Into the Bronze Age: April 1971 (Part 3)

DC-Style-Guide-1

Welcome back to Into the Bronze Age!  After the rather sad event commemorated by my last post chronicling the lamentable cancellation of Aquaman, we’ve got a much more cheerful feature today!  We’ve got a memorable Batman tale, an unusual Batgirl backup, and the premiere of the superhero escape artist, Mr. Miracle!  The result is an enjoyable pair of books.  Check them out below!

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 #399
  • Adventure Comics #405
  • Aquaman #56 / (Sub-Mariner #72)
  • Detective Comics #410
  • The Flash #205 (Reprints, won’t be covered)
  • Mr Miracle #1
  • The Phantom Stranger #12
  • Superboy #173
  • Superman’s Girlfriend, Lois Lane #109
  • Superman’s Pal, Jimmy Olsen #137
  • Superman #236
  • Teen Titans #32
  • World’s Finest #200

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


Detective Comics #410


Detective_Comics_410

“A Vow From the Grave!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Battle of the Three M’s”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

Here’s a bit of trivia for you readers: this issue would later go on to form the basis for the Batman: TAS episode, “Sideshow.”  Strangely, while that episode has always left a bad taste in my mouth, I find this book rather inoffensive.  Both stories revolve around an escaped criminal meeting up with a band of former carnival sideshow performers, but the cartoon replaces the comic’s generic thug with the appropriately freakish Killer Croc.  In the show, I always found Croc’s betrayal of this lonely group of misfits quite heartrending, and I also found myself too repulsed by those same misfits.  I’m afraid I have a fairly low tolerance for the grotesque, and things like this creep me right out (Lady Grey, on the other hand, loves this kind of material).  Both of those elements are much less central in this issue, though, notably, that marks the difference between moderate and exceptional stories.  Despite my personal distaste for the Timmverse version, it is, objectively, a very good story.

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The original version at hand lies inside of a suitably dramatic if not terribly lovely cover.  The image effectively portrays the peril of the situation, but within the tale opens with an even more arresting splash page.  It’s a beautiful, moody image of the Dark Knight’s dogged pursuit of his quarry across a rope bridge and through a stormy night.  His prey, escaped killer Kano Wiggins, reaches solid ground first and cuts down the bridge, leaving the Dark Knight to make a desperate leap to safety.  Despite his opponent holding the high ground, the Grim Avenger still manages to get the upper hand until a massive fist slams into him out of nowhere!

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A titanic figure looms out of the rain, and despite the Caped Crusader’s attempts to reason with him, the giant seems intent on attacking.  In a really nice sequence, Batman uses his agility to reach his opponent’s shoulders and put him in a sleeper hold.  When the fellow finally collapses, a strange, mismatched trio arrives and explanations are made.  It seems that this quartet are former sideshow stars whose show folded, leaving them stranded there in the middle of nowhere.  They include a strongman, if not a bright one, man named Goliath, a very thin fellow named Charley Bones, a fat woman named Maud, and a deformed little boy with seal-like appendages, named ‘Flippy.’

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Detective410-10The Dark Knight goes to track Wiggins, but his search eventually brings him back to the sideshow gang in the abandoned town where they have set up camp.  When he arrives, he discovers that poor Charlie Bones has been murdered, hung from the bell-cord in the empty town hall.  Interviewing the other carnies, Batman finds that no-one seems to have seen anything, but Flippy, who is mute, draws a design in the dust, two circles linked by a line.  Note the almost parallel images of Batman below.  That’s some excellent visual storytelling.  You’ll see why soon.

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Before the Masked Manhunter can investigate further, he hears a car starting up and rushes off to capture Wiggins, which he does by punching the convict through the window of the van he tried to steal.  Clearly, we’re moving away from campy Batman at full speed!

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Returning to the sideshow stars, the Darknight Detective has solved the murder, but he announces to Maud that Kano didn’t do it.  Just then, Goliath tries to kill the hero by hurling a chunk of wood from the rafters of the building, and the Caped Crusader sets off to rescue the last member of the trio, poor Flippy, who tried to warn him that the culprit was the strongman with his drawing of a barbell.  As he confronts the giant, Batman explains that he knew Wiggins wasn’t the killer because the rope was cut too high up, and only Goliath could have reached it.  Now we can appreciate the cleverness of Adams’ illustrations on that page above.

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The strongman declares that he loved Maud and killed Charlie so that she would turn to him, and when the hero approaches, the killer threatens to throw Flippy from the bell tower unless the Dark Knight throws himself off!  The Dark Avenger subtly loops his rope over a beam on the outside of the tower and then seems to comply, swearing that he will get Goliath, even from the grave.

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Despite not really wanting to kill the boy, the strongman still drops him so he can’t reveal the murderer’s guilt, but Batman snatches the kid from midair in a great looking page.  Finally, he confronts the hulking giant, who almost kills him before Maud intervenes.  The story ends with the Caped Crusader noting that “courage–and love–come in strange shapes,” which is not a bad moral for this little yarn.

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This is a solid, if brief, little murder mystery with a memorable cast of characters.  O’Neil provides some interesting twists and turns that make it stand out from the standard fare.  Obviously he created a story that sticks with you, as its return years later in the classic Batman cartoon demonstrates.  Neal Adams, for his part is in fine form this issue.  His action is dramatic and full of explosive excitement, but even more impressively, he captures the perfect Gothic tone for the setting and characters he’s dealing with.  Everything is dark and dreary, and a nearly palpable feeling of dread hangs over the little drama of this story as tragedy strikes these lonely souls.  That atmosphere is only broken with the rising dawn at the comic’s end, with all the figures in silhouette, which adds a touch of hope to the tale as well.  The Batman of this book is well on his way to becoming the grim avenger of the night, the driven crimefighter who still has a deep love for humanity.  It’s a good little Batman comic, and I’ll give it 4 Minutemen.  O’Neil and Adams are well on their way to their legendary run on this character.

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“Battle of the Three M’s”


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The Batgirl backup this month is a fun, if a tad sexist, adventure involving the nefarious doings surrounding the fashion industry!  You can almost hear the conversation that spawned this tale: ‘Batgirl is a girl, so her readers are probably girls.  What do girls like?  Fashion!’  I’ve written before about the linking of female superheroes with fashion themes, as with the focus on costumes and the like in Supergirl’s stories, and, in general, I imagine it was an creative way to inject something uniquely feminine into these comics, something quite absent in the male dominated books.  However, there is, of course, a rather silly assumption that all girls are interested in fashion inherent in this treatment, but as long as the comics are still fun, I suppose no harm is done.

This particular instance of this phenomenon centers around the age-old dilemma, mini, midi, or maxi?  I am, of course, talking about skirt-lengths, as if my fashion forward readers didn’t know!  Seriously, I suppose this whole thing started in the 60s with the advent of the mini-skirt, and I rather wonder if it is still a going concern these days.  This subject is a bit out of my areas of expertise!  You only seem to see stories concerning the phenomenon from this era and earlier.  In this version, a major fashion icon breaks her leg skiing and so is out of circulation for a time.  Meanwhile, industry big-wigs go mad trying to figure out which length of skirt she’ll wear when she is healed, and a particularly unsavory group of designers in Gotham decide to do more than wait.

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Detective410-25As Barbara Gordon heads to work in the library, a newsman asks her what her opinion on the mystery is, and she reveals that she’s playing it safe by wearing a pants-suit, which is a mildly clever bit.  Things start happening once she’s inside, however, as one of the designers tries to bribe her to get access to another patron’s research books.  She refuses, but out of curiosity, she looks herself, to see that the patron in question is Jules Thayer, the fashion icon’s personal couturier, or designer.  Deciding that the crooked costumers might not give up so easily, Babs dons her on fashionable threads and heads to Thayer’s home to check on matters.  Now, this is a pretty thin excuse to get her involved, all things considered.  There’s no real reason to think that these clothiers would go as far as they do, at least not from that one interaction, but Robbins only has a few pages to work with, so it’s understandable.

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Arriving at the apartment, the girl detective discovers the same fashion flunky snapping pictures, but when she confronts him, he smacks her with the camera, sending her reeling off the roof.  She manages to catcher herself at the last minute, providing a bit of a common element with our headline tale.  When she recovers, Babs trails the skulking spy, and when he meets up with his partner and examines the photos, they realize that Thayer has decided on maxi-skirts, leaving them dead in the water.

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It’s nice of DC to give Howard Stark a chance at a second career after Marvel killed him off.

However, their investor, a gangster named Serpy (interesting name) arrives and is not willing to lose his investment.  He decides to kill the problematic fashionista, but at that point, Batgirl intervenes.  She makes a good showing until, oh no!  She joins Aquaman in this month’s additions to the Head-Blow Headcount, getting conked on the bean by the gangster.  The issue ends with Batgirl about to have a blouse carved out of her lovely hide!

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That’s a very stylish cliffhanger!

This is a fun if somewhat off-beat little backup.  It’s a bit hard to take the bespectacled  fashion designer seriously as a villain, so it’s nice that we get the addition of the gangster to the rogue’s gallery.  Still, it makes one wonder what kind of a hardened criminal lends money to lady’s clothing designers.  I suppose anybody can get desperate and go to the mob for a loan.  Either way, it’s an unusual and entertaining setup, though poor Batgirl doesn’t turn in her best performance, getting taken out twice in just a few pages!  Don Heck, however, puts together a nice looking feature, with each of the characters having a lot of personality.  I’ll give it 3 Minutemen.

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Mr. Miracle #1


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“Murder Missile Trap!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Colourist: Jack Kirby
Editor: Jack Kirby

The last of the new Fourth World books premiered this month, introducing one of my favorite DC characters, the inimitably marvelous Mr. Miracle!  He’s a hero I only encountered when I got back into comics in college, never really having known him as a kid, but his concept and especially his design really grabbed me.  When I read through his first two volumes, I really fell in love with the character and the hopeful view of the power of the human spirit that he represents.

Interestingly, the inspiration for the spectacular Scott Free actually came from one of Kirby’s former colleagues at Marvel, the master illustrator of the classic Nick Fury strip, Jim Steranko.  Earlier in his life, Steranko had been a magician and escape artist, and Kirby based Mr. Miracle on this fascinating Renaissance man.

Whatever its origins, this first issue of Mr. Miracle’s adventures certainly comes on like Gangbusters, with a great cover only partially marred by distracting dialog.  The original Mr. Miracle run is blessed by a profusion of excellent covers, each one featuring a pulse-pounding peril from which the  peerless super-escape-artist must liberate himself.  This first cover is downright iconic, and it sets the tenor for the series that follows.  The issue within opens with a Mr. Miracle, though, not our Mr. Miracle, preparing for a death-defying deed with the help of his little person assistant, Oberon, whose name always makes me smile.  Oberon is the name of the king of the faeries in medieval literature, you see.

mr miracle 01-01 murder missle trap

Anyway, a young man watches as these two prepare an act, Oberon chaining his boss up and locking him in a shed.  When the little assistant sets the shack on fire (!), the observer rushes forward and tries to intervene, despite the dwarf’s objections.  Suddenly, the costumed figure bursts out of the flames, and the amazed onlooker is introduced to Thaddeus Brown, known as Mr. Miracle, the escape artist!  The young man’s name is Scott Free, which, to my delight, is pointed out as a funny coincidence within the book itself, with Brown laughing merrily. We learn that Scott is a foundling who was given that name in the orphanage, but he remains mysterious.

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Just then, a carful of hoods arrives, apparently working for Intergang!  They threaten Brown, and when Scott objects, they turn their attentions to him.  Not the type to take such things lightly, the young stranger jumps the armed antagonists, making short work of the whole gang and demonstrating an admirable spirit of fair play.  Mr. Terrific would have liked this kid!

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With the gangsters defeated, we get a partial explanation, as we learn that there is some type of trouble between the aged Mr. Miracle and an Intergang division chief aptly named Steel Hand, probably because he has a powerful steel hand.  Sometimes criminals aren’t too creative.  In a good example of comic book science, this metal appendage has somehow been strengthened by “radiation treatments,” which the garrulous gangster demonstrates by shattering a “great bar of solid titanium.”  Sure.  I’m willing to give this a pass because it works in the kind of world that DC has established.  It’s a more fantastic place, after all, and radiation is magic.  Anyway, the alloy-armed criminal is not happy that his gunsels failed, so he decides to take care of the escape artist himself!

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Meet the Mole Man…err…I mean Steel Hand!

Meanwhile, Scott Free has been invited to stay with that very marked man, who tells his guest a bit about his history.  It seems that he’s alone now, with his wife and son dead, but he is planning to come out of retirement by performing a big escape.  Scott is very interested in Brown’s methods, and Oberon convinces the showman to give the young man a test.  After being locked up in an impressive set of chains, the stranger shatters them, seemingly without a twitch.  He claims that he just used a gadget to do it, and he’s rather cagey about where it, and he, came from.

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mr miracle 01-13 murder missle trapThe next day, Thaddeus dons his costume again to try another escape, but after Oberon sets a great boulder in motion, Steel Hand has a sniper shoot the old man, which happens on panel, something of a rarity.  Scott leaps into action and somehow manages to deflect the massive missile with an energy bolt from his hand, revealing Kirby-tech winding up his arm.  He removes what sharp-eyed readers of The Forever People will recognize as a ‘Mother Box,’ and uses it to comfort the mortally wounded Mr. Miracle, who passes away peacefully moments later.  Honestly, it’s a fairly moving scene.  Kirby has successfully made us care about this old man, at least a bit, and his death has an impact despite his brief screen time.

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With his friend dead, Oberon fills Scott in on the rest of the setup.  It seemed that Brown and Steel Hand had met in the hospital years before, and they passed the time in talking, eventually making a bet that the gangster could design a trap that not even Mr. Miracle could escape.  Desperate to fund his return, Brown had approached the now successful crime boss, who, for his part, was unwilling to risk losing the bet.  We then check in with that extremely poor sport, who is testing his metal mitt against an expensive android designed by one of his flunkies for just that purpose, which is one of the most Jack Kirby sentences ever written.

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mr miracle 01-18 murder missle trapAfter Steel Hand smashes the bot, Mr. Miracle suddenly leaps through the window and challenges the villain to complete his bargain.  Unfortunately, the gangster’s goons arrive, and Mr. Miracle falls prey to an old enemy of the superhero set, the classic headblow!  That’s right, in his first appearance, poor Mr. Miracle joins the Headblow Head-Count.  When he awakens, Steel Hand’s minions have chained him to a rocket at a secret Intergang missile site (!), where the gangster has prepared his escape-proof trap.

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We see the hero begin to work his escape, but then the rocket blasts off and explodes!  Yet, when Steel Hand returns to his office, he finds Mr. Miracle, alive and well, sitting at his desk.  Infuriated, the alloy-armed goon attacks, smashing through desk, chair, and more.  Mr. Miracle evades his attacks and calmly explains his incredible escape, using the very gimmicks he used on the rocket to disable his opponent, including sonic projectors, jets, and more!  Just as he wraps up the rat, Oberon arrives with the police, who happily haul him away.

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This is a great first issue, a delightful debut for a dramatic and intriguing new character, and Mr. Miracle really is just that.  He’s a unique concept, something never before really seen in comics, the superhero escape artist.  Once again, we can see just how groundbreaking and original Jack Kirby is, introducing an entirely new wrinkle into the superhero setting, something that was already, in 1971, pretty rare.  The issue itself could actually serve as a good example of proper comic writing.  It’s a self-contained issue, with a complete plot found within its covers, a real rarity these days.  Yet, it also contains all the setup and threads necessary to provide the grounding for ongoing adventures.  Notably, with this more realistic (as far as Kirby goes) gangster type of story, the odd note to the King’s dialog is absent, and his writing is fairly strong throughout.

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Kirby manages to introduce several characters and even get us invested in poor Thaddeus Brown before his tragic death, no mean feat in a single issue, as the late, unlamented Crusader demonstrated.   Taken just as a story, this comic is quite good, with some mystery, plenty of action and peril, and a lot of personality.  The only real weakness is the lack of explanation for HOW Scott is able to step into the gloriously colorful shoes of his mentor so easily.  That’s part of the mystery Kirby is setting up, but it still could have used just a bit more establishment to make the changeover smoother.  Still, this is a great beginning for Mr. Miracle’s adventures.  While it lacks the visual wonder of some of the King’s other Fourth World comics, it still looks pretty good.  In fact, the whole comic feels a bit more grounded than the other Fourth World books so far, and it contains some of Kirby’s better writing.  I’ll give it 4 Minutemen, a strong start.

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And that does it for this post.  I hope you enjoyed my commentary as much as I enjoyed providing it!  Thank you for reading, and please come back soon for more comic goodness as we trek further Into the Bronze Age!  Until then, keep the Heroic Ideal Alive!


The Head-Blow Headcount:

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Two more heroes join Aquaman this month, and the Headcount continues to grow!  This is shaping up to be a busy month!  Now Batgirl is ahead of the rest of the Bat Family.  I bet Dick would never let her live that down.  We also have the first Jack Kirby creation to grace the Wall of Shame, making this a red-letter day!


 

Into the Bronze Age: March 1971 (Part 3)

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Welcome to another dose of Bronze Age goodness!  We’re moving through March of 1971, and I’ve got a pair of issues and a foursome of stories for you today, my good readers.  I hope that y’all will enjoy my coverage of these comics!

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 #398
  • Adventure Comics #404
  • Batman #230
  • Brave and Bold #94
  • Detective Comics #409
  • The Flash #204
  • Forever People #1
  • G.I. Combat #146
  • Green Lantern/Green Arrow #82
  • Justice League of America #88
  • New Gods #1
  • Superboy #172
  • Superman’s Pal, Jimmy Olsen #136
  • Superman #235
  • World’s Finest #201

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


Detective Comics #409


Detective_Comics_409“Man in the Eternal Mask!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

“Night of the Sharp Horns!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz

We’ve got a decent if not particularly spectacular Batman tale in our headline slot.  It features a mystery that is more about the ‘why’ than the ‘who,’ which culminates in an appropriately dramatic confrontation.  The story begins with an unseen assailant attacking a portrait hanging in a museum and scrawling “Die Jinx, Die!” onto the canvas (shades of Ace Ventura!).  In the morning, the vandalism is discovered, and neither the curator nor the security guard can figure out why or how the artwork was attacked.  After all, it’s a portrait of a beloved philanthropist who no-one had cause to hate.

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Meanwhile, Batman pays a visit to the artist of the piece, Rene Leclerq, where he is due for his own portrait.  That’s a bit odd.  I can’t really see the Dark Knight just standing around in an artist’s studio when he could be prowling the streets.  ‘Well, there’ve been 10 muggings and 3 murders while I sat around here, but that is a darn good likeness!’  Robbins needs the Masked Manhunter to get involved in the plot, but I have to think there was a better way to accomplish that.  Either way, when Leclerq prepares to resume work on the hero’s portrait, he finds it has also been defaced with a similar message.

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Batman reasons that, though there are many people who might find him a jinx, the only connection between this incident and the first is the artist himself.  Though Leclerq can think of no-one who would hold a grudge against him, the Caped Crusader arranges a trap, hoping that a public unveiling of the repaired painting will flush the deranged art critic into the open.  Yet, when the painting is revealed, there isn’t a sign of a telling reaction from anyone in the crowd, though the pair do notice Tracy Calhoun, the “Adonis Athlete,” a football star that the artist had painted five years before.  The Law of Conservation of Detail should make you sit up and take notice of this.

That night, Batman lies in wait for the anti-art attacker, and when a dark figure lashes out at the portrait, he finds more than he bargained for, as it leaps to life and grapples his knife away from him.  The Dark Knight has posed as his own portrait, which is a tad Looney Toons-ish, but I’ll give it a pass.  After a struggle, the vandal lands a lucky blow and knocks the hero out for a while.  Sadly, this doesn’t quite count for our Head-Blow Headcount, as Bats takes it on the chin and not the back of the noggin.

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Nonetheless, when he staggers to his feet, he realizes that the fight actually pointed him to a suspect, as his opponent had a “chin like a rock,” and was obviously very athletic.  This makes him think of Tracy Calhoun, who was described in just such a fashion during his heyday.

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The mystery of why Calhoun would want to destroy Leclerq’s art remains, and when the Masked Manhunter goes to find the artist, he discovers that he’s been called to an unknown client’s house in the middle of the night.  Deducing what is afoot, the Caped Crusader speeds to Calhoun’s house while the young man confronts the artist and explains why he hates him.

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Apparently, on the last day of their sittings, Leclerq begged for a few minutes more after their time had run out, and Calhoun reluctantly agreed.  Then, late for a date, he sped away recklessly and suffered a terrible car wreck that left him horribly scarred.  When the artist protests that he’s as handsome as he ever was, the embittered athlete removes one of those ubiquitous life-like masks, which are apparently available in every corner store in comic universes, to reveal a terrible, shattered visage.

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Clearly insane after the loss of his good looks, which he let define him, Calhoun blames Leclerq for the accident caused by his own recklessness, and he’s decided that the man must suffer.  The former footballer first destroys his own portrait with a saber, then prepares to pinion the painter as well.  Just then, Batman arrives, and while Calhoun holds him at bay for a time, eventually he is once again hoisted by his own petard, as he strikes his portrait while preparing a blow, and the entire heavy painting collapses off the wall, crushing him.  He had accidentally cut the supports when he attacked the artwork, and the object of his hatred destroyed him.  Unfortunately, the final image is rather more comical than tragic, with the madman’s arms and legs poking out of the canvas like he’s a cartoon character.

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This is a solid enough story, and the ‘attractive person turned hideous and embittered’ is an old archetype that still works pretty well.  It was nicely subverted in the Freedom Force villain Shadow, but we’ve seen it played straight many times in comics.  Dr. Doom, anyone?  We certainly all know folks who are too concerned with their appearances, so it isn’t hard to imagine someone so obsessed that a loss of their beauty would send them over the edge.

I enjoy the irony of the final confrontation, as a man who has destroyed his own life by his choices insists on blaming someone else, only to have his continued self-destructive choices finally finish the job.  It’s not the most memorable story, but it does its work well enough, even if it is a bit too rushed to give us much of a real mystery.  I’ll give it an average 3 Minutemen.

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“Night of the Sharp Horns”


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The backup tale, however, once again proves better than the headline.  We pick back up with Batgril’s adventures in Spain as she searches for the mysterious figure who had killed the arrogant but aging El Granados’s bull the night before.  She had just discovered that another sword was missing from the estate, so she takes to the grounds in order to keep a watch.  Her lonely vigil is rewarded with the sight of a cloaked figure slipping into the pastures where he begins to perform multiple passes with the chosen bull, El Aguila.  Babs thinks that his athleticism and agility mark him as Paco, the young firebrand who had rescued the older bullfighter in the ring during his last performance. 

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Detective409-25Just as the stranger prepares to slay his bovine opponent, Batgirl intervenes, snaring his sword in her cape.  When the bull charges, she rescues the trespasser and realizes that her suspicions were correct.

Yet, the young man denies that he had killed the previous bull, and when he escapes (ungrateful punk), she finds her hands full dealing with the now unencumbered El Aguila.  Making like a Minoan, the daring dame leaps over the bull’s horns and runs to the estate’s arena for safety.

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Yet, that safety proves short-lived, as a dark figure appears riding a massive bull!  Charging her like some particularly awesome cavalryman, the bull-rider tries to skewer the young heroine with a sword.  Fortunately, Babs has some skill with a rope, and she lassos the bull, sending her assailant flying into the air.  After hog-tying the beast in a fashion that would make the Vigilante proud, she confronts her attacker, who is revealed to be Manolos, the aged servant of El Granados!

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What was he doing killing his master’s bovine opponents?  He tells the girl detective that he was still faithful, but his master was getting too old to continue his career, so he had set out to kill the bulls before they killed the bullfighter, knowing that former champion was too stubborn to retire.  El Granados himself arrives and confronts his old friend.  While angry at first, he realizes the truth of Manolos’ words, and he agrees not to fight again.  As they reconcile, Batgirl vanishes.

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It’s a nice ending, but it sort of leaves an important point unaddressed.  While everyone can probably forgive the killing of the bulls (except PETA), Manolos did also straight-up try to murder Batgirl.  He attacked her with a sword while mounted on a charging bull.  I don’t think he just wanted to scare her!  That bit of craziness aside, this is a good story, and the two-part tale gives us a surprising amount of character development and drama, while also delivering some nice action.  Batgirl herself comes off much better in this half, as she doesn’t get knocked out by a hat or anything equally embarrassing.  I’m impressed by how successful Robbins is at creating a character-driven mystery with such little space to work with.  The reconciliation between the bullfighter and his mentor is suitably touching, and Paco’s arrogant attempts at stealing his rival’s glory provides a solid, if somewhat unlikely, red herring.  I was impressed with Don Heck’s work on this feature, and I’m not always a big fan of his superhero art.  He turned out several really pretty pages and nice, dynamic action sequences here.  In general, this is a good backup story, doing a lot with a little.  I’ll give it 4 Minutemen.

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The Flash #204


The_Flash_Vol_1_204“The Great Secret Identity Expose!”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson

“The Mind-Trap”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Murphy Anderson

Our Flash headliner for today is something of an oddball.  There’s really not that much too it, and if it weren’t for the fact that last month’s bonkers issue was penned by Robert Kanigher, who is also the schizophrenic scribe responsible for this screwball story, I’d think that it was an attempt to immediately bury the bizarre retcon of that tale.  As is, the yarn seems somewhat pointless.

This outing begins the morning after last issue’s decade-spanning daring-do, with Barry and his wife celebrating their safe return from the future and reminiscing about Iris’s uncovered origin.  I always enjoy these little domestic moments between the couple, and this one has the potential to be charming, though not much is made of it.  They are admiring the locket that had been sent into the past with her when their reverie is interrupted by a call that sets them on a new adventure.  The call summons Iris to cover a banquet honoring a business tycoon, and at the function, the reporter suddenly leaps up and declares that the guest of honor is, in fact, a fraud!

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Barry, thinking fast (‘natch), pulls her out of the ballroom, only to discover she has no idea she said anything.  Just then, the police arrive to confirm her declaration.  Apparently, the fellow is a fraud, having kidnapped the real business magnate and masqueraded as him.  Determined newshoud that she is, Iris charges off to get the story, leaving her husband stunned.

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He changes in to the Flash, just in case, and on their way back from the banquet, the couple sees a pair of disabled musicians playing for donations on the street-corner.  Suddenly, Iris declares that these two are really disguised fugitives.  Naturally, the hidden hoods don’t take too kindly to this, and the Flash has to take them out as they fill the air with bullets, for all the good it does them.  Once more, Iris has no idea what she’s done and refuses to believe either her husband or the shouted threats of the captured gangsters who promise that their organization, the Generic Gang, will get revenge for her actions.

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The next day we get the most interesting part of the issue, where the JLA have a cameo as they arrive en mass to testify in court about one of their cases.  What makes this interesting is that here we’ve got a story that implies the existence of something equivalent to the cape laws in the Watchmen, where superheroes can give testimony in costume, which is neat in a nerdy kind of way.  And after all, nerdy kinds of neat are really our bread and butter here at The Greylands.

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Iris is a very stubborn woman.  I sympathize, Barry!

Anyway, as Batman prepares to take the stand, Iris suddenly leaps up and reveals that he is really Bruce Wayne!  Fortunately, once more Barry is quick on the uptake and he chatters his teeth at super-speed in order to scramble the soundwaves of her dramatic courtroom confession.  I guess that makes sense in a comic-booky kind of way, but it’s a bit of a stretch.

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Batman, who of course can read lips, realizes what has just happened as the Flash scoops the renegade reporter up and zips her out of the courtroom.  In a telephone booth  Barry again confronts his wife with her actions, and she swears that she doesn’t even known the League’s identities.  Suddenly, Superman summons the Scarlet Speedster and declares that he’s needed for an emergency meeting of the League.  The Fastest Man Alive has to do some fast talking as he tries to explain what even he doesn’t understand.  The JLA is understandably concerned, and Flash tells his teammates that there is clearly something going on and vows that if he doesn’t get it sorted out in 24 hours, they’ll never see him or his wife again.

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Superman is being super-pushy.

When he goes to find Iris, the Flash discovers that she’s been kidnapped by members of the Generic Gang, which is gunning for her.  They hustle her into an armored truck, and somehow the man who can move at the speed of light can’t get to their victim before the doors close.  The Fastest Man Alive takes after the fleeing gangsters, taking their pursuit car out in a blink and conveniently overhearing that the door of the armored truck is rigged to blow if opened.

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Ahead, the drivers of the truck bail out, sending their vehicle careening into the drink.  The hoods hose down the dock with machine gun fire, but the Flash takes them out easily in an admittedly fun sequence.  He dives off of the dock and tears the armored doors open by projecting his vibrations forward like a cutting beam, which seems a bit out of his usual line, and then zips Iris away before the explosives can blow.

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I do enjoy how the entire sequence takes place while the truck is in the air, a nice display of Flash’s speed, if a bit awkwardly handled.

Determined that Iris can’t just be left around to blurt out secret identities willy-nilly, the Scarlet Speedster determines to go to the future with her where both she and his secrets will be safe.  His wife objects that he can’t give up his life (regardless of the fact that he’s also giving up her life), and he replies that she’s his wife, for better or worse, so where she goes, he goes, which is fairly sweet.  However, on the way, their progress is halted, and her locket begins to glow and emit energy waves.  Somehow Barry deduces from basically no evidence that the locket had absorbed some weird temporal energies, and it was the source of her sudden ESP, so they return to their own time and Iris agrees never to wear the necklace again.  Problem solved.

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This is a weird little tale.  It’s entertaining enough, but the resolution is pretty random, about as random as the gimmicky conflict that drives the plot itself.  The Generic Gang are little more than mobile obstacles to Barry, offering no real threat to the Fastest Man Alive.  This supervillain drought is really starting to get old.  One wonders just why writers were for so long unwilling to use Flash’s villains, who comprise one of the best rogue’s gallery in comics.  It makes absolutely no sense, though I suppose it’s indicative of a  larger trend.  Super villains are very scarce in general these days.

While the League’s cameo is neat, Kanigher doesn’t really do much with their interview with the speedster.  Almost any line spoken by one of the heroes could have been assigned to another one without making any difference.  Barry’s willingness to give up his life to stay with his wife is sweet, but it really feels like he gives up on solving the problem way too easily.  With all the resources that the League has to bring to bear on something like this, it seems worth at least one visit to the Satellite or something.  In the end, this is a forgettable and somewhat pointless little story, with a goofy, logic-leaping conclusion.  On the plus side, Irv Novick’s art is great on the Flash, if a little light on details in the action sequences.  I’ll give it 2.5 Minutemen.  Man, Kanigher’s score are just all over the place!

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In a  fun bit of synchronicity, “The Ballad of Barry Allan” came on my radio station while I was writing this feature.  Very apropos!


“The Mind Trap”


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We get another Steve Skeates penned Kid Flash backup here, and I’m always happy to see part of the SAG team in action.  The story Skeates spins is very promising, but unfortunately it’s rather starved for space.  Its premise is an old but enduring one, featuring a mind-hopping villain, something of a telepathic virus, traveling from host to host.  It has shades of many a horror tale, though this version doesn’t manage to harness a harrowing horror tone. 

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It begins with Wally West and the rest of his class on a tour of an exhibit on ancient Egypt at the local museum, hearing a legend about a terrible tyrant, Pharaoh Rama-Skeet (Skeates having some fun at his own expense?), who swore that death wouldn’t stop his drive for power.  Just then, a car wreck outside attracts their attention, and the kids watch in wonder as a man pronounced dead suddenly stands up and hurries off in an imperious manner.  Wally switches into his ‘work’ clothes and takes after the apparently stunned man.  When he finds the fellow, the man touches him, and Kid Flash suddenly finds himself fighting a terrible mental battle, realizing that this is the spirit of Rama-Skeet trying to wrest control of his mind.

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Wally sinks into darkness and knows no more until he finally comes to himself several minutes later, having just touched someone else.  The young hero watches helplessly as the man undergoes the same mental trauma that he himself had faced, but he wonders why the spirit would leave a super speedster for a regular Joe.  He begins to suspect that the 15 minutes the ghost inhabited his mind might be all the still weakened Pharaoh can manage at once.  This is a bit of a jump, and if the story had more room to breathe, we might have seen this pattern repeated once or twice more to really establish it.  As is, Skeates is working at a feverish pace.

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In order to throw the power-mad phantom off his guard as he begins to rant and rave, Kid Flash kneels before him, but this is just a ploy, and the Fastest Boy Alive slams into super-speed, dragging the possessed man behind him.  He plans to keep the host helpless until the 15 minute limit is up in the hopes that the spirit will be destroyed by the host’s mind in that time.  Though the task is incredibly taxing on a body already exhausted by his mental struggle, the teen hero manages to keep up the pace until the Egyptian ghost runs out of time.  With a terrible cry, the specter departs, leaving his host confused but unharmed.  Exhausted but victorious, Kid Flash collapses to rest.

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This is a fine little story, but it could have been much, much better with some space to grow.  This kind of challenge, as Wally himself admits, is really out of his line, but his solution to the problem is really fairly brilliant.  Despite that, the very brief tale just didn’t have the time to develop the creepy atmosphere and mystery that these types of plots really thrive on, and the result is that the villain is both entirely forgettable (having almost no real dialog) and not terribly threatening.  That’s a shame, as this could have been much more.  I suppose we must judge a story on what it is and not what it could have been, so I will give this too-brief tale 3 Minutemen, as it is enjoyable if not impressive.

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P.S.: Interestingly, I am apparently not the only fan wondering where all the supervillains have gone.  This issue includes a letter demanding their return and marveling at their long absence.  Notably, this letter is written by future DC luminary, Bob Rozakis!  Rozakis, DC’s future Answer Man, got his start in these very letter columns, which would also be where he would do much of his work on the other side of the pen.  I love things like this, little traces of DC history buried in their letters.  How neat!


And on that note, I’ll wrap up today’s post.  I hope that y’all enjoyed my commentary and found something interesting and worth your time herein.  Though these weren’t the most amazing issues, they have their moments.  The real highlights of this month await in the books to come.  Our next post will introduce Forever People #1, the next Kirby Fourth World book, so don’t miss that!  Until then, keep the heroic ideal alive!

Into the Bronze Age: February 1971 (Part 3)

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Hello readers and Internet travelers!  This is another iteration of Into the Bronze Age, where I’ll be examining a few books cover dated from February 1971.  Lady Grey and I are bound for Iceland next week for a vacation, so I’m going to try to squeeze in a few more posts before we go, as I imagine I won’t have time while we’re traveling.  So, how about we check out some classic comics?

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 #397
  • Adventure Comics #402
  • Aquaman #55
  • Batman #229
  • Detective Comics #408
  • The Flash #203
  • Justice League of America #87
  • The Phantom Stranger #11
  • Superman’s Girlfriend, Lois Lane #108
  • Superman #234
  • Teen Titans #31
  • World’s Finest #200

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


Detective Comics #408


Detective_Comics_408“The House that Haunted Batman”
Writers: Len Wein and Marv Wolfman
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“The Phantom Bullfighter!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz

Now that is a heck of a cover!  How could you not pick this comic up?  It’s got a haunting image, a provocative mystery, and it just begs to be read.  Sadly, the story inside isn’t quiet as compelling, though it certainly looks lovely with Neal Adams handling the art chores.  It includes the return of a villain that I’ve never heard of before, which surprised me because I thought I knew even the more obscure Batman rogues pretty well.  This adds another little discovery to my Bronze Age journey.

This strange, surreal story begins with Batman, on the trail of his young ward, Dick Grayson, who had disappeared from college 24 hours before.  The Dark Knight has tracked Robin to a creepy old mansion that, strangely enough, wasn’t there the day before!  Inside, he prowls through darkened rooms until he spots the Teen Wonder, who collapses into his arms and then…dissolves into dust!  We get the exact scene from the cover, which is a bit of a rarity.  I tend to enjoy seeing that kind of payoff, but considering how detailed the cover image was, it actually feels like a bit of a cheat in this instance, as seeing the image in the comic doesn’t actually add anything, which it should.

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Anyway, horrified by this sight, Batman recoils, and then he races up the grand staircase to discover the source of a horrible cry that fills the house.  He encounters a room full of bats and a gramophone, but disconnecting it doesn’t stop the sounds.  Suddenly, a gunshot rings out, and the Masked Manhunter takes off after the shooter, only to discover that he’s a phantom figure of Dick Grayson!  The apparition’s shots drive the hero through a trap door and into a darkened room, a room inhabited by his friends in the Justice League, Robin, and Commissioner Gordon, who are all gathered around…his coffin!

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That is a legitimately creepy image.

The Caped Crusader’s friends take turns bashing him, cursing his memory, and suddenly the hero finds himself in a tiny room with the walls closing in.  Just before he’s crushed, the world resolves itself into a very different vision, a high-tech facility, with both Batman and Robin trapped in glass tubes, being bounced up and down.  It is then that the villain of the piece reveals himself to be, Dr. Tzin-Tzin, the Master of Illusion…who I’ve never heard of.  Apparently, he only has a half dozen or so appearances in the Bat books, though he first showed up some fifty issues ago.

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Ironically, the unbelievable, nighrmarish motivations for Dick’s departure expressed here will go on to become the primary characterization of his relationship to his surrogate father.  Yay for modern comics!

He kindly explains that the League of Assassins had hired him to dispose of Batman after the Dark Knight defeated their first operatives.  It’s great to see the League storyline surface again, but Tzin-Tzin isn’t terribly interesting, though he’s plenty dramatic in this tale.  He informs the Caped Crusader that the up and down movement in their tubes will trigger a bomb as soon as either he or Robin hits 100 repetitions.  At the moment, the Teen Wonder is way ahead, so the villain demands that Batman beg and plead with him to spare the young man.  Instead, without a second thought, the hero begins to accelerate his own movement, surpassing Robin and triggering the explosion!

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Instead of being destroyed, however, he stuck to the top of his tube and dropped his belt down to trigger the bomb, then escaped in the smoke.  Yet, Tzin-Tzin won’t allow him to get away that easily, and the Dark Knight is confronted by the villain’s ‘Deadly Dozen,’ which precipitates a really great looking fight where Batman really shows the physical expertise that marks the definitive interpretation of the character.  Once again, Batman plays Captain America, employing a shield to good effect.  Better watch out; Bruce, Cap may sue!

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Adam’s action looks great as the Maksed Manhunter massacres the minions, and just when the remaining members of the Dozen manage to grab the hero, causing Tzin-Tzin to reveal himself in order to deliver the death blow, Robin makes his move!  The Teen Wonder takes the villain out and allows Batman to finish off the last two killers.  The whole scene makes for a good sequence.

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Yet, when the Dynamic Duo escort their captive out to the Batmobile, he suddenly vanishes, revealing himself to still be in the house…which then explodes in spectacular fashion!  Thus, Tzin-Tzin escapes to trouble our heroes another day.

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This is a fine story, with some really nicely disconcerting action in the first, nightmarish portion of the tale.  That bizarre, dream-like sequence is perhaps the strongest element of the story.  While Batman’s escape from Tzin-Tzin’s trap is nicely handled, as is the fight, what is going on with the villain is just not quite established well enough.  He’s a master of illusions, okay, but the final trap doesn’t really jive with that.  I didn’t really get a great sense of what he’s about, other than being a Fu Manchu clone.  That said, the whole is still a fun read, and it’s nice to see Batman and Robin in action together, if only briefly.  I’ll give it 3.5 Minutemen.

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“The Phantom Bullfighter!”


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This was a pretty intriguing setup for a mystery featuring the Danger Dame in an exotic setting, which is something you don’t see too often.  We join the fire-tressed female in Spain, where she has traveled to collect a rare manuscript for her library.  She’s has joined the fellow donating the text, Don Alvarado, who is a rancher involved with the bullfighting tradition.  They are watching a legendary matador who is now in his twilight, El Granados, when he is suddenly knocked down by a bovine belligerent.  The man’s servant, an aged former bullfighter himself, tries to rescue him, but a young upstart leaps out of the stands and begins to distract the bull.  It is a service for which neither the prideful El Granados or the aged Manolo are grateful.

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Later the bullfighter joins Don Alvarado’s party as they head to the ranch in order to pick out some bulls for his next fights.  That night, someone steals El Granado’s sword, and Batgirl spots the shadowy figure creeping about the house, so she flagrantly endangers her secret identity and changes into Batgirl.  She pursues the thief, but he whips his ‘stiff-brimmed hat’ at her, knocking the fighting female out cold!  That’s right, Batgirl gets another slot on the Headcount courtesy of Oddjob!  It is pretty goofy that a hat, however stiff it’s brim, could knock someone out, but we’ll give it a partial pass as there is a precedent.

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Batgirl awakens an hour later and heads back to her room, defeated.  The next morning, they discover that El Granados’ first choice of bulls was killed with his sword!  The strange slaying sets up quite a mystery, as there are endless questions of motives.  Who would kill the animal and why?  The servant, Manolo, promises to guard the sword with his life, so that night Babs thinks there isn’t much chance of a repeat performance, that is, until she spots a sword missing from the wall of the old house.

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This short little tale manages to set up a pleasantly puzzling mystery, and while it is short on action, Robins uses his time wisely by introducing an interesting cast of characters and giving us lots of suspects to choose from.  I’ve got my suspensions about who and why, and I’ll let y’all know if I’m right when we hit the next issue.  Batgirl’s performance is pretty poor, which, as we’ve seen, is unfortunately often the pattern of these Bat-Family backups.  Despite that, this is a good little story, and it emphasizes the ‘detective’ in Detective Comics.  I’ll give it 3.5 Minutemen.

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The Flash #203


The_Flash_Vol_1_203“The Flash’s Wife Is A Two-Timer!”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Cover Artist: Neal Adams

KANNNNIGHER!  You made me believe in you!  You made me think that maybe there was more to you than the hack behind those earlier stories, but it was you!  All along, it was you!

What am I raving about, my curious readers?  Well, we’ve reached the notorious issue of the Flash where Iris’s bat-guano insane retcon occurs.  I knew this was coming, but I had forgotten that it was written by Robert Kanigher.  It’s odd enough that a retcon should show up at this early date in the first place, but what lies inside is even stranger, and one can’t help but wonder how it came about.

The story begins with the Flash taking a trip up to the JLA satellite headquarters where he meets an unusually sullen Superman.  When the Scarlet Speedster explains that he came up early because Iris was out of town and he was a bit lonely, Super-grump replies by saying that he’s an alien alone on Earth and questions what Flash would know about loneliness.  Sheesh!  Of course, Superman grew up on his adopted world from a very young age, so the existential angst seems a bit overblown in context.

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Oddly, the Flash answers that he knows more than the Man of Steel thinks, and proceeds to tell a tale about the strange discovery of his wife’s origins.  Apparently, a few days before, Barry had returned home to find the house deserted and a weird note from his wife.  It read, bizarrely enough, “Darling-can’t stop myself–irresistible force–pulling me–1000 years–future-help me…”  In response, the Fastest Man alive rushes to the basement and hops on his Cosmic Treadmill, racing through time  to the year 2970.

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Once there, he sees a hi-tech aqueduct and decides to get a drink, only to be attacked by jetpack wearing guards firing futuristic (but not 1000 years worth of futuristic) weapons.  Dodging their fusillade, the Flash phases through a mountain to escape.  He emerges in what is described as a “self-contained city,” and notes that it had been “atom-bombed,” which doesn’t make a whole lot of sense, seeing as its mostly still there and not, you know, just a radioactive wasteland.  I know that folks had a lot of goofy ideas about what atomic war would be like, but for Heaven’s sake, the Atomic Knights tales were more accurate, and those stories were published over a decade before this one!

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Inside the city, the Crimson Comet discovers ragged survivors of a nuclear war…somehow, and finds that conditions are very grim.  As a siren sounds and the place empties, he also encounters Iris, who begs him to leave her and return home!  When he refuses, she tells him her story, which began that morning when she was cleaning up her father’s lab.  She discovered an amulet she had as a baby, and when she picked it up, it began speaking to her!  It’s the record of Jor-El…er…I mean Eric Russel, who was a scientist of Krypton..er…’Earth West’ in 2970.  Earth East had pretty much defeated his hemisphere-nation, and a nuclear attack was eminent, so he and his wife sent their baby Kal-El…err…that is, Iris, back in time to save her.  The Kents…err…I mean, the Wests, had been praying for a child, and she just materialized out of thin air (good thing she didn’t show up inside a wall or something!), so they adopted her.

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After confronting her father about hiding the truth from her, Iris went home, melodramatically wondering if Barry could still love her even though she’s from the future, which is one of the dumbest sentences I’ve ever read, and I teach freshmen composition….in the Trump era.  Anyway, Iris suddenly felt herself sucked through time and just managed to scrawl that note.  Back in the future, her real parents spot her amulet and realize their daughter has returned.  They tell her about the current state of the world, which is really rather unintentionally funny.  Apparently, all the big nations wiped each other out, so the world is now ruled by…Laos.  That’s right!  It’s a hilariously random choice, though I suppose Laos was much more on the American mind in 1970 than in 2017.

Shortly after being reunited, the family is forced to part again when their Earth-East ruler spots Iris through a spy satellite and claims her as his own, announcing that he’ll wipe out the entire city if she doesn’t come with him.  Of course, the Flash isn’t about to let some futuristic fascist carry off his wife without a fight, so he challenges this fellow, Sirik, to a duel when he arrives.  We get some moments between Barry and Iris which are supposed to be sweet, but the context is just so ludicrous that even this old softie didn’t get misty eyed.

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Ming the Merciless…err…I mean Sirik, tells the Scarlet Speedster that he has to get past his men in order to earn the right to face him.  Barry moves at normal speed until he’s out of sight, then proceeds to blitz baldy’s boys.  The action looks okay, but Novick misses the opportunity to make the setting of the city-tower interesting and unique, filling most of his panels with blank backgrounds.

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Finally reaching Sirik, the Flash finds the fiend holding Iris hostage.  Instead of just shooting his antagonist, the dictator tells him to stand behind a wall, for some reason, and then starts to fire.  The Scarlet Speedster slips through the wall and belts the villain.  However, he’s the world’s worst loser and triggers a nuclear holocaust to kill them all in response.  The Flash zips across the world, somehow knowing  where the missiles are launching from, and destroys them all, as well as their missile sites.  This puts both hemispheres on equal footing, and the hero lectures the gathered East and West folks, telling them that they have to learn to live together or risk completely destroying the world.  Finally, the happy couple returns home, promising to visit the future-in-laws from time to time.  The story ends with Super-buzzkill continuing to whine about being all alone (despite the fact that he has a mother, a father, and an adopted sister, not to mention a bunch of bullet-proof, presumably nearly immortal pets).

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Interestingly, the issue includes a note acknowledging that Kanigher just swiped Superman’s origin for Iris, so at least he’s honest about that.  Nonetheless, this is just a silly issue.  The story is just so colossally unnecessary, adding a completely useless complication to Iris’s origins that contributes nothing to her characterization or her relationship, and I’m pretty sure it’s one that rarely if ever produces anything worthwhile in future comics.  If you’re going to create intentional parallels to another story, especially one in your own universe, you really need to do it for a reason.  The ring structure in Beowulf, with mirrored encounters recurring throughout the poem, serves important narrative purposes.  To use a comics example, the origin for Earth-3’s Alexander Luthor Jr. intentionally mirrors that of Superman to interesting effect in Crisis on Infinite Earths, completing the inversion of hero/villain and stretching it all the way back to the beginning/ending in a very clever piece of writing.

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Thanks, Super-Sourpuss!

On its own terms, the tale is just weak, not focusing on the ‘possible future’ angle enough for the parable of East and West destroying one another to have much impact.  There is actually interesting work to be done there, and the fact that the story ends, not exactly with a defeat of the villainous East, though that’s there, but with a plea for peace, could be worthwhile.  Yet, it’s shoe-horned into one panel, and the real consequences of the war are glossed over throughout.  The character moments between Iris and Barry that were supposed to be sweet just come off as silly and saccharine as well.  It feels much more like a story from the 50s or early 60s than it does a comic from 1971, and the final resolution with the Flash just casually jaunting across the entire planet in a heartbeat to destroy the nukes just smacks of Silver Age excess.  The story isn’t terrible, just mediocre and goofy.  I’ll give it 2 Minutemen.

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And that does it for today!  We had a solid set of Bat-tales and a ridiculous Flash issue.  I really just can’t figure Kanigher out.  There are several lesser lights working at DC during this period, though there is plenty of amazing talent.  I find myself groaning a bit whenever I see Dorfman’s name in the credits, as he tends to produce pretty silly stories, but Kanigher is a bit different.  He writes goofy comics like this one, yet he can also turn out some solid, even great work.  It’s something of a mystery.  Anyway, I hope you’ll join me again soon for another step in my journey Into the Bronze Age!  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

Aquamanhead.jpgBatmanhead.jpgshowcase-88-fnvf-jasons-quest0robin2 - Copy.jpgPhantom_Stranger_05.jpgrobin2 - Copy.jpgbatman-family-6-cover.jpgAquamanhead.jpg3072564469_1_3_hCmU7jwq.jpg

arrowheadglheadAquamanhead.jpgAquamanhead.jpgAquamanhead.jpgbatman-family-6-cover.jpg

Batgirl finally helps Aquaman break his streak as the sole new addition to the Wall of Shame and gets her second spot on the Headcount.  I’m actually a little surprised that the Bat-family hasn’t featured on this list more often, as I remembered the ‘ol noggin’ knock being a common device in these stories.  At least Aquaman has some company at the end of the list now!

Into the Bronze Age: January 1971 (Part 2)

DC-Style-Guide-2.jpg
Hello folks, and welcome to the next iteration of my investigation of Bronze Age DC comics!  It’s another beautiful day here at Grey Manor, the birds are singing, the sky is cloudlessly blue, and there are comics to be read!  We’ve got a double-dose of Batman today, with a side of something sinister, as well as the sensational Batgirl.  Please join me for a trip through these two books!

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 #396
  • Adventure Comics #401
  • Batman #228 (reprints, won’t be covered)
  • Brave and Bold #93
  • Detective Comics #407
  • G.I. Combat #145
  • Superboy #171
  • Superman’s Girlfriend, Lois Lane #107
  • Superman’s Pal, Jimmy Olsen #135
  • Superman #232 (reprints, won’t be covered)
  • Superman #233

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


The Brave and the Bold #93


brave_and_the_bold_93“Red Water Crimson Death”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Neal Adams
Colourist: Jack Adler
Letterer: John Costanza
Editor: Murray Boltinoff

Within this comic there is a solid and pleasantly subtle ghost story and mystery, but it’s framed by a device that seems more like Bob Haney than Denny O’Neil.  In fact, I had to double check the credits as I was reading.  This issue really drives home the fact that, although we’re getting closer and closer to the iconic portrayal of Batman that will come to define the character for decades to come, we are not quite there yet.  Even O’Neil, who will largely create the Dark Knight that I know and love, has not quite got the character sorted out at this point, and thus this story begins with a really off-beat moment that colored the rest of the book for me.

Curiously, the “guest star” for this issue of B&B is ‘The House of Mystery.’  Bit of a stretch there, DC.  I’m going to have to call shenanigans.  It is to this very house that a desperate criminal runs, pursued by none other than the Batman!  Inside, the House of Mystery host, Cain, plays narrator, a role he’ll continue by tagging along throughout our adventure.  Just as the Masked Manhunter is about to get his man, he trips, falling at the thug’s feet.  The would-be killer pulls the trigger of his pistol, but it jams, and the Caped Crusader lays him out.

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When Commissioner Gordon arrives, he insists that the Dark Knight has run himself ragged in recent weeks, and he argues that even the great Batman can’t keep going nonstop.  Gordon insists, quite pointedly, that the hero take a vacation, even giving him tickets for a cruise to Ireland and insisting he be on it.  The Masked Manhunter finally agrees and sets out on vacation…and the scene is just plain weird to me.  Can you imagine the modern version of Batman taking a vacation?

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Now, far be it for me to speak well of the modern, sociopathic version of the character, but this does seem a bit much.  Just up and taking a cruise and planning to be gone from Gotham for a month doesn’t really seem to fit the character of a man who is driven to pursue justice because of the murder of his parents.  brave_and_bold_v1_093_08It just seems a bit off.  Part of the trouble is the fact that it is Gordon playing the role of caregiver, which doesn’t suit him well either.  If this exchange had happened between Bruce and Alfred, I’d have been much more okay with it.  That could have actually been charming.  In this case, not so much.  What’s more, apparently the Commissioner hands Batman a ticket for a cruise ship, but Bruce Wayne shows up and climbs on board.  Real good work there, Brucie.  Say goodbye to that secret identity!

Anyway, on the cruise itself, the vacationing hero meets a boy named Sean, who is swept overboard during a storm one night.  Bruce dives in to rescue the child, who seems to call out to a face in the storm.  The pair are pulled back onboard, and Bruce discovers his costume in his luggage, despite the fact he told Alfred not to pack it.  Here we have another uncharacteristic moment, as he tosses it overboard, which just doesn’t jive with his motivations.

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More convinced than ever that he needs a rest, Bruce decides to get off the liner at a peaceful, isolated island that also happens to be the home of the boy he rescued.  They go ashore together, and the youth’s family welcomes their visitor very warmly.  Bruce learns that Sean’s parents died mysteriously years ago during an inexplicable red tide that doesn’t fit the usual patterns of the phenomenon.  That night, the billionaire awakens to the touch of a spectral hand, only to discover that he’s somehow dressed in his costume!  What’s more, he sees young Sean walking out of the house, apparently in a trance.  Fearing he’s losing his mind but unwilling to let the boy get hurt, Batman heads out into the night, only to be ambushed by the villagers!

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He quickly disarms them in a solid sequence, and after telling them he’s no threat in the most awkward way possible, (“I dress as I do for…personal reasons!”) they explain that the castle of King Hugh, a king from centuries ago, has become a source of terror for them, and they fear that spirits and worse may be abroad, originating from that ancient pile.  Strangely enough, that is where Sean was headed, and despite bizarre apparitions, the Dark Knight will not be deterred.  He smashes a giant screen which was the source of the visions and rushes into the castle, narrowly avoid the dropping portcullis.  Interestingly, he has a moment of doubt as he’s pursuing the boy, trying to talk himself out of getting involved, which once again seems off for the character.

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That’s some tortuous logic there, Cain.

The Caped Crusader begins to search the medieval fortress, receiving enigmatic, ghostly hints as he goes about it, which eventually lead him to a pair of thugs who helpfully provide exposition.  Apparently, their boss has bought the castle and is trying to drive the islanders out of the village so that he can control the fishing rights in the area.  It’s a bit Scooby-Doo, but they escalate things as well.  They are planning to poison the boy and leave his body for the natives to find in order to seal the deal.  Batman takes the pair out but receives a cut on his arm in the process.

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brave_and_bold_v1_093_24Finally, the Dark knight confronts the big boss himself, though as he saves the boy and takes out the hired help, some poison gets into his wound, and Aloysius Cabot, the somewhat unintimidatingly named villain, plays it cool, waiting for the venom to do its work.  Because this is O’Neil writing, the guy isn’t just a murderer and a crook, he’s also planning to pollute the environment.  The fiend!  Batman’s diatribe about these nefarious doings is super dramatic.  I wonder if he’s been hanging out with Green Arrow too much.  As the hero grows weaker, Adams tries an intriguing experiment, rendering the panels of the villain, representing Batman’s view, in a strange, unfinished fashion to portray the effects of the toxin.  I like, but it took me a moment to suss out.

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Cabot, toying with his victim, tells him that there are two beakers on the desk, one containing an antidote and the other water and offers to let the Masked Manhunter choose.  Losing his battle with the poison, Bats notices the portrait of King Hugh hanging behind the evil industrialist seems to be pointing, not to the beakers, but to a test tube.  Taking a desperate gamble, he drinks the liquid in the tube, and Cabot is incensed that he somehow figured out the trap, as both beakers contained more poisons.  He plans to shoot the still recovering hero, but that same heavy portrait just happens to fall off of the wall, killing him.  Batman is very confused by the events of the night, so many inexplicable, and when Sean awakens on the way home and asks what happened, all he can answer in reply is “I don’t think I’ll ever know!”

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This is a pretty good ghost story, told with a surprisingly subtle touch, other than the apparition in Batman’s room.  It makes for an interesting plot, and I enjoy that much of what happened and why is left unexplained.  The reader can piece some of it together from context, but O’Neil never spells it out.  The third act in the castle is suitably atmospheric and spooky, and of course, Adams’ art is lovely.  Cain’s wry, macabre narration throughout is a fun addition to the story, and I enjoyed his presence more than I expected.

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The only real problem with the story is that incongruous triggering event and the discordant moments of mischaractetrization.  Now, you can argue that they fit in perfectly with the version of Batman that Bob Haney has been writing in this book, but that’s not much of a defense in my opinion, as Haney is just in a world of his own.  At any rate, it isn’t enough to make this a bad story, just enough to keep it from being a particularly great one.  I’ll give this off-beat tale 3.5 Minutemen, as it is a fun read despite its missteps.

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Detective Comics #407


detective_comics_407“Marriage: Impossible”
Writer: Frank Robbins
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“One of Our Landmarks Is Missing!”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

The return of the macabre Man-Bat finally arrives!  It’s been a while since we last saw Man-Bat, way back in issue #402, which, interestingly enough, ended on a cliffhanger of sorts, as Batman prepared an antidote for his monstrous double that could cure him or turn him into a vegetable.  That cliffhanger has been left…well…hanging all this time.  The human-chiroptera hybrid makes his triumphant return in this issue, which really amps up the insanity of his concept in interesting and surprisingly effective ways.  This is a weird one, yet somehow it works.

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We don’t pick up where we left off.  Instead, the story opens with Batman reading the paper on what we can only assume is an exceedingly slow news day, as the headline proclaims “Bat Exhibit Opens at Museum of Natural History Today!”  It’s bad enough that the bat exhibit at the local museum is your front page story, but is it really worthy of the exclamation point, newspaper?  Anyway, the story catches his attention because the noted bat-expert Kirk Langstrom, a.k.a. Man-Bat, will be hosting the event, which will be followed by…his wedding!  Horrified by this news, the Dark Knight races to the church, desperate to stop this union.  Why?  Is Batman secretly in love with Francie Lee, Langstrom’s fiancee?  No, it’s because he fears she’s being duped.  The Masked Manhunter rushes into the cathedral and, in a great splash page, unmasks Langstrom, revealing the monstrous features of the Man-Bat beneath one of those incredibly life-like masks that are just everywhere in fiction.

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Man-Bat curses his human counterpart’s continued interference, and he takes off for the dark recesses of the Cathedral ceiling, a very fitting setting for this little drama.  The Caped Crusader then turns to the stunned Francie and declares that he couldn’t let her go through with the marriage, but she protests that she loves Kirk no matter what,and  still wants to marry him!  What is going on?!

Fortunately, just as we’re beginning to feel like we’ve missed an issue, Robbins provides us with a flashback.  Just as Batman was about to administer the antidote back in the Batcave, where we left things in #402, the mutated man recovered and escaped, hiding in the dark recesses of the cavern.  The hero brought Francie to the cave in order to try and reach Langstrom’s remaining humanity, but he was too late, as Man-Bat had already fled.

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The Dark Knight gave her a number at which to contact him if her former fiancee returned to her, and that very night, he did.  Yet, when Francie suggested contacting the hero,  her macabre man grew enraged, refusing to give up his powers and questioning her love for him.  He ripped up the number and persuaded her to do things his way.

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With her help, Langstrom disguised himself and completed his work, but that wasn’t the only goal he had in mind.  With another dramatic unmasking, Francie herself reveals that she and Kirk are now two of a kind!  That’s right, she has been changed as well, and with that, she flies up to join her freakish fiancee.

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Realizing that these two are definitely not in their right minds and more than a little concerned about having super-powered mutant bats just hanging around Gotham City (I mean, the place has enough problems already!), the Dark Knight sets out to cure them against their will.  Racing to the bell-tower, the Masked Manhunter is confronted by the flying freaks, and a desperate struggle ensues.  As the hero is being mauled by Man-Bat, he just manages to inject his opponent with the antidote.

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When Woman-Bat presses her attack, he manages to jab her too, and both of them transform back into their human forms.  Batman leaves them together, trying to pick up the pieces of their lives and recover from their horrific experiences.  The story ends on an interesting note, as Bats observes that the love which held them together had been corrupted as much as their bodies, transforming into “an evil obsession.”

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This is a crazy story, yet the Bat-Jekyll and Hyde angle, mixed with twisted love story actually makes for a fairly compelling read.  It moves a bit too quickly, and I would have liked to see how Langstrom managed to mutate Francie.  That would have really helped to establish just how far gone the Man-Bat was into his monstrous nature.   I think giving a page or two to that process would have strengthened the story, but the plot still works.  I find Francie’s devotion touching and more than a little creepy, and Batman’s willingness to put his life on the line to save their humanity is suitably heroic.

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The whole thing has the high-drama feel of one of those old, classic Universal horror films.  Adams’ art, as always, is great, but it is really effective here, evoking an appropriately Gothic and atmospheric feel to the story.  The horror elements come through well, with the grotesque visages of the Man/Woman-Bats and their uncanny revelations.  It’s a good story, even if it doesn’t quite have time to reach its full potential.  I’ll give it 4 Minutemen.  I’m definitely enjoying these Man-Bat appearances.

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“One of Our Landmarks Is Missing!”


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Our Batgirl backup for today picks up right where we left off last issue.  The hippy terrorist, Mal, as well as the hapless and stupid Shelley Simms, have trapped the Daring Dame in a mined basement.  The resolution to this story is pretty good, definitely a bit stronger than the first inning.  In particular, Babs’ escape from the sepulchral basement is quite impressive, as is her cool-headed planning leading up to it.

She realizes that Mal activated the bombs with the room’s light switch, and she refuses to panic, keeping a clear head and fixing her eyes on the spot where the switch was after the lights go out.  She memorizes its location even though she can’t see, and then she takes off her cape and tries to trip it, hoping that the fabric won’t be heavy enough to trigger the mines.  She comes close, but the cape is so light that it can’t flip the switch!

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Thinking quickly, the Girl Detective takes off her boot and uses it as a weight, which provides enough heft to successfully lift the switch.  It’s a nice sequence, and it emphasizes her intelligence and resourcefulness.  I do have to wonder why she didn’t use a batarang or the like from her utility belt, but that’s neither here nor there.

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Meanwhile, Edward G. Robinson apparently decides to make a cameo in this comic, as a fat-cat building owner in league with the maleficent Mal.  Apparently the heinous hippy has made a deal with this guy, Slavin, to destroy a Gotham landmark that is on the historic building registry so that the developer can build apartments there and turn a tidy profit.

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In exchange, Slavin pays Mal $10,000.  The domestic terrorist argues that he’s just using the bourgeois badnick to fund their activities and ‘the cause.’  Shelley objects, and when Batgirl arrives to break up the bomb bash, the girl actually intercedes to save the heroine.  She gets shot in a fairly striking panel for her troubles!

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In return, Batgirl utterly devastates Mal with a flying blow and a really lovely panel, dispatching the rest of the gang with ease.  Edward G….errr, I mean Slavin runs right into the arms of the arriving police, and despite his attempts to talk his way out of things, the Girl Detective is able to give the cops the whole story.  Fortunately, stupid Shelley survives, and the tale ends on an interesting note, as she doesn’t change her politics, in spite of her ordeal, but does gains a new respect for Batgirl.

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This is a fun story, the highlight being Batgirl’s very resourceful and steel-nerved escape, as well as her take-down of Mal.  The punk was quite hate-able, and it was satisfying seeing him get decked.  I’m intrigued by the story’s ending, which pulls back from condemning youth involvement and walks a finer line than I expected.  We’ve got Shelley perhaps a little less stupid and a little more realistic continuing to pursue her ideals, but in a more constructive way.

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Also, it struck me that Shelley indicated that she and Batgirl were from different generations, which seemed odd to me.  I know Batgirl is out of college, supposedly, since she’s already a librarian, but I would have though that she was JUST out of college, only a few years older than Dick Grayson, which would probably make her part of the same generation.  Anyway, it’s a good little adventure, and I’ll give it 4 Minutemen, which is about as high as a seven page story is apt to climb.

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And there you have it.  Thanks for joining me today, and I hope you’ll come back soon to see what the next batch of books bears for us.  My next post will include my first foray into Superboy, so…here’s hoping it’s not going to be as bad as I expect!  Until then, keep the heroic ideal alive!

Into the Bronze Age: December 1970 (Part 3)

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Welcome to another edition of Into the Bronze Age!  Today we’ve got Detective Comics and The Flash, two books, four stories.  There are some fascinating real-world connections to these comics, methinks.  Check them out below and see if they ring any bells for you!

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 #395
  • Adventure Comics #400
  • Aquaman #54
  • Batman #227
  • Detective Comics #406
  • The Flash #202
  • Green Lantern/Green Arrow #81
  • Justice League of America #84 (reprints, won’t be covered)
  • Justice League of America #85
  • The Phantom Stranger #10
  • Superman’s Pal, Jimmy Olsen #134
  • Teen Titans #30
  • World’s Finest #199

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


Detective Comics #406


detective_comics_406“Your Servant of Death — Dr. Darrk!”
Writer: Dennis O’Neil
Penciler: Bob Brown
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

“The Explosive Circle!”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

In our headline tale we have the next iteration of the growing saga of the League of Assassins!  From auspicious beginnings last issue, the promising setup receives further development in this story, and O’Neil teases an epic adventure that will unfold in these pages in months to come.  This particular part of that whole, like its introduction, doesn’t quite have the grandeur of that which would eventually develop, but it’s a fair adventure tale with the added attraction of successfully creating an “impression of depth.”

The story starts off with a bang, literally, as a bomb goes off as shipping magnate Count Orsoni christens the newest ship in his fleet.  The traditional wine bottle is rigged to blow, and the resulting explosion nearly kills the wealthy industrialist.  If we recall, last issue we discovered the League of Assassins was out to get shipping magnates.  Batman remembers this as well, so he travels to Europe in his secret identity.  Conveniently, Bruce Wayne is an old friend of the Count, so he arranges to visit his ailing pal at his estate, where he is being treated privately.  Apparently the Count survived, but he was paralyzed by the blast.

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detective406-04Upon arrival, Wayne is greeted by Mara Thursday, the Count’s cousin, who takes him to the manse.  It is there that he meets a fellow who will figure into the future of the League plot, Dr. Ebenezer Darrk!  With a name like that, he’s got to be a good guy, right?  Well, once again showing blatant disregard for his secret identity, Bruce changes into his ‘work clothes,’ and Batman prowls the night, keeping watch on the Count’s room in the belief that his would-be killers will try again.  As he settles in for his vigil, he hears Mara scream and rushes to her room.  She tells him some story about an attacker that is full of holes, clearly lying to distract him from the Count (I guess we’d call those “alternative facts” today.).  It’s actually a neat sequence, as O’Neil leaves the reader to ponder on how Batman saw through her lies, only explaining the matter later on.

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Can you figure it out?

Anyway, the Dark Knight isn’t fooled, and he races to protect the Count, only to be ambushed by another League Assassin!  This guy is a sling master, firing spiked bullets at the hero, and it takes a clever ruse for Batman to take him out.  The Caped Crusader de-cloaks, rigging his cape and cowl as a decoy to draw the slinger’s fire and allowing him to get the drop on the killer.  It’s a nice display of the character’s resourcefulness.

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One danger surmounted, our hero continues his quest, only to discover Orsoni is missing!  He tracks the nabbed nobleman to a secret passage into ancient catacombs below the estate and discovers his friend in the middle of a stone chamber.  When he approaches, a cloaked figure gets the drop on him, threatening to shoot the Count if Batman doesn’t follow orders.  I wonder who could possibly be under that cloak?  The Law of Conservation of Detail means there’s really only one possibility at this point.  Well, whoever he is, he happily explains to the Masked Manhunter that these Christian catacombs actually have an older origin, once having served as a Roman dungeon, and, somehow, the various torture device of those lousy Latins are still there and in working order.  The super mysterious figure forces Batman into a deathtrap, chaining him to a table and giving him a cord that holds a giant axe above his own head, making the hero his own executioner!

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Of course, the Dark Detective has figured out the same thing we have, and he calls his captor Dr. Darrk, who, in turn, reveals that he is actually the head of the League of Assassins.  Pulling the classic villain move of leaving the hero unattended (what is that, the third time already this month?), Darrk takes off, leaving Batman alone with only a paralyzed man to help him.  Yet, astonishingly, Orsoni claws his way to his hands and knees and crawls, not to the trapped crime fighter, but to a statue of his favorite saint, St. Diona (a fictional saint, for some reason).  With a desperate prayer, the injured man topples the statue, which lands in precisely the right position to protect the Caped Crusader from the blade and yet not crush him with its own stony weight.  It’s a good moment, and the hero is stunned, recognizing the possibility of a miracle in the unlikely series of events (even Batman is more open-minded than Dr. Thirteen!).

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His escape arranged, perhaps with divine intervention, the Dark Knight sets out after the dark-Darrk, snatching up a shield to protect him from the sling-armed slayer.  This proves fortunate, as his foe has recovered, but after a quick shield toss that would make Captain America proud, the Masked Manhunter continues on his way.  He finds a cloaked figure creeping out a window, only to discover that it is Mara, dressed in the Doctor’s robes.  Darrk has already made good his escape!  The Count’s captured cousin, Mara, agrees to spill her guts, and the story ends with Batman taking her and the assassin to the authorities and assuring the Orsoni that he’ll chase Darrk down.

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This is a good story, with some nice mystery and plenty of action.  I often enjoy it when an author invites their readers to solve a mystery themselves.  I’m usually pretty good at that type of exercise, but I have to admit, I didn’t entirely put together the pieces of Mara’s deception.  She claimed that an attacker came in through her window and struck her, but she didn’t see his face.  She was sitting in front of a mirror at the time with a lamp next to her, so she would certainly have seen the man, which Batman realized.  That’s a fun piece of detective work.  The second exotic assassin to do the bidding of the League was another fun element of the story, and I quite enjoyed the possibly miraculous saintly intervention, especially the hero’s cautiously credible reaction to it.  There’s both a nice nod to faith and a solid piece of characterization there.  The real weakness of the issue is the lack of mystery surrounding Darrk and the complete lack of development for him as well.  He’s just sort of generically evil, and he gets so little ‘screen time’ both as a cypher and as a villain that his reveal is pretty much without impact.  Fortunately, O’Neil sets this plot up to get further development, and we know that we’ll see this fellow again.  This is a good second outing for the League of Assassins, and I think I’ll give it 4 Minutemen.

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“The Explosive Circle!”


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Our Batgirl backup for today is an intriguing one because of its connections to social unrest and youth culture.  Interestingly, we’ve got youth involvement and student organization showing up in the Robin story this month at the same time this particular tale makes its appearance with a very different perspective on the phenomenon.  This version touches on questions that are back in the news today, whether peaceful protests are effective and whether or not violence can be justified as a form of protest.  The answers to these questions seem pretty clear to me, and writer Frank Robbins takes more or less the approach that you’d expect.

It all starts with a bomb, just as the headliner does, as a Gotham building explodes, leaving behind a charred clue, a burnt library book that Commissioner Gordon asks his librarian daughter to help him identify.  One would imagine that the police could probably manage that on their own, but sure.  She recognizes the text as “the current rage of the ‘tear down the establishment’ crowd,” a description that is delightful on its own merits, and for the contempt it displays for its subject.  Naturally, Babs decides to pursue this clue on her own, as Batgirl, having remembered the girl who checked this book out, thanks to her photographic memory.  I imagine that particular character trait was mentioned before this issue, but this is the first time I’ve taken notice of it.

Batgirl heads to the girl’s apartment, where the hippies are hanging about in bunches.  The girl, Shelley Simms, blithely informs the fire-tressed crime-fighter that she and her hippy group were planning on protesting her, if they could ever figure out where she lived.  The profound stupidity of that statement is just the beginning and is, of course, indicative of the general mindset of the hippy movement.  That statement really struck me, because, of course hippies would have picketed superheroes if they actually existed in the 60s.  In fact, I imagine superheroes would almost certainly be protested today as well.

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detective406-25Anyway, when Batgirl confronts the silly Miss Simms with the fact that her book was found at the site of the bombing, she suddenly freaks out and declares, in wonderfully silly 60s slang, “I don’t need your fuzz-fink help–lay off!”  Real smart cookie, this one.  Babs, on the other hand, is actually quite intelligent, so she stakes out the girl’s apartment and tails her when she leaves.  Well, she’s fairly intelligent, as she follows her on the street, rather than swinging across rooftops and the like, so she gets spotted.

Shelley leads her costumed companion to a fiery young man at a theater which is hosting a ridiculous, edgy play, complete with faux protesters and jack-booted thugs to put them down.  Apparently Shelley lent her book to this real winner of a guy.  The young fireplug, Mal, uses the distraction of the performance to have his boys quickly grab the girl detective.  Babs narrowly avoids a trip to the Head-Blow Headcount wall of shame, but she’s eventually brought down anyway.  When she awakens, Batgirl finds herself trapped in a mined basement, and Shelley, the brain-surgeon, is completely surprised that her radical terrorist boyfriend is a bomber and a killer, a revelation that one has to imagine had been presaged before now.

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Well, Gil Kane is back, and with him come the nostrils…so many nostrils.  The art in this backup is generally good, but he does pick some odd angles.  The story itself manages to be engaging and intriguing in its brief seven pages.  Of particular interest is the similarity of the plot to then current events in the form of the Weathermen’s bombing campaign.  The Weathermen were a radical domestic terrorist organization that had its roots in political movements originating on college campuses.  They were involved in bombings of public buildings and monuments from the late 60s through the late 70s.  In fact, they had been behind a bombing this very year, in October. Their brilliant, infallible plan was to blow things up until they magically created a communist utopia.  Incredibly, this didn’t work out too well.

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So, radicalized youth movements were in the news in 1970, and the experience of the stupid Miss Simms was likely one that many young people shared, as they watched political movements they were involved in splinter, change, and darken.  This particular comic story doesn’t capture all of that nuance, of course, but in these seven pages Robbins manages to evoke the destructive side of the counter-cultural movement and set up an engaging plot.  My only real complaint is how incredibly annoying Shelley is.  I wish that Batgirl had just dangled her off of a building instead of bothering to tail her.  The girl’s venomous response to Babs’ attempt to help her and the increasing stupidity that followed rankled me.  I suppose I should have more patience with the character; after all, I was 18 once, and as stupid yet convinced of my own intelligence as ever a teenager was.  Nonetheless, I don’t have much patience for that kind of nonsense these days.  Shelley’s foolishness aside, I’ll give this story 3.5 Minutemen.

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The Flash #202


the_flash_vol_1_202“The Satan Circle”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Editor: Julius Schwartz

“The Accusation”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Murphy Anderson
Editor: Julius Schwartz

We’ve got another Kanigher story, and one more clue to figure out what kind of writer he is.  This particular yarn won’t put the debate to rest, however, as it is neither exceptionally good nor exceptionally bad.  Notably, it features another story seemingly based on the Manson Family murders of a few years back.  Folks who have been following this feature for a while may remember that we encountered a Green Lantern/Green Arrow story earlier in 1970 that dealt with the same events in interesting ways.  This particular comic takes a decidedly less serious slant on events, but there are some creepy parallels that I imagine are not accidental.

Despite that, the headline tale begins sweetly enough, with a nice domestic scene between Barry and Iris Allen.  Iris is headed out of town to cove a spate of disappearances in Hollywood dance clubs that seem to be related to a movie about a “black magic cult.”  I was a bit surprised at the reference to evil Satanic cults hiding right under the surface of everyday America way back here in 1970.  It’s at least a decade too early for the ‘Satanic Panic’ of the 80s, when Americans would see Satan worshipers under every rock.  The 80s was a weird time, guys.  Anyway, the couple share a charming farewell, with Barry, of course, late for work, but still stopping long enough to pick a rose for Iris to wear in her hair.  As I’ve said before, I always enjoy these little scenes, and Kanigher does a good job of making use of this one, both for exposition and for setting up a Chekhov’s Gun for later in the issue.

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That evening, Barry receives a frantic phone call that freezes the blood in his veins, as he hears Iris desperately cry for help before the call is cut off.  In the blink of an eye, he’s speeding across the country as the Flash.  He arrives at the home of a Hollywood director, where Iris was to begin her investigation, only to find it ablaze, with a burning satanic effigy in the yard.  The Scarlet Speedster also finds a body in the pool, and he has a bad moment where he thinks it might be Iris.  Inside the mansion, he discovers half a dozen more victims, each wearing a devil mask, but with no sign of his wife among them.  A panicked search of the place finally presents a clue, when he finds her rose next to a phone upstairs, revealing that she has been kidnapped!

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The Crimson Comet sets out to search for a lead, visiting the suspiciously Satanic ‘discotheques’ where the missing kids had last been seen.  It’s quite odd to see the Flash dance with various club girls, as if he’s trying to blend in.  I think the bright red superhero costume and super speed might give you away there, Barry.

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In between some of his visits, the speedster is ambushed by a motorcycle gang who are definitely not the Hell’s Angels.  No, they’re the totally unrelated Hell’s Imps.  You might think that a biker gang would be a poor match for an honest-to-goodness superhero, but they have a strange gas in their exhaust that affects Barry, slowing him down.  He still manages to escape, arriving at ‘Pluto’s Palace,’ which looks just like the first place, only to meet a sultry cage dancer who promises to lead him to the Satan Circle!

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A rapid midnight race leads him to a seemingly deserted house occupied by robed cultists.  It is, of course, a trap, and his guide answers to the leader of the group, who claims to be an incarnation of Lucifer himself.  He looks a bit more like Vincent Price to me.  The cultists reveal that Iris is their prisoner and they plan to sacrifice her for a dark ritual.  Well, the Flash should be able to take a bunch of bathrobe wearing weirdos, right?  Wrong.  The gas he inhaled earlier had a delayed effect and begins to weaken him even further.  He tries to carry Iris away, only to collapse under he weight.

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Desperate, the Scarlet Speedster devises a very clever escape.  He drums his fingers on the old wooden floor at super speed, so fast that the motion is invisible, until the rotten boards collapse under the Allens, sending them tumbling into the (relatively) clean air of the basement.  Able to clear his head, the Flash is ready for round 2.

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Kanigher tries to create a bit more tension by trapping his hero between cultists armed with explosive bullets and the arriving motorcycle gang, but he doesn’t really have enough space left to pull it off.  Out of necessity, the Sultan of Speed wraps up the villains in a half page.  The story ends with a nice little exchange between the Allens back at home, where Iris points out that the Satan Circle was no match for the stronger circles, the wedding bands that binds the two of them together.  Aww.

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This is a solid story, but it lacks a certain something to make it really ‘good.’  The villainous Satan Circle receive practically no development at all.  We don’t even know if they actually had any mystic powers or not.  For all we know, they’re about as magical as your average modern day “witch.”  Nonetheless, the Circle racks up a pretty terrible body count, and I’m not entirely sure that is earned by the story.  Despite that weakness, the Flash’s search for Iris and his fear and uncertainty about her fate was handled pretty well, other than the incongruous moments with the frantic hero stopping to dance in various clubs.  Probably the most interesting element of the story is the cultural currency it carries.  While the Satan Circle as we meet them has little in common with the Manson Family, the scene of a Hollywood big-shot’s home turned into a charnel house, with graffiti and strange signs left behind, certainly evokes the Family’s murder of the Tate family.  Add to that the constant undercurrent of fear about ‘devil music’ and its influence on young people, and you’ve got a story that is clearly drawing from the zeitgeist.  Whatever its connections, the comic itself is entertaining, if not terribly impressive, so I’ll give it 3.5 Minutemen.

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P.S.: Legendary skinner, Freedom Reborn member, and all around awesome guy, Daglob, just clued me in to an event that almost has to have been a major influence on the creation of this story.  Apparently, in 1969, Anton LaVey began to popularize the ‘Satanism’ movement, starting with the publication of The Satanic Bible that very year.  What’s more, 1970 saw the premiere of a documentary on the phenomenon, and apparently Satanists and the occult suddenly flooded the zeitgeist, often becoming, to quote my friend, “likely suspects in movies and TV shows.”  Now, Satanism, especially LaVey’s signature brand, is nothing more than jumped up Epicureanism with a bunch of nonsensical occult bells and whistles.  Nonetheless, it certainly had the potential to seem terribly frightening to mainstream America at the time.

It descends from the Romantic Period’s misreading of Milton’s Satan from Paradise Lost and similar lionizing of the “Satanic Hero,” a character who rebels against social norms and cultural constraints, pursuing their own desires.  The poetWilliam Blake famously claimed that Milton was “of the Devil’s party without knowing it” (“Marriage of Heaven and Hell”).  For a fairly clear refutation of that reading, check out C.S. Lewis’s A Preface to Paradise Lost.  It’s a short work and a wonderful read on its own merits, especially if you’re interested in literature and in epic in particular.

Anyway, I seem to have wandered somewhat astray from my point.  This revelation puts the Flash tale in a rather different light, doesn’t it?  Now we can see it reflecting a general anxiety about the encroachment of strange and seemingly sinister beliefs, as well as the clear and frightening evidence of social decay and upheaval represented by such madness as the Manson Murders.  That’s a fascinating new perspective!  Thanks Daglob!


“The Accusation”


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I was delighted to discover another Steve Skeates penned story in this month’s offerings, and this off-beat little backup didn’t disappoint.  It’s odd, but it’s an interesting read.  From the very beginning, this story establishes itself as a bit unusual, as in the opening pages, we join, not our protagonist, but a man named Carson, who dreams of a ghostly Kid Flash tormenting him for a hidden crime.  flash-v1-202p22The spectral speedster, in a nicely drawn sequence, accuses Carson of murdering a young man, but the dreamer insists upon his innocence.  When he awakes, he’s disturbed by the dream and can’t get it out of his head.  He remembers that a kid was killed by a hit and run driver the night before, but he’s certain that he stayed home last night…or is he?

Meanwhile, we check in with Wally West in school, where apparently he’s being taught by Clark Kent.  As a teacher, the brief little scene, where a daydreaming Wally is asked a question and frankly admits he wasn’t’ paying attention made me smile.  What unusual and refreshing honesty!  Having survived the soul-crushing weight of high school for another day (sheesh, as bad as it is for a normal kid, think what torment it must be if you have superpowers and routinely save the world!), Wally switches to his costume and spends the night tracking down a car-stripping gang.

Meanwhile, our mysterious Mr. Carson’s sleep is troubled, as he has another dream along the same theme, where the ghostly Kid Flash calls him a murderer and mentions stolen jewels!  Once more awakening in panic, he goes for a drive to try and calm his nerves, and the two halves of our plot rush towards a collision.

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Kid Flash, in the meantime, has managed to find his pigeons, and he smashes into them at super speed, carefully using only a light blow, for fear of killing them by striking them at full velocity, which is a nice touch.  We cut back and forth between our plots, with the dream-convicted Carson slowly remembering what he had repressed from the previous night.  He had acquired some stolen jewels, and driving home in a hurry, had run over an innocent kid rather than risk crashing and being caught with the goods, a cold-blooded act of murder!  He struggles against the returned memories as Wally struggles against the thieves, and he too almost joins the Headcount as he gets distracted and takes a head-blow.  Fortunately for him, he recovers and ties up the criminals for the police.

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Yet, as he’s walking home, a little shaky from the blow, Carson, driving erratically in his mounting dread, spots the boy and recognizes him as the spectral figure from his dreams.  The dream-tormented may-be-murderer panics and, frozen by the sight, smashes his car into a pole, dying in the impact.  Like Lancelot in Tennyson’s “The Lady of Shalott,” Kid Flash, unaware and with grim curiosity, discovers the person who died from sight of him.

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I’m glad to see Kid Flash return as a backup for the Flash.  I like the character, and I am excited to see more of his adventures.  This particular yarn is an interesting start to the feature.  Taken as a story bound by the more restrictive limitations of fiction as verisimilitude that we’re used to in the modern day, which tries to get as close to the real, rational world (outside of obvious difference, like the existence of superheroes) as possible, this tale wouldn’t work.  We’re left asking, ‘why does Carson see Kid Flash, if the boy knows nothing about his crime?’  Yet, a normal, logical plot is not what Skeates is going for here.  He leaves just enough mystery and mysticism in the story to make the strange coincidences functional, to make them serve as clues to something uncanny under the surface.  In this instance, the questions we’re left with are, in fact, part of the story’s purpose.  It’s short, but it gives us just enough, just barely enough, to work as a story, and a reader, in remarkably few pages, travels from sympathizing with the unknown Mr. Carson to marveling at the coldness and viciousness of his crime.  It would have been nice to learn more about him, but the story works, even so.  Dillin’s art is fantastically moody, and he really captures the anguish of Carson’s brief journey from ignorance to desperation.  I’ll give the backup 4 Minutemen, as it was intriguing and enjoyable.

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That will do it for this post, and I hope y’all enjoyed the read!  We’ve got a pretty solid pair of books here, with both youth culture and satanism in the mix!  The contrast between this month’s Robin and Batgirl’s stories really makes for a fascinating snapshot of the time, representing both the hope and the fear of the growing power of youth culture.  Once again, current events make their presence known in DC Comics, leaving their mark on this fantasy world.  I hope you’ll join me soon for another day’s journey, Into the Bronze Age!  Until then, keep the heroic ideal alive!

Into the Bronze Age: October 1970 (Part 3)

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Happy New Year readers and friends; Happy New Year to one and all!  I hope this year proves a happier and more peaceful one for our world and for all of you.  What better way to celebrate the dawning of a new day than to look back at an older one and see what it has to teach us?  There are probably many better ways, but seeing as this is a blog about Bronze Age DC comics, this is what I’ve got to offer.  Welcome to another edition of Into the Bronze Age, my journey through the Bronze Age of the DC Universe, book by book, month by month!  I hope you enjoy the Bat-stories I’ve got in store for you today from Detective Comics.

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

Roll Call (You can see everything published this month HERE)

  • Action Comics #393
  • Adventure Comics #398
  • Aquaman #52
  • Detective Comics #404
  • Green Lantern/Green Arrow #80
  • Phantom Stranger #9
  • Superman’s Girlfriend, Lois Lane #105
  • Superman’s Pal, Jimmy Olsen #133 (Jack Kirby’s debut!)
  • Superman #230
  • Teen Titans #29

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


Detective Comics #404


detective_comics_404“Ghost of the Killer Skies!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Midnight Doom-Boy”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

This is a fine issue, with two solid enough tales, though it isn’t anything to write home about.  Of course, that won’t stop me from writing to the Internet about it.  It isn’t particularly impressive, but Neal Adams’ art is always a big plus for any comic, especially a Bat-book.  The real highlight of the issue is the almost cameo of Enemy Ace, who is a pretty fascinating and unique character.  To start with, he’s on the side of the “bad guys” in his story, yet he’s the protagonist, which is exceedingly rare.  Add to this the fact that his stories were routinely surprisingly mature (in the real sense) and challenging, questioning the nature of war, honor, and patriotism, and you have quite an unusual character, especially considering that he was created in the Silver Age.  This story doesn’t quite manage to take advantage of the compelling history of the character or the challenging themes that predominated his books, but it makes it touches on them in an interesting way.

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The story begins with a WWI era biplane careening out of control into a mountainside in Spain to meet a fiery end.  It just so happens that the Dark Knight himself is observing this crash.  He arrives in time to pull the pilot from the wreckage, only to discover that the unfortunate aviator has been strangled…while in mid-air!  This is a mystery tailor-made for the Dark Detective.  He begins to investigate as his alter ego, and we learn why the hero happened to be on this particular mountain.  Bruce Wayne has invested in a film about Baron Von Hammer, the Enemy Ace, and the production has been in trouble, suffering all manner of mysterious misfortunes.  The playboy-turned movie mogul is on hand to monitor his investment.

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Back at the set, the director suggests that they should perhaps just give up, but the billionaire insists that the movie is important.  This is actually a really interesting little beat, as Wayne declares “I believe in ‘The Hammer of Hell’ and the things it can say to audiences about the nature–and folly–of war!”  Considering the character being adapted and the continuing war in Vietnam, this is actually a subtle and intriguing character moment.  We have seen relatively recently that Bruce Wayne is involved in movies and uses his influence to try and shape the nation’s cinema in a positive fashion, so this fits in rather well as a (likely unintentional but nevertheless pleasant) bit of continuity.  It’s brief, only one panel, but it is noteworthy nonetheless.  We might even imagine that there’s an implied critique of the current conflict to be found in that statement.  Whatever the case, this is the type of sign of the changing nature of comics for which we’ve been watching.

We are also introduced to Henrich Franz, the technical advisor of the film, who claims to be a descendant of the Baron.  The morose German flyer professes his admiration of Von Hammer but suggests that perhaps his ancestor is their antagonist; perhaps the production is…cursed!  Of course, Batman suits up and pursues more mundane leads, leads that pay off that night when he ambushes a team of local toughs who are sabotaging the film’s planes.  After incapacitating the treacherous trio, the Masked Manhunter interrogates one of his captives and discovers they were paid by a mysterious figure who always wore flying goggles and a scarf.

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In a nice touch, Batman simply lets them go, warning them that they had better turn themselves in to the nearest policeman or he’ll track them down.  Unlike Aquaman’s ill-conceived mercy in this month’s Aqua-adventure, this actually makes some sense.  Batman is a very scary guy, and Adams’ moody art and O’Neil’s straight-forwardly intimidating dialog helps to emphasize this characteristic.  I’m pretty sure that, were I in this fellow’s shoes, I wouldn’t risk making this grim avenger of the night angry with me.

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Apparently while in Spain Batman learned how to fly…

Next, the Caped Crusader confronts the head saboteur, who is revealed as none other than Gavin the cameraman!  The hero noticed the same thing I did while reading the story, that the cameraman reported on the manner of the pilot’s death before he really should have been able to tell.  However, now we receive another twist. Gavin admits to having taken money from a rival production to torpedo The Hammer of Hell, but he denies any involvement with the murder.

I’m a little disappointed that the cameraman’s observation was just a red herring, because it doesn’t really make sense that way.  It’s a bit of a cheat, and a good mystery story doesn’t cheat.  It’s a delicate balance to provide your reader with just enough information that they COULD s0lve the case, or at least feel like they could, yet also make it difficult enough that most will still be surprised by the reveal.  Anyway, that red herring gets the director killed, as he is gunned down while Batman interrogates Gavin.  In a fun beat, the cameraman makes a break for it, and the Dark Knight, intent on his pursuit of the murderer, simply cold-cocks the saboteur as he runs past.  I really enjoy a good, competent portrayal of Batman.  He doesn’t have to be perfect, but I like stories in which he’s presented as capable of handling average challenges without much effort.

Unfortunately, the real murderer, who by conservation of detail, you have probably deduced is Franz, gets the drop on him.  The flyer was incensed that the film was going to portray Von Hammer as merciful and compassionate, essentially, as the complicated figure he was, rather than a ‘noble’ killing machine.  It’s a slightly flimsy motivation, but it more or less makes ‘comic sense.’  Batman convinces Franz to give him a fighting chance, so they each mount up in one of the movie’s planes and take to the skies.  There’s a good touch of detail here as the Dark Knight notes that the is no expert on prop planes, which makes perfect sense.

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Despite that, the hero mysteriously performs excellently, almost as if he was being guided!  Still, Franz has a pistol and Batman is unarmed, so he is at a disadvantage.  The Caped Crusader’s plane gets disabled, and he tries a last, desperate gamble, diving from one craft to the other.  He’s locked in a desperate, losing struggle with Franz when the killer’s scarf gets caught in his prop, sending him on a last, long drop, another example of the villain hoisted by his own petard.  Perhaps I should start tracking this trope.  It seems to show up almost every month!

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This is a passable story, though the mystery doesn’t really have enough room to breathe.  In the same manner, the dogfight is given slightly short shrift, but the overall effect is interesting, and the story has a bit of personality despite its brevity.  There’s something fascinating about the idea of a complicated figure and his contentious portrayal on film.  We’ve all encountered that in real life, and it makes for a neat comics story, though I rather wish Batman’s involvement with the film and his interest in Von Hammer had been developed a bit more.  There is definitely a hint of anti-war feeling in this story, though it is (mostly) subtle and easily overlooked.  It marks one of the first times we’ve seen such a sentiment, other than the obvious, overt example of Hawk and Dove, and that is an interesting occurrence in light of our overarching goals for this feature.  I will give this story an average score of 3 Minutemen.  It’s ultimately just okay despite its neat features.

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“Midnight Doom-Boy”


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An interesting title and a fair little mystery characterize this backup.  It’s another Batgirl tale, squeezed into the back of Detective Comics, but it’s better than most of the others we’ve encountered so far.  It’s short, but Robbins keeps the plot simple enough that it doesn’t need much space to be relatively successful.  Interestingly, this story is also a very clear product of its times, centering on Billy Warlock, a clear analogue for Andy Warhol who produces similarly odd experimental films as his real life counterpart.

The ersatz artist is killed in the opening pages of our story, and intriguingly enough, his murder is caught on film.  He had set a camera up in a mailbox to covertly record the comings and goings of a seedy street in Gotham, and that very device provided a record of his demise.  More surprisingly, it seems to show Batgirl’s sometimes beau, Jason Bard is the killer!  Of course, Babs cannot believe that he would do such a thing, so, despite the mountain of evidence, she sets out to prove his innocence.  Robbins handles his exposition well, weaving it into scenes between Commissioner Gordon and his daughter wherein he outlines the evidence against the private eye.

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I like the clever device of setting off the film flashbacks in movie-reel style boxes.

Jason himself tells Babs that he was in the area in response to a lead on a different murder suspect, but he claims he was ambushed by a strange woman who drugged him two hours before the murder.  Batgirl returns home to her father’s private screening room (!) and pours over the video for any shred of evidence that she can use to clear the gumshoe.  She finds just the clue she’s looking for when she realizes that the figure in the film walked without a limp, despite using a cane, something that Jason with his combat injury could never do.  It’s a nice bit of deduction, and what follows, despite involving a bit of a leap, is just as good.

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The red-headed heroine goes to Warlock’s studio in search of the earlier reels of his film, hoping that they might contain a shot of the vixen who framed her beau.  Despite the fact that the film magically changes perspective, she discovers that one of the lead actresses in the pop artist’s films, Veda (interesting name, just Veda, like Cher) was the femme fatale behind it all.  Just then, the deadly dame herself appears and tries to knock Batgirl out the same way she did Jason.  Babs performs better than she has in some of the earlier tales and quickly uses judo to escape the attack, but a lucky throw of the knockout gas sends her into dreamland.  She awakens just in time to see the psycho starlet preparing to turn her into a living statue with a batch of plaster!

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To my great surprise, while refreshing my knowledge of Andy Warhol for this commentary, I discovered that this story is actually based on a real-life assassination attempt that very nearly killed Warhol himself.  Just as with the comic, the assassin was a woman who was associated with the artist’s work, though, in reality, the relationship was much more tangential and the women even more bat-guano insane, if that’s possible.  The assassin was a radical feminist writer named Valerie Solanas who actually advocated the elimination of men (which seems a rather short sighted policy to me, but what do I know?).

It’s a crazy story, crazier, in its way than the comic version.  Of course, for our purposes, the most notable thing about this discovery is the evidence it provides of even more influence of the real world on DC comics.  The assassination attempt took place in 1968, so it is another recent event that found its way into the pages of these comics, much like the Manson murders which were referenced in the pages of Green Lantern.  Unlike that tale, there is not much made of this bit of real-life inspiration.  Perhaps we’ll see the starlet’s madness explored further in the next issue, but at the moment, it seems that the real event has just been mined for plot and window dressing.  The story is solid, and Batgirl is intelligent and dedicated, earning it an average 3 Minutemen despite its brevity.  There is one big problem with the plot, though, and that is that the police would have been certain to go back and watch the earlier film if Jason claimed he had been ambushed before the murder.  That would be easily checked on.  The oversight makes the Gotham PD look rather incompetent.  Of course, maybe that’s the reason they need a Batman in the first place.

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Well, that’s it for these tales.  I hope you’ll join me soon for the next few comics in our journey through October 1970.  The next one promises to be quite interesting!  Until next time, keep the heroic spirit alive!

 

Into the Bronze Age: June 1970 (Part 2)

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Welcome, and thank you for joining me as we write another chapter in this history of the Bronze Age!

Roll Call (You can see everything published this month HERE)

  • Action Comics #389
  • Aquaman #51
  • Batman #222
  • Detective Comics #400
  • The Flash #198
  • Green Lantern/Green Arrow #77
  • Justice League #81
  • Phantom Stranger #7
  • Showcase #91
  • Teen Titans #27
  • World’s Finest #194

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

Detective Comics #400

Detective_Comics_400.jpgExecutive Editor: Carmine Infantino
Cover Artist: Neal Adams
Writer: Frank Robbins
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“A Burial for Batgirl!”
Writer: Dennis O’Neil
Penciler: Gil Kane
Inker: Vince Colletta
Editor: Julius Schwartz

Ahh, Neal Adams back on Batman.  This is how it should be.  And in addition, we get a great, classic Bronze Age character introduced in this issue!  Prepare to meet the macabre, menacing Man-Bat!  The introduction of this grotesque mix of monster and man is something that really wouldn’t have flown in the Silver Age.  He’s a bit too much of a horror character, but his advent represents the loosening reins and the increasing creativity of the Bronze Age!  I really do like this character, having first met him on that greatest of Bat-worlds, Batman: TAS, in an excellent set of episodes.  His first appearance here isn’t quite so awe-inspiring as that desperate flight across Gotham from the inaugural episode of the show, but it’s still pretty good.

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This milestone issue (I bet Bob Kane and co. had no clue that their creation would go on to headline a book for anything close to 400+ issues!) starts with the quiet eerie looking scientist, Kurt Langstrom, working on an oversized display about bats in the Gotham Museum of Natural History.  Once the curator leaves, Langstrom begins his real work, experimenting with the genes of bats in an attempt to give himself super senses and the ability to “see” in the dark through sonar.  This whole setup is a bit odd.  Why exactly is this guy working at the Natural History Museum?  The TAS setup with him working at a zoo made a bit more sense to me, as did his motives.  In the show, he’s after a traditional mad scientist end, trying to ensure mankind’s survival through acquiring the characteristics of bats.  In comic logic, that’s about as common as a sunny day.

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This is a wonderfully creepy sequence where Adams economically communicates a lot about the unhealthy fixation of the doctor.

Either way, Langstrom is not the only one seeking an advantage in the dark.  Our scene shifts to an underground location elsewhere in the city where the ‘Blackout Gang’ are looking for a score!  They wear thermal goggles and practice silent tactics for their cappers, but Batman still manages to find them when one of them drops a tool and sets up a clatter.  Though Batman is used to fighting in the dark, the punks can see, whereas he has to rely on his training.  They scatter, and he only manages to recover the device, an “ultra-sonic cutting tool,” which can carve through concrete silently.

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The crooks are disheartened, as they figure that Batman will find a way to trace the signal from such gadgets, endangering their plans.  Their leader decides to turn this to their advantage by laying a trap.  Meanwhile, Dr. Langstrom’s experiments have borne unexpected fruit!  He suddenly finds his hearing and sight grown to painful sensitivity!

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If you’re a scientist and you wear a cape, chances are your future isn’t going to include a healthy social life…

He realizes that he’s succeeded, giving himself a natural sonar as well, which, interestingly enough, is exactly what Batman is working on.  The Dark Knight creates an artificial sonar system to guide him in the dark, preparing for his next encounter with the gang.

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Unfortunately, our resident mad scientist has discovered some rather…unpleasant side effects.  He is turning into a….Man-Bat!  Dun, dun DUN!  He panics and begins working on a way to reverse his condition, but he’s interrupted by the collision of our two plots.

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That’s a beautifully creepy reveal.

The Masked Manhunter tracks the gang to their new target, the Natural History Museum!  He confronts them with quite a surprise when he can suddenly “see” in the dark.  Yet, the Blackout Gang is unreasonably clever.  Their leader deduced that Batman might develop some type of sonar device, so he brought along a secret weapon…ping-pong balls.  That’s right, ping-pong balls.  They toss the balls into the air, and their chaotic bouncing and rebounding deafens the Dark Knight.  The gang dogpiles the detective while he’s “blinded.”

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Detective400-18.jpgJust as it seems that they will do what any number of supervillains have failed to do, an eerie screech is heard ripping through the night, and horrifying help arrives.  Man-Bat smashes into the gang, tossing them around like ragdolls and giving Batman a chance to catch his breath.  The two make short work of the hoods, and the Caped Crusader thanks his unlikely savior.  Yet, when he turns his penlight on the monstrous Man-Bat, he sees his terrifying visage, taking it for a mask.  Ashamed, Langstrom, still in possession of his faculties, smashes the light and disappears in the night!

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This is a beautifully drawn tale, of course.  I love a lot of the shots of the Man-Bat, and I really like the all-black design of the thieves.  They make for a nice contrast with the other characters.

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The story itself isn’t quite as strong.  It’s a fine adventure, but the ping-pong ball deus ex machina is a bit silly.  That’s a very specific guess on the part of the gang leader.  Langstrom’s motivations are also fairly weak.  He’s trying to grant himself an ability that Batman doesn’t have?  Really?  Well, seeing as Batman has no abilities, that shouldn’t be that hard!  Either way, it’s a slightly uneven story, notable mostly for the introduction of a really neat character rather than the plot itself.  Adam’s design for Man-Bat is just excellent, evoking the horror comics of yesteryear with a wonderfully creepy realism, insofar as a giant man/bat monster can be realistic.  I’ll give this 4 Minutemen, largely on the strength of the art and the concept.

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“A Burial for Batgirl!”

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We have another Batgirl backup this month, and it is an interesting enough beginning to a tale.  This chapter finds Barbara Gordon pulling up to the library of Hudson University, having just arrived in town to attend a Edgar Allan Poe festival, when she suddenly hears a cry for help!  She quickly darns her ‘working clothes’ and races to investigate.  Inside, what should she discover? Why it’s a dirty hippy in love beads running for the exit!  That’s quite suspicious, if I do say so myself.  He lunges out with a desperate punch, but Batgirl is not so easily stopped, so she flips him against the wall.  Gathering her thoughts, she takes note of a strange smell, something that could be ether.  Unfortunately, while she is trying to identify the tell-tale odor, the hippie regains his feet and blinds her with a nearby fire extinguisher.

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Once recovered, our heroine rushes outside, only to see her escaping hippy having encountered some other pursuers.  A number of college students are chasing him, and they even begin to kick the poor sucker once Batgirl lays him out.  Suddenly, a voice orders them to stop.  Dick Grayson steps out of the night and takes the heroine to task for not helping the hapless hippy, saying that he thought she had a reputation for sticking up for the underdog.

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We pick the story up back at the police station, where the top cop fill her in on the details of the case.  The hippy is Hank Osher, a student radical, one of the bully-boys chasing him was Jack Markham, an acting major, and the man whose cry for help Batgirl answered too late, was Amos Willard, the University’s business manager.  We even get a helpful visual aid to sort out the plot quickly and efficiently.  It isn’t the most dynamic story-telling move, but it’s a nice way to cover a lot of ground quickly, which is necessary in a tale this short.

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Apparently it all started with the proposed sale of a plot of woodlands that the school owned.  Willard was in favor of this, but Markham violently opposed it and threatened him.  Sensing that there is more to this than meets the eye, Batgirl interviews the imprisoned suspect, who claims he is being set up.  The masked girl begins to investigate, and we get a wonderfully sexist moment where she wonders if she is just being led astray by her “girlish heart responding to his big blue eyes.”  Great.

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Well, she decides to pursue the case one way or the other, and remembering the strange smell from the library, she thinks she knows where to look for more clues.  While investigating a building under construction, someone knocks her out with…that’s right, the classic head-blow!  That’s another one for this month!

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Babs awakens to find herself bound and gagged as a mysterious figure reenacts Poe’s “Cask of Amontillado.”  Yep, the mysterious figure is walling her up with bricks in a hidden alcove of the partially constructed building!  Dun, dun, DUN!

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That is certainly a nice, dramatic ending, no doubt about it.  This story, brief as it is, is interesting.  We don’t really get enough to establish the mystery properly, but there are the bones of a decent one, an enigmatic murder, a framed patsy, and a clever villain.  It has potential.  We’ll see what the next issue holds.  What is perhaps the most intriguing element of this story is the glimpse of social tensions in the hippy character, the student rabble-rouser, who is rebelling against the system…for reasons.  While his motivations are about as clear as an actual hippy’s, it’s telling that O’Neil is framing him as the victim here.  The whole thing feels a bit deeper than the desperate pandering towards youth culture that used to show up in Haney’s Teen Titans stories.  All-in-all, I’ll give this one a 3.5.

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Flash #198

Flash_v.1_198.jpgCover Artist: Gil Kane
Writer: Robert Kanigher
Penciler: Gil Kane
Inker: Vince Colletta
Editor: Julius Schwartz

“Call It… Magic!”
Writer: Mike Friedrich
Penciler: Don Heck
Inker: Vince Colletta

Just look at that cover.  A hero praying is the central image, a sincere plea to the Almighty forms the design.  Can you imagine something like that showing up today?  The Big Two are way too worried about offending somebody to put so unambiguous a reference to religion in so prominent a spot, methinks.  I found it charming, though we’ll see inside that it isn’t quite as simple as it appears.

This strange tale begins with a group of teenagers, described throughout the issue as “teen-agers,” sneaking into a mist-shrouded cave, looking for our titular Scarlet Speedster.  When they find him, he is acting very strangely, holding a pigeon and speaking simplistically, almost…childishly.  In fact, he insist that his name is not “Flash,” it is Barry!  How bizarre!

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We eventually discover that the Sultan of Speed has lost his memory and reverted back to his eight year old self.  The kids seem to blame themselves, and they convince our hero to keep hiding in the cave when it becomes apparent that he can’t access his speed.  The ‘teen-agers’ decide that they have to protect the speedster until he recovers his senses, and we get a flashback that explains what happened.  It’s actually quite touching how they are willing to risk their own lives for confused champion.

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Barry, utterly exhausted from his last adventure (nice little nod to continuity), as running THROUGH SPACE will definitely take it out of you, slept late into the day.  Iris didn’t want to wake him, so she left a note telling him she’d be out of town for a few days on an assignment and reminded him that he had promised to visit the children in the Central City Orphanage.  I like the domestic check-in for the Flash, as well as the plot logic nod, recognizing that if Barry was missing for any length of time, Iris would have done something, had she been in town.

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Anyway, the Scarlet Speedster thrills the youth with his speed tricks, but a trio of ‘teen-agers’ are not so easily impressed.  Desperate to reach these kids, Barry reveals how painfully unhip he is.  He does offer to do all kinds of amazing things for them, like whisk them away to Paris or other distant lands, yet these jaded kids act like they get such offers every day.  Really kids?  A superhero offers to zip you to the City of Lights, and all you can do is yawn?  Man, kids these days!

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Well, they finally ask the Crimson Comet to take them to their old neighborhood, where he even builds them a brand new clubhouse in record time!  These kids don’t know how good they’ve got it!

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It is at this point that the plot takes its turn and we meet our antagonists.  Apparently a gang of thieves who had pulled off a big robbery had stashed their loot in that abandoned lot, and they jumped the hero when he accidentally uncovered it.  The Flash managed to get the kids to safety, but a ricochet grazed his head and scrambled his brains a bit, thus his current confusion.  It strikes me as a bit off that the Fastest Man Alive could be tagged by any bullet, even a ricochet, if it wasn’t the first round fired.  After he knew he was being shot at, he, fast as he is, should have been able to casually stroll to the other side of the city before they could so much as pull the trigger another time.  Yet, I suppose that’s a common problem with the portrayal of superspeed.  Such characters really tend to move at the speed of plot.

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Cut back to the present, where the vengeful villains have discovered our hero’s hideaway.  They toss in smoke grenades, and the befuddled Flash doesn’t know what to do, but while the kids prepare to protect him with their lives, Barry begins to do the one thing he can…pray!  He pleads with God to make him truly the Flash as the kids claim, and suddenly he whips into quicksilver motion!  He takes the thieves out in a blur of super-speed strikes, but the cave begins to collapse, and the Scarlet Speedster takes another crack on the head.  Just like that, he comes back to himself, remembering who he is in classic comic-book fashion.

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The adventure ends with the Fastest Man Alive bidding a fond farewell to his newfound young friends.  Exhausted all over again, he collapses into bed, where Iris discovers him when she returns home.

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This is a tale that I really didn’t care for when I read it the first time, but as with several of these Flash issues, I’ve got a lot more appreciation for it on this second reading.  It’s simple but charming, and I like the earnest, wholehearted plea to God.  That’s a nice moment, and it is left ambiguous whether his prayer is answered or whether he simply is able to will himself into super-speed.  That’s the right way to go, as anything else would be excessive.  This is definitely a study in contrast to modern comics, though, with a hero, even a brain-damaged one, making any type of openly religious statement.  In the end, there isn’t a whole lot to this issue, though I like several of its story beats.  Fortunately the child-like Flash doesn’t hang around long enough to be annoying, though that could easily have happened.  I like that the kids feel responsible for what happens and react so strongly in their efforts to protect Barry, though one wonders why they didn’t just tell the police, ‘hey, the Flash is hurt over at the cave!’  Ahh well, one way or the other, I’ll give this gentle-hearted tale 3.5 Minutemen.

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“Call It… Magic!”

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Hey, we get something different this month, a Zatanna backup!  I like this character in general, and though her concept is patently ridiculous, she still somehow works.  I think she works best in a setting like this, with a co-star, rather than holding down a story by herself.  Mystic types always need non-mystics to explain things to, after all.  I’ve read her original appearances from the Silver Age, where she guest-starred her way through the nascent DC Universe, and I’m wondering if this might be the start of a new set of such appearances.  Either way, I’m glad to see her, and although she and The Flash make for an odd pairing, this is an engaging little adventure.  It helps that Don Heck really does a wonderful job with the art chores for the backup, drawing a particularly fetching Zatanna.

This tale opens with one of Zatanna’s perennial magic shows, just as she is calling for a volunteer from the audience.  She picks out Barry Allen, who she of course knows is the Flash, just to tease her friend.  She promises to make him disappear with a kiss (look out Iris), yet when she she lays her lips on him, it is she who vanishes!  Where could she have gone?

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We jump across the barriers of time and space, watching as Zatanna is drawn through them as well, to discover that a sorcerer in a parallel dimension has summoned her to aid him in a desperate moment!  This wizard, named Namba, was attacked by by an old foe, a demon named Xarkon.  The nicely designed infernal foe takes control of Namba’s body, just as the Mistress of Magic arrives.

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She tries to use her magic to separate them, but the strain was too great.  It seems she cannot risk using her magic on the supernatural antagonist without hurting the magician she was summoned to help.  Meanwhile, Flash does not take her disappearance lightly.  He races home to his cosmic treadmill and homes in on the vibrations that he felt as the Mystic Maiden was sucked away from him.  I like the cosmic treadmill, as goofy of a concept as it is, as it just fits into the ‘world of wonder’ vibe that characterizes a good Flash story, just like a good Superman story.  Anyway, the Scarlet Speedster unfortunately arrives in hot water!

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The inhabitants of this strange world are now under the sway of Xarkon/Namba, and they attack the hero on sight.  The Fastest Man alive isn’t a pushover, though, and he quickly slips out of their grasp.  Then we get a nice little moment where he tries to communicate his peaceful intentions by creating a peace sign, which only scares his superstitious (probably justly so, seeing as they live in a world chock-full of magic) attackers.  The kicker is that Flash is a bit disappointed by this result, as “playing the Batman isn’t my role.”  That’s a cool little moment of characterization squeezed into the brief adventure.  The kind-natured, fair play minded Barry Allen doesn’t really enjoy scaring folks.  I like that.

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The story races (sorry!) to its conclusion as the Crimson Comet speeds in to challenge Xarkon, only to be waylaid by magic!  Fortunately, his presence provides the distraction, and inspiration, that Zatanna needs.  She breaks the spell on Namba…with a kiss!  It’s, honestly, a bit weird, and the justification weirder still.  Apparently Namba brought her to him because she was kissing Barry at the time, and a kiss is just what he needed…okay…some guys will go to any lengths to get a date!

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It’s a bit odd for a conclusion, and I can’t help but feel like it isn’t quite giving Zatanna the respect she deserves, especially as Namba “thanks” her with a kiss as well.  It seems vaguely sexist, but then again, it’s a comic book from 1970, so no big surprise there.  I like that we end with Barry helping the Mistress of Magic finish her trick with a little help from his own brand of super speed magic.

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In the end, this is a fun, though necessarily brief, backup.  I like seeing Zatanna, and even though Flash really doesn’t have any impact on the plot, I enjoyed his portion of the tale as well.  This was an unexpected surprise, and the art had a really nice quality to it that I can’t quite put my finger on.  I know that Zatanna is due to join the Justice League sometime soon, so it will be neat to see how that gets built up across the DCU.  It’s interesting how long it took her to become an established character.  She was introduced in 1964, and she had that set of stories, though I don’t think she showed up anywhere else for a while after that.  Here she is in 1970, but she won’t really “make it” until she joins the Justice League in 1973.  That’s a good nine years from her introduction to the point when she hit the big time, insofar as she ever has.  Well, I’ve wandered away from the story itself, which I will give an above average 3.5 Minutemen.

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Green Lantern/Green Arrow #77

Green_Lantern_Vol_2_77.jpgCover Artist: Neal Adams
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Frank Giacoia
Editor: Julius Schwartz

Ohh man, I wasn’t looking forward to this one.  Here we continue Denny O’Neil’s death-march into social relevance.  After the last issue being even worse than I remembered, I was pretty unenthusiastic about this month, but it was better than the previous one in some ways, yet, it was worse in the logic of the actual plot.  We still have  moments of teeth-grindingly bad characterization from Hal and self-righteous speechifying from Ollie, but there is perhaps less of each.  The art is, of course, beautiful, and the central action set-piece is really striking, but as one should expect from this series, subtlety and nuance are endangered species, nowhere to be found.

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The issue opens with our hard-traveling heroes winding through the mountains of some Appalachian town with their sightseeing Guardian in the back of the truck.  For some reason, the juxtaposition of that image cracks me up.  The trio starts taking fire from a group of locals who think they are working for someone unfortunately named “Slapper” Soames.  The heroes leap into action and pretty quickly disable their attackers.  Here we have one of those rather odd moments that this series provides in spades, as the locals don’t recognize either of these world famous superheroes.  I know they’re from a backwater town, but come on!  We also discover that Green Lantern’s ring is somehow malfunctioning.  Uh-oh!

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So, what in the blue blazes is going on here, with folks from this small town shooting at random passers-by?  Well, the short version is that this is a ‘company town,’ a mining town pretty much owned by a man named Slapper, and he runs it like his own little kingdom.  Honestly, I might turn villainous too if my name was ‘Slapper.’  These miners are sick of being oppressed, and they decided to revolt after a local singer/songwriter who spoke out against conditions got arrested for no good reason.  So, armed revolt was the only option instead of, you know, going to the feds or…almost anything else?  Yep, seems so, because in O’Neil’s corner of the DC Universe each and every inhabitant has his melodrama knob turned up to 11.

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The Green Team begins to debate what to do about this situation after they hear the miners’ tale of woe, and here we get this issue’s obligatory terrible moment of characterization for Green Lantern.  The townsfolk tell our heroes that this Slapper fellow is acting like a tyrannical monster, and Hal is so incredibly rigid and immature in his thinking that he immediately takes the bad guy’s side, just because he’s in charge.  I get it, O’Neil, Hal respects authority; sometimes that’s bad.  Yes, I understand, but he also isn’t a child.  He can tell the difference between someone in a complex social situation like the fat-cat from the last issue and someone who is effectively running a concentration camp!  At the least he should be willing to investigate the situation since, you know, he is a superhero and all.  Instead, he’s apparently willing to ignore this entire mess, including the band of armed citizens hiding in the hills.

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In case this scene wasn’t annoying enough just on account of Green Lantern’s naivety, Green Arrow immediately responds by invoking Godwin’s Law, yet again.  That’s two, O’Neil.  Yep, Ollie’s response is, ‘hey, Hitler was in charge too!’  Interestingly enough, in case you missed the subtle moral dilemma here, the Archer’s ridiculous comparison actually proves prophetic.

The pair decides to aid the miners, who plan to assault the local robber-baron’s headquarters to free the singer (is this what happened to Jason Quest?), only to discover that this headquarters is less ‘small town jail’ and more ‘fugitive fortress from D-Day.’  That’s right, this small-town robber-baron is holed up in a blockhouse surrounded by concertina wire, watch towers, and a minefield!  Sure, why not.

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All of a sudden, Green Arrow, who has fought against all kinds of terrible odds as a honest-to-goodness superhero, completely chickens out, right after his impassioned speech about helping these yokels.  He says their attack is going to be suicide, and he refuses to participate…despite the fact that he and the man with the magic-freaking-wishing ring could easily take down the small-town tyrant without anyone losing their lives.  In fact, perhaps they could, you know, do this themselves, since this is pretty much right in their bailiwick as superheroes, rather than help an angry mob take on armed soldiers.  No, instead, our heroic archer sits back and watches as men armed with shotguns and pitchforks charge a machine gun.  It’s only after they start dropping like flies, you know, because they are charging a machine gun, that he decides to get off his green-clad backside and help.  He fires a smoke arrow to cover their advance, which would have been great before several men had been shot.  Sorry Ollie, but you just lost the moral high ground from which you’ve been pontificating.

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Better late than never…except for all those men who are dead…

Before the attack actually begins, we do a quick check in with our antagonist and watch the Emerald Crusader charge his ring.  His inner monologue is really quite painful to read, evincing the moral sophistication of a particularly dim and immature 12 year old.  He even goes so far as to say he would have backed our clearly villainous villain in earlier days, just because the guy is in a position of authority, legitimate or not.

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I sympathize; justice is hard to weigh, but here’s a hint: it’s a pretty safe bet that the guys murdering innocents aren’t on the side of the angels…

Green Lantern gets involved, and his ring makes swift work of the defenses, until it shorts out on him again, and then we get a moment that irritated me quite a bit, almost as much as the infinitely more asinine moments that surrounded it.  The Emerald Gladiator gives a big speech about how he’ll have to rely on his fists, and this is what he’s been missing, finding out what he’s really made of…as a man!

That’s all well and good, except that he’s done this in practically every. single. issue. of his series for the last several dozen issues.  I can’t count how many times the Lantern would make a big to-do about not using the most powerful weapon in the universe so he could punch someone with his fist and prove he’s “a man.”  I’m quite certain of this, because the trope quickly began to gall me as it buried what made the concept fun and interesting in the first place.  So, yeah Hal, you’ve gone a whole three days without punching someone in the face!  You clearly need to prove yourself.  If that’s the case, you’ve got some really deep emotional problems.  When did this turn into a grim, naval-gazing postmodern comic where all the “heroes” are mentally ill?  Although…that would explain Hal’s apparent lack of a moral compass…

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This page is like a movie star, beautiful, but stupid.

Ahh well, I understand what O’Neil was trying to do, tying that moment into the whole ill-executed crisis of conscience that will haunt the character throughout this series, but in context of the book that existed just a few months ago, it rings false.  The idea is developed further as Hal realizes that the reason his ring has been failing is that he’s lost confidence, concentration, and clarity of purpose.  I actually like that move; it’s just a shame that the story doesn’t earn it.  In addition, the Guardian tells him that his fellows have decided to reduce his power while he’s on “walkabout.”  Thanks guys.  At this point, Hal is struck by gas rockets, which leaves him wandering wounded and out of the fight.

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Because, despite his ability to juggle multiple super powered heroes in JLA, this is the best way that O’Neil can manage to provide any dramatic tension at the climax of this tale when he’s got this mismatched pair of characters. Even de-powered, Green Lantern really shouldn’t’ have any trouble with random mooks with guns, and if he was allowed to continue his attack for another moment, the issue would be over.  It feels a bit forced.

On the plus side, we get a nice, if slightly heavy-handed scene with the vacationing Guardian saving a little girl.  He begins to wonder if he has underestimated humanity as the child’s helplessness moves him.  There is something of value here, as the immortal being of pure intellect begins to interact with beings of emotion, to slowly be reminded of a truth that we imagine his race once knew, perhaps when the universe was young.  He begins to realize that there is more to weighing and judging matters of justice than logic can entirely supply.  It’s a promising vein of storytelling, and I’m curious to see how well it is mined.  If memory serves, I was not particularly impressed with the treatment this idea received on my first reading, but we shall see.

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In the meantime, Green Lantern’s absence leads to the surviving rebels getting captured, along with the Emerald Archer.  It’s revealed that, surprise surprise, the bad guy’s thugs are actually Nazi war criminals, somehow smuggled into this small-town to work as muscle for this random robber-baron.  Sure.  That’s important, just in case you hadn’t gotten yet that this bad guy is, in fact, really bad.  Anyway, it is also revealed that the head rabble-rouser was actually the villain’s plant.  Slapper wanted to force the miners into a confrontation so he could break their spirits and keep them enslaved.  That’s not a bad twist, but the guy didn’t really get enough characterization for it to matter.

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Lantern and Arrow eventually recover, and they make quick work of Slapper and his bully-boys.  Rather fittingly, despite his (belated) heroics, Ollie is entirely ineffectual and quite doomed until Hal shows up.  The story concludes with the Emerald Archer throwing a big bucket of cold water on whatever happiness this ending might have supplied, as our heroes continue their journey in search of America.  It looks like next issue will feature some more biker movie rejects.  Oh joy.

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Well, I suppose I let my feelings about this issue come through pretty clearly already, probably too clearly!  It frustrated me at several points, and the ham-handed characterization, as well as the irrational story beats, really got on my nerves.  I think that the bones of this tale could have actually been an excellent plot for someone like The Question, Batman, or the classic Vigilante (I think that would have made for a great story!).  Unfortunately, as with many of the adventures that will populate the coming pages of this book, this one is simply not well-suited for its protagonist pairing.  The lack of attention to recent continuity, when even the fairly Silver Age-ish Flash is doing a better job, is surprising as well.  Hal’s continued stupidity is probably the worst element of the tale, though I think the heroes’ inexplicable inaction before the miners’ assault is a pretty close second.  In addition, there is less here that is valuable, conceptually, than the first issue.  I think the days of the Pinkertons beating up striking miners were pretty far gone, even in 1970, though I suppose I could be wrong.  It doesn’t have quite the weight, despite the much higher stakes, as the previous issue.  All-in-all, I’ll give this annoying story 1.5 Minutemen.
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The Head-Blow Headcount:

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And we have ANOTHER addition to the wall of shame this month.  Neither Batgirl nor Robin are coming off all that well in their backups.

 

Well, that’s it for this week’s issues.  Thanks for joining me, and please visit again when we’ll have JLA and other other goodies to peruse!  Let me note that this coming week is the last week of the semester, so I’m likely to be insanely busy.  The following week I’ll be presenting at a conference out of state, so please don’t fret if it takes me a bit of time to get to the next installment.  I promise I won’t forget it.  Until then, keep the course, Into the Bronze Age!