Hello readers and internet travelers! As folks familiar with my work and site likely know, I’m hip-deep (neck-deep?) in a doctoral program, and I find myself with very little time these days for Freedom Force projects. I have no intention of abandoning the greatest superhero game of all time, but I thought that I might use my site for something a little different until I have more FF content ready for it. I recently started a little personal project in my rare free moments. To take a break from medieval texts and teaching, I’ve been reading through a broad range of DC comics from the Silver and Bronze Ages. As my DC Universe According to Grey mod amply demonstrates, I have a deep and abiding love of the DC Universe, especially as it existed during the Bronze Age, which, despite having plenty of flaws, is for my money, the best, purest, most heroic, and most joyful incarnation of those characters and settings.
I’ve read through a lot of the Silver Age stories of most of DC’s major characters, and I’ve read through a few of the major books of the Bronze Age like JLA, but until now I’ve never read the bulk of DC’s books over this period.
As I’ve been reading these stories, I’ve been attempting to cast a wide net and get a sense for the development of the DC Universe as a whole and the evolution of the Bronze Age itself. I’ve been noticing some pretty fascinating trends, and it occurred to me that other folks might find my little project interesting as well. To that end, I’m going to start a new, semi-regular feature on the Greylands. Every few weeks (maybe once a month or so), I’ll post a round-up of my thoughts concerning a wide selection of DC books from a particular month and year in the Bronze Age (for my purposes, roughly considered to be between 1970 and 1985). I won’t be reading everything DC published every month, but I’ll be reading a lot of it.
If you think this sounds interesting, I invite you to join me in my quest for the elusive character of the Bronze Age.
First, a word about what I’ll be covering and what I WON’T be covering. I’ll be reading most of the straight-up superhero books published by DC during this time, with a few notable exceptions. I won’t be reading through Wonder Woman, as her solo adventures have never interested me much, though I am fond of her as part of the League. Also on the cutting room floor are Superman’s supporting books like Jimmy Olsen (until Kirby takes over) and Lois Lane. I’ll be reading the occasional alternative, non-superhero book as the mood grabs me. I won’t be reading most of the western, war, or romance books, but I’m going to try to get through everything that piques my interest and is part of the DC Universe proper. If it showed up in Who’s Who, I’ll at least consider reading it (I’ve been inspired to do this partially by the Fire and Water Podcast’s Who’s Who feature). I’m navigating by interest, so there will be things I’ll be skipping, but I’ll also be aiming for comprehensiveness.
I’m also going to do a semi-regular extra feature, spotlighting something neat I’ve uncovered on my march through DC that lies outside the borders of my little project here, so every issue or so I’ll include a discussion about a series or character from before or after the period I’m covering.
To start this week, I’ll begin with January 1970:
Roll Call (You can see everything published this month HERE)
- Action Comics #384
- Brave and the Bold #87
- Challengers of the Unknown #71
- Detective Comics #395
- G.I. Combat #139
- Green Lantern #74
- Superman #222
For the sake of my sanity, I’m skipping Adventure Comics until Supergirl gets a bit less Silver-Age-y. I’m also skipping Metal Men #41, as it is the last original issue of the series, which seems like a poor place to start.
Now, without further ado, let’s begin our maiden voyage into the Bronze Age!
Action Comics #384
Cover Artists: Curt Swan, Murphy Anderson
Writer: Cary Bates
Penciler: Curt Swan
Inker: George Roussos
Editor: Mort Weisinger
I’m not a huge Superman fan. I suppose I should confess that straight away. Whenever he and Batman fought in the comics, I was always cheering for the Dark Knight. I certainly identified more with the tortured, conflicted, and complicated Caped Crusader than I did with the bright, cheerful, and seemingly perfect Man of Steel when I was an angsty teenager with nothing to be terribly angsty about. But, with luck, we all grow up. I have a lot more appreciation for Superman these days, and even though he’ll never be the character I most enjoy reading about, I love his role in the DC Universe and the positive, heroic ideals he represents. The core of his character, the concept that a man can choose to do right and live selflessly, even when it would be the easiest thing in the world to do otherwise, is a great message, one far too often forgotten in our relativistic, cynical world. It’s as relevant today as it was in the Depression, if not more so. Those hard times brought people together, whereas these hard times seem to drive us further and further apart. These truths are precisely what Man of Steel and (as far as can be determined) the upcoming Batman V. Superman movie don’t seem to comprehend.
But that’s a rant for another day; we’re here to talk about comics! So, as I said, I’m not the biggest Superman fan, and the stories I do like generally are Post Crisis (a rare exception for me). I enjoyed the Man of Steel Byrne reboot, and I’ve read several Superman TPBs that I’ve really enjoyed. I have an exceptionally low tolerance for Silver Age Superman stories, though. In my opinion they tend to be the most Silver Age-y of all Silver Age comics. They are goofy, childish, and bizarre in the extreme, with the rainbow kryptonite and the far too literal take on the concept of invulnerability generally making me want to dig my eyes out with salad forks. I’m not much of a fan, is what I’m saying.
I have heard that Bronze Age Superman gets something of a soft reboot that leads to some good stories with the ‘Kryptonite No More’ storyline, but we aren’t there yet, and this particular tale is definitely full of Silver Age goodness. It isn’t half bad as such things go, though it is a standard comic of the era where things happen at the speed of plot.
Two strange uniforms, glowing with eerie energy, show up at Superman’s Fortress of Solitude, begging to be put on by the Man of Tomorrow. That would be pretty odd in most tales, but I have to imagine it’s just a Thursday in the context of the crazy stuff that the Silver Age Superman gets up to. Anyway, it seems these two uniforms belong to two aliens, one a prisoner, the other a policeman, who died on-board a spaceship while locked in combat. Their uniforms were doused with energy and preserved their minds…or something. I think I’m already putting more thought into this concept than writer Carey Bates did. To be brief, which is surprisingly difficult when giving a synopsis of a Silver Age story like this, which has tons packed into it, the evil prisoner’s uniform forces Superman to don it by…basically just asking in front of Perry White. Perry, who apparently isn’t all that concerned with his employees’ wellbeing, orders Clark Kent to put on the strange, glowing alien costume. Great Ceaser’s ghost! I’m pretty sure that’s an OSHA violation!
Predictably, the uniform controls Superman and tries to make him do evil, but the Man of Steel is more than a match for any mere suit of clothes, and outwits the outfit by seeming to go along with the evil plans, all while setting up the acts so they can be countered by his allies. That really is a nice little piece of planning on Clark’s part, and it reminds the reader that Superman has brains as well as brawn. Yet, all that (seeming) evil-doing lands Superman in Dutch with the authorities, and just when things look bad for him, he’s rescued by a flying Perry White in the other costume! ‘Thanks Perry, but I’m still reporting you…’
Supes eventually puts on the other uniform on top of the evil one and is able to free himself enough to fly into the sun, burning both into ashes. We’re treated to the two…what are they, ghosts? Mental impressions? Really persistent and aggressive stains? Well, whatever they are, the two uniforms burn away, and we come back to find Perry White in his skivvies. Yikes!
This was a fair Silver Age-ish story, nothing particularly memorable or interesting, but not nearly as weird or goofy as you might find in such settings. I enjoyed it pretty well, and I’d give it an average score of 3 Minutemen.
At this time, Action Comics is also running a Legion of Superheroes backup feature, and this was the standout for me. It was an entirely conventional Legion story, with one Legionnaire being prophesied to die in the opening pages and what could kindly be called a ‘twist,’ but more accurately dubbed a ‘cheat,’ revealed to have survived at the very end. Replace ‘prophesied to die’ with ‘accused of being a traitor,’ and it is just like a number of Legion stories I’ve read. In general, I like the Legion, but it never grabbed me the way it has some folks. Once again, this is a concept that has grown on me as I have gotten older, as I enjoy what it says about the grand sweep of the DC Universe, the hopeful optimism about science and human nature. It’s an optimism I think completely unjustified, but it’s charming nonetheless!
Despite this particular story being entirely by the numbers, it has a few nice little moments that made it stick in my mind. The doomed Legionnaire in this particular tale is Mon-El, who Dream Girl, well, dreams about. She sees his death, vaguely but certainly. Unfortunately, it seems that Dream Girl’s visions always come true, and there is no way to prevent this tragedy. We get a couple of nice pages of Mon-El coming to terms with his fate, including my favorite panel of the book. In it, we see Mon contemplate one of his last sunrises. It’s a nice, quiet little moment that really adds to Mon’s characterization, illuminating his heroism, as he faces his death, but also a human side to him. It’s small, but significant for a Silver Age-ish book like this. After all, it isn’t all that often that a superhero at this time seriously considered his or her mortality, especially in DC, so it is nice to see how doing so makes Mon all the more aware of the little things in his life, all while bravely soldiering on and continuing to do his duty.
His home planet of Daxam offers to hide him away and guard him with their entire army (!), which is quite an offer, but Mon is not one to hide and refuses. This leads us to the cheat that leaves both Dream Girl correct and Mon-El alive at the end of the issue. Another Daxamite knocks Mon out and switches places with him, dying in his place, but not really, because his incompetence almost kills Mon anyway, and he gives his life to save his idol rather than by facing the danger they feared (an alien invasion defeated in a single panel).
It’s a good, quick story, even with the stock plot and deus ex machina. There’s just enough heart and charm here to raise it above common quality. I give it three Minutemen.
Brave and the Bold #87
Cover Artists: Mike Sekowsky, Dick Giordano
Writer: Mike Sekowsky
Penciler: Mike Sekowsky
Inker: Dick Giordano
Editor: Murray Boltinoff
Man, The Brave and the Bold…what a series. This comic was almost exclusively written by Bob Haney, or as he is popularly known, Zany Haney! Bob Haney seems to either be beloved or hated. He wrote incredibly imaginative and, let’s face it, zany, stories that cheerfully ignored any and all previously established continuity and characterization. It was entirely common to find characters acting in an entirely uncharacteristic fashion, meeting old friends never before or after mentioned, or suddenly finding themselves having relatives that have totally always been there, shut-up! His stories represent the best and worst things about the Silver Age. They are often silly and irrational, but they are also creative in the extreme, often tossing out concepts with the same speed and frequency as even the mighty team of Stan and Jack. However, unlike Lee and Kirby, Haney’s great weakness, other than his seeming allergy to logical consistency and causality, is his lack of interest in recalling potentially successful concepts. Everything is a one-shot in his books, for the most part. Even good ideas almost never have a return engagement. That’s a particular problem in Aquaman and part of the reason that the Silver Age, which produced the majority of the best villains, left that particular hero with a shallow rogue’s gallery, despite having lots of one-shot villains with potential.
I don’t have the unabashed love for Zany Haney that folks like Rob Kelly and the Irredeemable Shag of the Fire and Water Podcast evince, but I do often enjoy his stories now that I’ve acquired a bit more patience for Silver Age flavored tales, and ALL of his work is Silver Age-ish, even well into the Bronze Age.
This particular yarn is no exception, and it represents the strengths of Haney’s style. It is packed to the gills with action, but it is actually positively restrained in terms of the number of concepts it throws at the reader. The story opens with Diana Prince and her companion I Ching (of course) in Europe taking in the sights of a combination fashion show and auto race…because such things happen all the time, no doubt.
This is the late 60s, Kung-Fu, white jumpsuit Wonder Woman, an incarnation of the character that I really don’t care for. The idea of stripping away all of her powers and mythic trappings makes her much less interesting and turns her into a second string Black Canary. I think I prefer the character with deep roots in myth and magic. Nonetheless, I have to say that Haney does a good job with her, giving Diana Prince just enough fresh-faced naivete for someone who is adjusting to a new way of life, all while moving through the plot at break-neck speed. Still, all things considered, Black Canary would have been a much better fit for this particular plot.
The story itself is about a race in which Bruce Wayne is competing against a sinister German fellow who goes by the name of ‘Widowmaker’! How very ominous!
Widowmaker, A.K.A. Willi Van Dornt doesn’t like the competition from Wayne, so he tries to sabotage his racer, which leads to a nice scene where Bruce Wayne discovers them and starts to crack some heads, only to be discovered by Wonder Woman. This means Bruce has to take a dive, which he does, all while using his training and skill to avoid taking any real punishment.
It’s a nice little detail, that Batman is so good that he can fake a loss and stay in control. Of course, if Wonder Woman is the warrior she should be, or even the martial artist she’s supposed to be here, she should be able to see through such a ruse. Nonetheless, it makes for a fun few pages. Bruce gets a bit banged up, and the real meat of the story begins as he pretends that he’s convinced Batman to race for him as a cover. There’s some added backstory of this murderous racer being the son of a villain Batman had faced in the past, but that doesn’t amount to much.
Wonder Woman runs interference against Willi’s minions who try to ambush Batman’s car along the track, while Bruce pits his skill against Widowmaker’s dirty tricks. It’s a really nice, exciting, quick-moving tale, shifting back and forth between the different perils the heroes face with much the same energy as an actual race. The pacing is very good, and the series of challenges the heroes face is interesting. I’m particularly fond of the ending, which involves Willi being hoisted on his own petard as his henchman springs one of his own traps on his boss. Seconds later, Batman’s beaten, battered racer limps across the finish line. It’s a little bit of poetic justice, and it is a good payoff for the tension of the race.
One other little point, this comic also included a text piece about the previous heroes of the Brave and the Bold book, including the likes of the Golden Gladiator, Robin Hood, the Viking Prince, Cave Carson, and the Silent Knight. It includes short blurbs about some of their biggest adventures and poses the question about who is the greatest hero. For my money, it is definitely the Viking Prince, but it is neat to see these guys mentioned again, and it makes me a little sad that their features have all faded into obscurity by this point.
Well, I give this not-all-that-zany tale 4 Minutemen out of 5. It really is a fun story, and pretty well told, even if there isn’t a whole lot to it.
Challengers of the Unknown #71
Cover Artist: Nick Cardy
Writer: Dennis O’Neil
Penciler: Jack Sparling
Inker: Frank Giacoia
Editor: Murray Boltinoff
This Challenger’s story is the fourth in a set of connected tales, so I went back and read the previous entries in this arc before I got to it. It seems clear that, here at the end of the run, the writer, Denny O’Neil seems to have been trying to shake things up. The first story in this arc saw the brainy quarter of the Challengers get ‘possessed’ by an evil computer (don’t ask), and the second saw him seemingly mortally wounded. They lost no time replacing poor Prof. with a random lady, in fact, the daughter of the evil genius who tried to kill him. All of this coincides with a change in costume. It seems clear that this series was on its last legs, which is a shame, because they were really onto something good with these changes. In fact, this series would only last three more issues before the book was relegated to a reprint feature.
This story picks up where the last issue left off. In the previous issue, the Challengers, fleeing from your average remote castle stronghold of your average mad scientist (in this instance with a super awesome old-timey mustache and chops, plus a sweet cape) stumble upon a plot by spore aliens (because of course) who want to conquer the earth. They defeated the chief alien and his hillbilly cultists (nope, not kidding), and this issue opens with them stumbling into a small town, which the escaping spore alien has taken over (with the aid of a witch!). The townspeople are forced to serve spore-y, and the Challengers, battered by their previous day’s adventures and on their last legs, are defeated and captured, only to be freed by Red’s little brother (and apparently a singing sensation?), Tino. Apparently a bit has changed between the original issues I read and this point in the series.
Whew! I didn’t intend for my recap to be that long! O’Neil really packs a ton into this issue (and the previous ones as well), and you really feel the Challengers’ exhaustion and desperation during their final stand. I do feel like poor Prof. got the short end of the stick here, but this issue ends with him making it to the hospital and getting medical help, sothe door was open to bring him back. The new addition, Corinna seems fine, though she doesn’t have much personality. She’s also disturbingly okay with the murder of her father. ‘He’s evil, oh well’ seems to be about the extent of her mourning. I’d keep an eye on her, Challengers. Chances are, she’s a sociopath.
Yet, whatever she lacks in emotional depth, Corinna (what kind of a name is that?) makes up for by adding a nice little wrinkle to the Challengers’ dynamic. She sets up an interesting conflict between Red and Rocky, with the acrobat constantly putting her down and generally being a jerk to her while Rocky moons like a love-struck schoolboy. Interestingly enough, Corinna seems to only have eyes for Red, which says some rather disturbing things about her views on relationships. Then again, her father was an abusive megalomaniac. Sorry Rock, nice guys finish last and chicks dig jerks, apparently.
This shift in story tactics by O’Neil is an interesting one. It adds some good characterization to the Challengers who, for most of their history, have been pretty one note. It’s good to see these guys get some development, especially Rocky, who is more than just the generic strong man as he silently fumes over Red’s treatment of Corinna and laments his own lack of luck. This was a wild but solid story, providing you don’t think too deeply about rapid change in plots. There’s little denying it is fun, and the art is wonderfully atmospheric, beautifully creepy and well-suited for the tale. The artist, Jack Sparling, does a great job of giving each of the Chals a unique face, which really adds to their individuality and characterization.
In general, this was a good example of a solid, exciting Bronze Age story. It isn’t high art, but it’s the type of action-packed, not too ridiculous (for a comic) yarn that marks this era of evolving storytelling. I’d give it 3 Minutemen out of 5.
Detective Comics #395
Cover Artist: Neal Adams
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Editor: Julius Schwartz
For my money, I’d say Batman is probably the easiest comics hero to write, as he has a very strong setting, a great supporting cast, and the best villains in comics history. He’s had, arguably, the most consistently high-quality runs of any mainstream character. He and Superman are two of the purest, most archetypal, and most influential characters in comics history. There’s a reason, or rather many, that Batman has had such enduring popularity, and one of the main ones is that Batman embodies the mythic elements that are inherent in the concept of the superhero. I suppose, then, that there is no suprise that Batman has always been one of my favorite characters, all the way back to the campy Adam West show and its cartoon counterpart. As a kid, I loved those corny, goofy shows, and now my young nieces and nephews love them as well. It’s clear that those shows and that tone (recaptured to a certain degree in the Batman: Brave and Bold show) are perfect for kids, however much they may gall adults.
When I got a bit older, I discovered the best of all Bat-worlds, Batman: The Animated Series, the greatest superhero show of all time. That is, for my money, the best version of Batman, and Bruce Timm and co. made very intentional efforts to create a show that was the distillation of all that was best in Bat-history. Many of the themes and concepts that were combined into TAS have their origins in the original incarnation of Batman in the Golden Age, but it is here, in the Bronze Age, where they make their return and the ‘real’ Batman that most of us think of actually comes into his own.
We’re not at the absolute beginning of this trend, but we’re not all that far off. This period would see several definitive runs that reshaped Batman for the coming decades. It is at this point that the campy Batman of the 60s fades and the shadowy Dark Knight Detective takes center stage thanks to the efforts of comics luminaries like Denny O’Neil and Neal Adams.
That’s the team behind this tale, which is indicative of the good quality of the story and its spooky, mysterious tone. This yarn begins with a nice, moody establishing shot of Batman brooding over two empty graves. He’s in central Mexico, attending an extravagant party of a wealthy and mysterious couple who have a macabre fixation on death, even hosting this party in their own family graveyard. The plot centers around the couple trying to covertly kill an agent of the Mexican government who is investigating them, all while Batman works to save him.
That’s where the tale takes a turn for the strange, as there is a final confrontation in a ruined building where Batman discovers a secret field of flowers, which are apparently madness inducing…and also endow people with immortality. That’s a twist worthy of ‘ol Zany Haney. Still, despite the rapid-fire delivery of the exposition and the strangeness of the concept, it sort of works. The couple, supposedly over a hundred years old, wither and die in moments, falling fittingly into their own, empty graves. Their passing leaves behind a number of unanswered questions, but given the horror flavor of the story, it isn’t as big of a problem as it might seem. This tale evokes the mystical, mysterious feel of the old horror books, where certain questions are left unanswered as part of there overall effect.
This is a good story, not the best of the Batman tales we’ll be encountering, but of the above-average quality that is, in fact, average for Batman books in the Bronze Age, especially in Detective Comics. I give this one a solid 4 out 5 Minutemen.
Detective Comics had a backup feature for most of its history, and at this point it is trading off between Robin and Batgirl. I’m a big fan of the Bat-Family, so I’m excited about reading these backups. This one is the second half of a Robin adventure, with a nice framing device of being relayed through letters Dick sends home from college. I love Robin, specifically, the only real Robin (where I’m concerned), Dick Grayson. He’s one of my favorite characters. The concept that created him, that kids would identify with and want to be him totally worked on me as a kid. I was aware I couldn’t be Batman, but maybe, just maybe, I could be Robin. I love him as a solo act, as well as with Bats, but at this point, going off to college and being almost a grown man, it is certainly way past time to give the guy pants. I don’t understand how this went on so long. He’s been older than is appropriate for his green trunks for years and years at this point. The particularly bizarre thing is that they’ve had multiple stories that have provided perfectly viable costumes for an adult Robin, none of which they’ve bothered to adapt. Aqualad has the same problem, but at leas the wasn’t as high profile as poor Dick. So, that ridiculously outdated costume always takes a little something away from these Robin stories.
This particular tale involves Robin attempting to break up a communist plot (!) involving creating student unrest with fake accounts of police brutality in order to shutdown Hudson University (!). It’s a very 60s style story, and not a terribly interesting one. You have to think that the vague, unspecified commies would have better things to do with their time and money. Nonetheless, Dick manages to break the case open, despite taking a beating and being captured for the second time in two issues. He does manage a fairly nice escape, taking out two guards, all while handcuffed. Still, it isn’t his most impressive showing. I like the idea of having stories with him away in college, but I don’t think all the stories necessarily have to be set ON campus or deal with university matters. It just limits the character way too much.
It isn’t a particularly impressive story, despite the cool escape, so I’ll give it 2 1/2 Minutemen.
G.I. Combat #139
Writer: Robert Kanigher
Artist: Russ Heath
I’m a big fan of the idea of the Haunted Tank, and by this point, Jeb and his boys have become the undisputed stars of this book. Still, though I love the idea, what I’ve read from the Silver Age hasn’t electrified me. I’m now skipping ahead about five years to this issue, and I definitely think things are improving. The older stories were fine, but I just felt like they didn’t really take much advantage of the concept. Lift out scenes with the General’s cryptic warnings, which had exactly zero impact on most of the plots, and your average Haunted Tank story could just as easily have appeared in any other WWII book. There were exceptions, but that was my general impression. What fun is that? If you’ve got a Haunted Tank, you should really play that up or you’re burying the lead!
This story doesn’t break that pattern as much as I might like (J.E.B. appears a grand total of one time), but it’s just an enjoyable tale on its own merits. The basic overview is that Jeb and crew are dropped into North Africa to stop a Nazi advance through a pass and attempt to rally the local Bedouins to the Allied cause. On the way, the crew discover that their contact, Prince Akmed, has died, perhaps killed by “The Mufti,” a generically evil adviser sort who favors the Germans. In a scene ripped from the pages of Around the World in 80 Days, the ever culturally sensitive comic delivers us a tribe of Bedouins who are preparing to burn Akmed’s wife, Princes Azeela, on his pyre in the archaic Indian practice of Sati.
Jeb, being the gallant Southerner that he is, is having none of this and, extinguishing the pyre, rescues the girl. He agrees to marry the girl in order to protect her from her people, and she rides with him to battle. In a particularly nicely illustrated sequence, the Tank goes up against heavier German armor, manages to plug the pass with the first Panther, and then fights a despearate holding action until rescued by Azeela’s people, who have been inspired by her bravery.
Sadly, the Mufti kills her in revenge, and in a surprisingly touching series of panels, beautifully drawn and inked, Jeb returns his princess to her people…forever.
The Princess doesn’t really get much to do other than die to unite her people (this story is not exactly a beacon of feminism), but Plot, er, I mean Princess Azeela, does serve as a nice little subtle moral quandary for Jeb. He saves her from the pyre, but then what is a good man to do? He agrees to marry her to save her from further retribution at the hands of her people, and we’re given a tender little scene with Jeb comforting Azeela whose husband, let’s remember JUST DIED. The concern on his face, the tenderness of that embrace, is pretty effective at conveying a good deal more than the dialog. Taken all together, that little panel aptly demonstrates the strength of comics as a medium of storytelling. There’s a great efficiency of narrative in that one little combination of image and word.
This was a good story, though it still didn’t really take advantage of the whole Haunted Tank concept. I’ll give it 3 and 1/2 Minutemen.
Green Lantern #74
Cover Artist: Gil Kane
Writer: Mike Friedrich
Penciler: Gil Kane
Inker: Murphy Anderson
Editor: Julius Schwartz
Green Lantern…ohh Greeen Lantern…this series has given me fits. I’ve read the whole run to this point, and I am somewhat amazed the book survived this long. I love Hal as a character, and I love the concept of the Green Lantern Corps. In fact, I love pretty much everything about the original setup of the Silver Age Lantern: Hal’s test pilot civilian identity, his relationship with Carol (who was a powerful, capable, career-minded woman in an age where that was exceedingly rare in fiction), and the setting being split between Coast City and space. He had a reasonably strong rogue’s gallery, and he was all set to have an excellent hero career. And then one day the creative team just decided to toss all of that. They upended Hal’s life, had Carol suddenly agree to marry someone else off panel, and then Hal became a wanderer, a set of circumstances that would stick with him for years to come. This is not to say that the early Silver Age GL comics were particularly good. They’re about average for Silver Age books, which makes them pretty hard to read these days, but at least the concept was a promising one, and this shift…? Not so much.
It’s an inexplicable decision to me, as they clearly had no real goal in mind other than to shake up the book and ditch Carol. The unforgivable result of this path is that it made Hal Jordan, one of the coolest DC heroes in his civilian identity, lame and boring. He went from being a hot-shot, devil-may-care jet-jockey to, wonder of wonders, an insurance salesman. How does that make any kind of sense? Over the next twenty issues Hal continues to drift from job to job and place to place, and the instability makes the character seem flaky and more than a little worthless. This also removes the ability of the book to provide Hal with any kind of supporting cast other than his fellow Corpsmen, who are more or less dropped from the book as well during this period.
Of course, after those twenty issues the comic turns into the famed Green Lantern/Green Arrow combined title, and Hal goes from being someone who can’t hold down a job to an actual, jobless bum. This run is widely praised and quite famous, standing as a seminal moment in the development of comics and the Bronze Age in particular. Despite acknowledging its cultural importance, I can’t say I’m a huge fan of the ‘hard traveling heroes’ run, but I suppose I’ll talk about that when I get there in a few issues.
As for the issue in question, it is the second part of a two part story wherein Hal heads back to Coast City and meets up once more with Carol Ferris, mysteriously still unmarried. Their first encounter in the previous issue is really rather nicely done, but I imagine that this return home gave a good many readers false hope. Sadly, it was not to last. When Green Lantern goes to talk with Carol, she inexplicably transforms into Star Sapphire, despite not having access to the troublesome gem. She somehow transports Hal into deep space, also conveniently stripping him of his memories of being Green Lantern. This issue picks up where that one left off, with a rather pretty trap for Hal to escape.
Stranded in space without any of the knowledge he needs to save himself, this is an interesting premise. Unfortunately, it doesn’t really last very long and Hal is quite blase about the the whole thing. ‘Ohh, I seem to be lost in the infinite void…ho-hum.’ It is a good chance for Hal’s natural fearlessness to shine, but it doesn’t quite come off that way, and the problem is a bit too easily solved. This image also demonstrates a weird trait of the art in these issues, where Gil Kane stacks images upon one another to diverse and often not entirely successful, but always innovative, effect.
Once Hal gets back to Earth, he discovers the true cause of his current problems, Sinestro! At this point, it has been a very long time since we have had any real supervillains in the book, especially any of Sinestro’s quality, so he’s a breath of fresh air. For most of the last dozen issues or so, Hal has been suffering from boring stories featuring random, regular hoods. Yep, they make a great challenge for the man with the most powerful weapon in the universe. Sinestro, on the other hand, especially backed up by Star Sapphire, makes for an excellent antagonist, and this story has the renegade Lantern in particularly good form. He’s ruthless, cunning, and completely self-assured. He moves effortlessly from battling to manipulating Star Sapphire. Together, they (a little too easily) take Hal out, and the Lantern is saved by Pieface (the most offensively named supporting character in comics history?). It’s nice to see ‘ol Tom Kalmaku again too, and both of these characters make me miss Hal’s old status quo. The story ends with Hal defeating Sinestro…or does it? He looks so wonderfully smug in that last panel.
Don’t you just want to pop him right in that red face of his? That is a villain worthy of Hal. Of course, Sinestro has a backup plan, and with the customary warning that “there is always a next time”, he vanishes! This leaves Hal to try and explain the whole ‘Star Sapphire’ thing to Carrol…and, well, she doesn’t take it too well, running out of his life for a second time.
So, in the end, Hal is left more or less where he was to begin with. He’s got no supporting cast, no stability, and we’re about to enter another long stretch without any villains to speak of. This is a fine story, so far as it goes. Isolated from the drudgery that is the rest of this run, it is pretty good. Sinestro is fun in it, and his little character moments make some progress in identifying him as someone who is more than just an evil Green Lantern who is evil because he likes being evil…evily. It isn’t a lot of progress, but it is progress, and you get a sense of his arrogance and pride. The art is fairly weak, and the power ring battle, which should have been really visually interesting and exciting, is inexcusably flat and boring. Kane is a very Silver Age-y artist, skilled and consistent, but Green Lantern could really benefit from someone with a more creative and energetic style. Imagine what Jack Kirby could have done with a GL book! In the end, I give this story 3 and 1/2 Minutemen out of 5, if only because it is such an improvement over what came before.
Writers: Edmond Hamilton and various
Pencilers: Al Plastino and various
This seems to be a collection of Silver Age Superman tales, and as such, exactly what I don’t much want to read. I just skimmed these reprints and didn’t find much to catch my interest, though several of these could make excellent examples of the internet sensation that is Super-Dickery. Stories involve an ersatz lost brother for Superman, some hypothetical children for him and Lois, and various other familial and social complications. The only one that stuck out to me was a tale set in Kandor, part of a story featuring two sons of Superman, one super, the other, not so much. It cracks me up to see Superman running around, doing familial stuff in his costume. I think I won’t cover reprints in any kind of detail.
And there you have it, folks. Wow! That missive proved much more massive than I intended. Future iterations should prove to be much smaller as they won’t need all the framing and general discussion that this one sported.
This has been, more or less, January 1970 in DC Comics. It was a pretty solid month, all told, but I’m looking forward to getting further into the Bronze Age, where more of the 60s Silver Age-ish tendencies will be shaken off. Join me again, approximately whenever I get around to it, for the next month of books (probably next month).