the book has taken in the years we’ve been following it.

Nonetheless, the next night Paxton is driving around in the Batmobile in full costume.  He spots a tractor-trailer hijacking and hitches a ride on the truck to stop the thieves.  He takes out the trailing car by uncoupling the trailer from the cab, and as a grown-up who has to think about things like accidents and car repairs, I can’t help but think, “sheesh!  He probably just cost the truck company way more in damages than he’s going to save them by stopping the robbery!”  Despite that, this maneuver is actually something of a success, but when he tackles the thieves in the cab, he is decidedly less lucky.

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He disarms one, but has to turn his gun against another.  Only the real Batman’s timely intervention prevents a shooting.  Now, here we’ve got an actual fitting piece of characterization, as the Dark Knight is furious about Paxton’s use of a gun and his defamation of the Caped Crusader’s name.  That revulsion for guns is an element integral to the character that we haven’t really seen much so far.

Of course, as Robins scores on that swing, he whiffs on the next, as Batman still agrees to let Paxton have another crack at impersonating him.  Unfortunately, things get much more real for the writer when his sister is killed by a random shooting during a bank heist.  Suddenly, the agonized author discovers just what it is that drives the Batman to his single-minded quest for justice.  Once again, that is actually a rather nice beat.

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The Dark Detectives helps his understudy track down the murderous men thanks to a clue his dying sister gave them, a ring that one of her killers wore.  They identify the scum and trace him to a bowling alley, where Paxton sucker punches Batman in order to get a shot at his quarry.  Despite charging headlong into gunfire, the writers somehow manages not to end up penning his own epitaph, and manages to nail the killer.  The tale ends with him reflecting on how he now understands what gives the Masked Manhunter that special something that makes drives him to succeed at his strange calling.

So, we’ve got a fair little tale here, despite how silly it is that Batman would just let some random dude playact his part for a night, especially after the guy botches it the first time.  Nonetheless, there is a decent bit of character work about our hero here, hidden beneath that ridiculous plot device.  The sort of ‘corner of your eye’ focus on what is behind the Dark Knight’s crusade is pretty solid, and the mystery solving in the middle is pretty solid.  Throughout, Bob Brown’s art is strong, and he does a nice job giving Paxton some personality.  I’ll give this unusual Batman outing 3.5 Minutemen, with its good elements outweighing its silly ones.

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“A Bullet for Gordon”


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Our Batgirl backup this month finishes up the Commissioner Gordon story from last month, and it starts off with a bang!  When last we left our heroine, she was racing to save her father from the lethal trap set by her duplicitous double.  The fake Batgirl has positioned Gordon where the cop hating radicals will catch him in the open.  Fortunately, the real ‘Dominoed Dare-Doll’ arrives to destroy her plans.  She saves her father and takes out the thugs, but in the heat of the moment, she slips up and calls the Commissioner “Dad” imperiling her secret.  Fortunately, he doesn’t seem to notice, and the crimefighter captures her counterpart with a really awkward-looking tackle.

The imposter imprisoned, the Daredevil Dame keeps her doppleganger’s rendezvous, and meets the big man behind the whole operation, encountering the real cop-killer in the process.  Just as her cover is about to be blown, Babs’ father returns the favor and rescues her, arriving just in time to capture the crooks who were preparing to unmask her.  It turns out that he hitched a ride on the getaway truck and eavesdropped on the revealing meeting within using a contact microphone, proving he’s still pretty sharp.  As the Commissioner gives Batgirl a ride, Babs thinks that he must not have noticed her slipup, but that night, as he looks in on her, supposedly asleep, Gordon wonders when she’ll finally tell him the truth.

I love that touch, that police commissioner and great cop that he is, Gordon has already solved this mystery, but that he just chooses to play along until his daughter decides to confide in him.  It’s a great character beat, and it makes a certain amount of sense for the man who has placed so much faith in Batman.  It’s a great note on which to end this last chapter, and a good chapter it was.  The ultimate bad guys don’t get any real development, but they are overshadowed by the emotional arc of the tale, which focuses on Babs and her father, which works reasonably well.  In a bigger story, that would be less forgivable, but as is, this made for a fun, engaging, and exciting finale.

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It’s interesting that, in the end, the radicals are given a completely unsympathetic portrayal, being little better than bloodthirsty animals, despite the fact that they weren’t actually guilty of the original crime.  So, no sympathetic portrayal of the counterculture here.  Unfortunately Don Heck’s art continues to be rather rough, and while this tale has some nice panels, there are also a lot of muddy, awkward bits, like Batgirl’s bizarre tackle.  Despite that, I’ll give this one a solid 3 Minutemen.

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The Head-Blow Headcount:

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Batman makes his not-so triumphant return to the Headcount for the first time in quite a while, but he does it in style, with not one, but two different cranial contusions in the same comic!  That’s impressive.  Apparently, the Dark Knight excels at everything, including getting knocked on the noggin!

 


Well, not a bad way to start off 2019, all things considered, hmm?  We had a pretty enjoyable batch of books, and I’m looking forward to seeing what else awaits us this month.  I hope you’ll join me again soon to find out and, until then, keep the Heroic Ideal alive!  Here’s hoping 2019 will be a better year for all of us.