Into the Bronze Age: December 1971 (Part 3)

Welcome back to our voyage into the Bronze Age! Once again life has intervened and rather spectacularly ruined my plans for a quicker turn around on this little feature. Things have been difficult here in the Greylands, though I suppose that they are indeed difficult in most places these days. For those of you that pray, I’d appreciate your prayers. We are physically and materially okay, but we are feeling rather worn-down by life at the moment, and there may be more difficult challenges on our horizon. Here’s hoping that 2021 may yet bring us all brighter days.

However, when life gets you down, there are few better escapes than the wonderful world of superhero comics, especially this particularly exuberant variety from the Bronze Age, so let us see what strange marvels the next bit of this month holds for us!

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #95


Cover Artists: Neal Adams

“The Private War of Johnny Dune!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella

Editor: Julius Schwartz

“How He Began”: Dr. Mid-Nite
Writer: Charles Reizenstein
Artist: Stan Aschmeier

“The Origin of…Doctor Fate”
Writer: Gardner Fox
Artist: Howard Sherman

We’ve got a very interesting story to kick off this set of comics, a tale that wholeheartedly steers into the relevance push of the early Bronze Age, combining a number of different contemporary issues in its plot. The result is a story that is rather fascinating as a representative of its era, even if the plot itself leaves something to be desired. The tale has a solid, if unexceptional cover. Adams’ rendering of our titular antagonist, Johnny Dune, is colorful and interesting, even if he is just wearing “normal” clothes. Well….normal is a relative term in the 70s. Let’s just say that he’s not wearing a costume. The piece captures the basic idea of the conflict, with Johnny having hypnotized the League. I do enjoy the miniature figure of the Tiny Titan trotting along at his feet. It’s not the most exciting of covers, but it does its job and sets the stage reasonably well.

And the show that plays upon that stage begins, not with our titular antagonist Johnny himself, but with Batman and Aquaman preparing to teleport up to the JLA Satellite, only to be scooped up by Superman, who dramatically declares that he is trying to prevent their deaths! In a two-page spread that gives us a nice cross-section of the Satellite, he transports the heroes to their headquarters, and we discover that Flash, Green Lantern, and Hawkman disappeared in some type of teleporter disaster. Fortunately, the world’s greatest detective is on the case!

Meanwhile, we are introduced to the young man from the cover, Johnny Dune, a Vietnam veteran returning home to a country that doesn’t want him. We learn that he fought in several battles of that terrible war, eventually getting wounded and facing certain death at the hands of advancing North Vietnamese troops. In a moment of agony and anger, he cried out for them to stop, and strangely enough, they did. Thus Johnny Dune discovered that he was a mutant with the power to control people with his voice. Despite his newfound power, the young man finds nothing but closed doors and rather unnecessarily discouraging “No Help Wanted!” signs when he returns home. Really, I don’t think it’s necessary to advertise that you don’t have any jobs available. It’s usually the other way around. It’s also interesting that the comic uses the word “mutant”, as you don’t tend to see that term show up as often at DC, given its association with Marvel. Of course, at this point, the original X-Men title had been cancelled, and we were still years away from the beginning of Chris Claremont’s legendary run.

That’s…really not all that impressive…

Next, we jump forward in time and join Green Arrow and the Atom as they perform an exhibition for a youth event. And it turns out that they are the opening act for…Johnny Dune, who has become a successful musician. That’s a sharp turn! We jump back and see that the rising star had approached one of the city’s political bosses, wanting to run for mayor (man, there must be something in the air; everyone’s getting into politics in the DCU!). Johnny is dedicated to addressing the somewhat vague social problems plaguing the city, including poverty, drugs, and violence. He warns that the kids are restless and angry but promises that he can calm things down, thanks to his star power. The rocker offers to play free concerts to help cool the situation off, only to be betrayed by the wheelers and dealers afterward.

In revenge, Johnny uses his power to hypnotize his current crowd into following him, as he leads them, Pied Piper style, out of the city. When the Emerald Archer and the Six-Inch Super-Sleuth try to stop him, the would-be musical messiah sics his audience on them. The heroes hold their own for a while, but get taken out by one random big dude, the first of many unimpressive showings by our heroes in this issue. You know, Ollie getting his lumps from an average guy is one thing, but the Atom getting casually taken out by a backhand is something else. I suppose that’s often how his stories go, though. No-one can touch the shrinking superhero…until the plot requires it.

I do quite enjoy Ollie’s misplaced confidence here.

Well, our pummeled protagonists manage to get off a distress call, just as Batman has solved the mystery of their teammates’ disappearances.. The Dark Knight theorizes that the trio intercepted a Zeta-Beam and got zapped to Rann, a theory proven a moment later, as Green Lantern manages to contact the team with a distress call of his own. The team splits up, with Superman headed to space to succor the heroes on Rann, while Batman and Black Canary take the Batjet to aid their other allies. In a cool moment, Aquaman is the one who takes charge and makes the plan. Its coolness is counteracted, however, by the fact that he decides to stay on the Satellite and coordinate things….for no particular reason. This is the last time he shows up in the story. So, why was he included in the first place?

The Gotham Guardian and the Bird Lady parachute into the fray, immediately beset by Dune’s disciples. Fortunately for them, they are so focused on their fighting, that they resist his voice, but then he sics his captive heroes on them, and the new comers just…let their teammates pummel them. We get a line about how they can’t bring themselves to fight, but this isn’t a life and death matter yet, so that just seems like another cop-out. With all the Leagures lassoed, our generic Jimi Hendrix heads down the highway, his brainwashed followers behind him.

Yet, along the way, Dune begins to lose control, and some of the kids start wrecking fences. When the musician can’t stop them, he sends Green Arrow to deal with the troublemakers. At first the Ace Archer can’t resist his commands, but in a moment when his captor is distracted by the chaos, the hero seizes his chance. Stopping up his ears, Odysseus-style, the Battling Bowman use a “suction cup arrow” to shut the singer’s trap, then clobbers him. This breaks the spell, and the kids run wild. So the heroes….bravely beat up a bunch of teenagers…? Yep, and even more oddly, Friedrich’s overblown narration plays it as a moment of great heroism.

But none of this is what Johnny Dune wanted, so seeing the destruction his former disciples are dishing-out, he frees himself and commands the crowd to turn their anger on him, instead. They beat him to within an inch of his life, somehow exorcising their rage in the process, and then just wandering off. Friedrich gives us a fake-out then, with Dune supposedly dying, only to be revealed to have survived on the next page. Ohh, the suspense? Apparently the battering he suffered somehow removed his powers, and the League and the law just kind of let him wander off to pursue his political career, despite having kidnapped hundreds of people with his hypnotic voice. Man, the authorities in Generictown sure are forgiving!

So, this is quite a comic. “Touch-feely Friedrich” is writing in his usual style, so the melodrama is cranked up, especially in his narration. Despite that, the tale is full of fascinating elements, as Friedrich stretches and strains for as much relevance as he can cram into the pages. In fact, it’s over-full, positively stuffed with different concepts, all fighting for space. We start with a returning Vietnam veteran, something rare enough in comics of this era, but even more so, Friedrich includes a nod to the difficulties such soldiers faced when coming home, the lack of opportunity and cultural hostility that greeted them. Larry Hama and other (better) writers would later deal with these themes more successfully in the 80s, when the events weren’t quite so present and time, perhaps, allowed for greater clarity and perspective.

Nonetheless, this is a really interesting moment, something that we have not seen very often in this era. In general, it seems DC books were largely ignoring the war and its consequences at this point. Yet, it isn’t just the plight of the veterans that fills the pages of this issue, as we also have other social problems providing background for the ill-defined unrest of the youth, the rage and disaffection which were still reverberating through the culture. Interestingly, there’s no mention of the anti-war movement, which would have been a natural fit for Johnny’s origins and a focus for the otherwise directionless anger of the kids in this story. Friedrich introduces the issue of returning veterans, and then he immediately moves on from it.

That is indicative of one of the major problems with this issue, as it’s a rather jumbled and discordant mix of different elements. As the plot develops, none of the interesting components of Johnny’s backstory actually have any impact on the direction of the story, other than his power and the fact that he was a musician. His military background, his inability to find a job (which is, itself, immediately undercut by the fact that we jump to him as a famous rock star), or his involvement in a neighborhood gang. None of these facets of his origin seem to actually color who he becomes or the choices he makes in the end. We’re given an intriguing hint that he was twisted by his experience in Vietnam, having become inured to violence, but though he displays a willingness to hurt the Leaguers, we don’t really see that come into play, not even in his moment of crisis and self-sacrifice. That’s disappointing because there is a ton of potential in this story’s setup. Speaking of his grand gesture, that also feels a little underwhelming, as it just feels unnecessary. Why does he have to turn their rage against himself? Why does that free them? Because plot? To make matters worse, our heroes are wholly unimpressive throughout. After all, they really don’t do much, other than occasionally beat up some kids, and or get their heads handed to them by random civilians.

Interestingly, the popular and influential, though troubled Johnny Dune, seems to be based on Jimi Hendrix to some degree, especially in the flashy style of clothes he wears throughout the adventure. Friedrich mentions Hendrix by name in his narration, and the real-life star himself had died recently, in 1970. Interestingly, Hendrix himself had been in the army, though he was discharged before seeing active service.

On the art front, this issue is solid, but not exceptional. There are definitely some of those stiff and awkward poses that characterize Dillin’s work on the book, he also does some great storytelling, bringing a lot of personality to Johnny, and giving us some nice moments throughout. All-in-all, this comic is more interesting in premise than in practice. It’s a fairly underwhelming story that can’t quite seem to decide what it’s doing. It’s still an engaging read, and it is fun to see an obvious Jimi Hendrix proxy captivating the DC Universe. I’ll give this one 3 Minutemen, as it more or less breaks even.

P.S.: Another fascinating feature of this issue is that its letter column contains correspondence from not one, but two future comics professionals! That’s right, we’ve got letters from both Mark Gruenwald and future DC Answer Man, Bob Rozakis, which is pretty cool! As you’ll see, they had rather different opinions about the work DC in general, and Friedrich in particular, were doing. I suppose that’s why Gruenwald ended up working for Marvel! However, I have to say, I think the young curmudgeon has some pretty good points in his letter, especially about the disappointing lack of supervillains in these pages. I’m curious if his math is right. It sounds pretty accurate, and we certainly have seen more than our share of alien menaces in this book since we’ve started this project, haven’t we?


Mr. Miracle #5


“Murder Machine!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Mike Royer
Editor: Jack Kirby

“Young Scott Free”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Mike Royer

Boy Commandos: “The Invasion of America”
Writer: Jack Kirby
Penciler/Inker: Joe Simon

Well, if our Justice League story this month is a bit of a disappointment, the wonderful madness of Kirby’s Fourth World can make it up to us. In this issue, the King treats us to another delightful outing for the world’s only super-escape artist. It has a pretty good cover, continuing the pattern of our hapless hero being held helpless while being threatened by wonderfully exaggerated perils. The dangerous device isn’t as creative and outre as some of the previous entries, but I love the ridiculous variety of menaces it includes. There’s a missile labelled A-Bomb, as if you would need anything other than that, as well as a knife, an axe, and a flamethrower, which is helpfully labelled for our convenience. It’s entertainingly silly and excessive. As an added bonus, this cover is a pretty honest depiction of the devilish threat that awaits our hero within.

Our adventure begins with Big Barda, in her rather skimpy attire from the end of the last issue, performing her daily exercises to the delight of a group of workmen who have come to deliver a cannon for Scott Free’s act. In a fun and honestly funny scene, she puts all of the admiring apes to shame as she casually rips the massive cannon free from its lashings and tots it away on her shoulder. Kirby’s narration in this section, and really throughout the issue, is a bit weird and on the nose: “See Big Barda! See how she exercises! Big Barda is tough! Big Barda is incredibly strong! Big Barda comes from Apokolips!” Has he suddenly turned into Dr. Seuss? Despite that, the dialog for this opening scene is entertaining and natural….unfortunately, that doesn’t really last.

Yet, while Barda is making the menfolk feel inferior, we are introduced to Vermin Vundabar, the pint-sized Pinochet, who we learn has modeled his appearance and attitude after the rigorous military discipline and efficiency of the Prussian army of the 19th century. He’s been sent to Earth by Granny Goodness to kill Scott, and with the help of one of his henchmen, he’s testing a death trap. In a nicely effective scene, the trap backfires, injuring his minion, all while Vundabar coldly looks on. Then, he casually executes the fellow for having failed him! It’s a very effective introduction to the character, and Kirby puts a ton of personality into the little dictator in every panel.

Meanwhile, Scott and Oberon are trying out their newest act, which involves Mr. Miracle being strapped to a cannon as it fires! Man, ‘ol Scott doesn’t do things by half measures, doe she? But as they are occupied with their preparations, Barda is ambushed by some of Vundabar’s troops, and though she gives a good account of herself, she’s captured. Fortunately, Mr. Miracle is able to escape his bonds before he gets bisected by a cannonball, and he sets out to rescue the captured Female Fury.

Arriving at Vundabar’s headquarters, the heroic Houdini is greeted by a video of his antagonist before being trapped in a “titanium coffer” and locked into place on a conveyor belt of death! The coffer is then subjected to a host of horrible attacks, including battering, blasting, zapping, and finally…melting! Then, in a great moment, as Vundabar and his lackeys laugh and gloat about having caught and killed the world’s greatest escape artist, who should show up behind them but Mr. Miracle himself!

It’s a fun reveal, and he shares with them (and us) how he escaped by using his boot jets to cut through the floor and burrowed underground, which is a fairly satisfying explanation. Kirby specifically tells us that Vundabar’s cameras were focused on the front of the trap, so they didn’t pick up the hole in the conveyor belt. In another entertaining touch, while the gathered goons question him, Scott uses those same boot lasers to literally cut the floor out from under them. I’m not quite sure how that worked without them noticing, but it is a fun moment, so I’ll just roll with it. Our tale ends with Scott scooping up the weakened Barda and the pair flying off into the sunset.

This is an entertaining and thoroughly enjoyable issue. Kirby’s plotting is fun and action-packed, though his dialog and especially his narration is just plain odd in places. This is particularly noticeable in some of the unnecessarily vague and unclear descriptions of Apokolips. Despite that, there are moments of genuine humor and charm, and Kirby really seems to have a good sense of his characters. Vundabar is introduced well and given plenty of unique color and a strong personality. I love the way he doesn’t even bat an eye as his henchman literally explodes behind him. Of course, the premise is pretty wacky, but it works in the wild world of comics. Why would a New God from Apokolips model himself after Prussians from Earth? Because Earth is the center of the universe, apparently! I suppose since Darkseid is convinced that humans have the Anti-life Equation, it would make sense for his forces to turn their attention to our little orb.

Anyway, the central threat of the issue is visually interesting and exciting, and Scott’s escape is relatively satisfying. Kirby’s art is great and energetic throughout, but he also does an excellent job of capturing the emotion and personality of his characters, like Scott’s fear for Oberon while the hero himself is strapped to the cannon. I think we’re seeing the benefits of having a better inker. At any rate, I’ll give this enjoyable outing 4 Minutemen. As much fun as it is, it’s good, not great, with enough little flaws to keep it from a higher score.

P.S.: This issue had an odd little moment that confused and intrigued me, and I can’t quite decide how I feel about it. When Scott confronts Vundabar at the end, the villain accuses the hero of ‘cheating’ and using a technological trick to escape his trap. Mr. Miracle replies that “even in the ‘crunch’ I play it fair — and you know it!” So, this implies that Scott has access to technology and powers that he refuses to use out of some sense of fair play…when the forces of a personification of pure evil are trying to kill him… I find this simultaneously utterly stupid and tremendously entertaining. I love the idea of a hero who is having a good time with his adventures, perhaps who even pushes himself to excel by giving himself challenges within his adventure, like the cosmic race between Flash and Superman from World’s Finest. However, while I could absolutely see Mr. Miracle having such an attitude, I don’t know that it really makes sense for it to be applied to his conflict with Darkseid’s minions. After all, they represent a hellish reality for him, not merely a threat to life and limb. Either way, I’m intrigued by this element and curious if Kirby will develop it further.


The Phantom Stranger #16


“Image in Wax”
Writer: Len Wein
Penciler/Inker: Jim Aparo
Letterer: Jim Aparo
Editor: Joe Orlando

Cover Artist: Neal Adams

Mark Merlin: “Threat of the Horrible Hex”
Writer: Arnold Drake
Penciler/Inker: Mort Meskin

Doctor 13: “And the Corpse Cried, ‘Murder!'”
Writer: Len Wein
Penciler/Inker: Tony DeZuniga

In this month’s Phantom Stranger yarn we find an interesting if overstuffed tale of mystery and magic. All of that lies beneath a cover which is a very mixed bag. The background of wax figures is really excellent and striking, with the Phantom Stranger unobtrusively included in their number, his signature shadow stretching menacingly above. Yet, the central image of the old man in the wheelchair is rendered a little comical by the girl’s apparent terror, despite the monstrous hands reaching from ‘off-screen.’ It’s only half successful, I’d say, as the crippled figure of the old codger doesn’t really fit in with the heavy atmosphere of the rest of the piece.

Within, the oppressive feel of the cover is replicated in a dark and misty night, as a pair of punks tries to break into, of all things, a wax museum. Unfortunately for them, they are interrupted in the act by an apparently frail and helpless old man, and one scream later, they have been transformed into wax statues! This sequence was actually a bit confusing. Before we see the reveal of their fate, the old man, Tallow, dispatches two other shadowy figures to “find the girl!” On my first read, I naturally assumed that those were the former felons.

The next day finds a crowd attending the grand opening of the museum, which has a focus on the occult. Viewing the “Hall of Wizards” with the rest of the patrons is a certain Stranger who senses evil in the old house. Intrigued? Well, if so, too bad, because it’s going to be a quite a while before we follow up on that! Instead, that night, two men attack a woman on a deserted street, only to be interrupted by the Phantom Stranger, whose dialog has suddenly been turned up to 11 on the dramatic scale. I can’t quite decide if lines like “the powers of truth are a beacon in the darkness, far stronger than the shadows they dispel!” are cool or corny. Either way, after saving the girl, our mystery man discovers that she has lost her memory. After she is brought to a place of refuge and left with a promise of protection, she dreams strange and vivid dreams!

Falling through a very Aparo dream-scape reminiscent of some of the last of his Aquaman issues, she finds herself in a fantastic and ancient setting, where she is greeted as “Queen Dalia.” As she watches, the chief priest of this outlandish place declares that the stars declare that they, the wizards of their people, must go into hiding or be destroyed. Their only hope is a spell called “The Deathless Sleep” which will render them “as statues–waxen soulless parodies of life.” Do you see the connection? Well, hang on; it gets stranger! The chief priest, Tallow (!), declares that he will watch over their sleeping fellows, keeping himself alive by absorbing life forces from those that slumber. Yet, Dalia refuses to join him, not wanting to give up her life, and then she is suddenly rescued by the Phantom Stranger, who pulls her through the psychedelic dream space and back to the land of the waking in a cool sequence.

Think you’ve got a handle on the story? Well, hold on to your hat, because despite the fact that we’ve already got a haunted wax museum, an amnesiac girl, and a mysterious ancient civilization, Wein isn’t done tossing in elements just yet! After the nightmare, the Spectral Sleuth and his lovely charge go for a walk to clear her head, only to encounter an ardent and anxious young man named Ernie Drapper, who claims to be her fiance. He goes from distressed to dangerous at the drop of a hat, attacking the Phantom Stranger when the mysterious man tries to explain the situation. While they struggle, they are struck by a burst of dark energy, and when they recover, they discover the girl has been taken! A very tolerant and forgiving Stranger shrugs off Drapper’s attempt to murder him and takes the unstable fellow in search of his forgetful fiance.

Their search takes them to the wax museum, of course, where they are captured by wax figures come to life and brought before Tallow, who is indeed the long-lived chief priest from Dalia’s dream. We discover that she had escaped from her people, having stolen life force from another (!), and they have been seeking to recapture her. At this explanation, Drapper once more displays his disturbingly short temper and penchant for violence, breaking free and trying to burn the whole place down while they’re all still inside it. They rescue Dalia from the flames, but her respite proves short lived, as she melts away like wax once outside, confessing that she was one of these mysterious wizards in hiding, but that she did truly love him. The Phantom Stranger offers the grieving Drapper the rather unhelpful thought that he still has his memories, and then wanders off into the night, leaving the unstable young man weeping over his love’s smoldering remains.

Ooookay…..so, did you follow all that? If you’ve got questions, you’re not alone! I am left a bit befuddled. She tells us that her amnesia was self-induced, but she also says that she lied to Ernie…so….how much was the lie? Did she actually not know what she was, or was she only lying at the end when she said Tallow’s tale wasn’t true? I’m guessing it’s the latter, but this is all a bit confusing. This story is, like many of Wein’s during this run, just plain overstuffed with ideas. There is just too much going on here, and while it isn’t as incongruous and messy as some of Kanigher’s efforts on the book, it does definitely feel hurried and incomplete. We’ve got a lost society hidden in plain sight, which is an interesting idea, but we learn almost nothing about them, their culture, their origins, their objectives, or their motivations, other than preserving their people. We have the girl with amnesia and the mystery of her identity, but although we learn that she was part of this group, we learn almost nothing else about her. What was she doing living as a human? How long had she been on the run? She stole life force to make her escape; did she kill someone to do that? There’s a ton that could be done with these ideas, but Wein just rushes right through them, not taking any time to explore or develop any of these interesting elements. This should have been at least two issues, I’d say, with one perhaps unraveling the enigma of the girl’s identity, ending with the discovery that there was more to the mystery than meets the eye and leading in to the whole ‘secret wizard colony’ thing. Even in comics, that needs a bit more air to breathe.

The art, of course, is fantastic and atmospheric. Aparo creates moody, menacing mystery, mind-bending visions, and even great quiet moments with gusto and aplomb. He also includes some fun Easter eggs in the wax museum. Among the famed figures gathered in that macabre manse, sharp-eyed readers might spot the creepy Cain of House of Mystery fame, as well as Sargon the Sorcerer and, perhaps, the Time Trapper (though his costume is so nondescript, it could just be a generic robbed figure). I wonder if the fellow in colonial garb is someone too, but if so, I can’t place him. His Stranger looks particularly great, always in motion and wreathed in shadow, a striking, dynamic figure in any scene. It’s always interesting to me when this clearly supernatural entity suddenly seems human, like when the stunned Stranger is sprawled on the sidewalk, his hat knocked off his head. It further muddies the waters with just who or what he is. At any rate, the lovely art helps to elevate the rather flawed story, and the end result is a fun, though somewhat confusing and overfull tale that leaves you wishing Wein had picked just one element on which to focus. Still, though the individual components of the story are underdeveloped, Wein does give us a complete tale with a full emotional arc, however rushed. I’ll give it an average 3 Minutemen.


“And the Corpse Cried ‘Murder'”


Our backup is once again a tale of Dr. Thirteen, the Ghost-Breaker (which is, to be fair, an awesome nom de guerre). It begins with a couple on a mountain road witnessing the fiery crash of a car in an apparent suicide. Yet, later on, the good doctor receives an unexpected an unusual visitor in his study, a ghostly apparition who claims to be the spirit of a murdered man named Paul Williams. The interloper, who proves to be actually incorporeal, begs Dr. Thirteen to find his killer, and the intrigued investigator agrees, though he plans to expose the poltergeist as a plot!

He pays a visit to the “ghost’s” widow, who suggests that a disgruntled former employee of her husband, Ross Curran, might have hated him enough to kill him. Heading to the suspect’s house, the skeptical sleuth arrives in time to see the electrical technician apparently commit suicide after admitting that he killed his former boss. Yet, when the doctor examines the body, he finds that it is as cold as ice, as if it had been dead for hours. He also finds a thin film of dust over everything in the room, theorizing that there is a similar residue in his office. Suspecting that he’s being set up as a sucker, the Ghost-Breaker sets out to live up to his nickname.

Calling Mrs. Williams, he implies that he’s uncovered new evidence, and a while later, the supposedly spectral Paul Williams shows up, very much corporeal, and armed to boot! He admits that he and his wife faked his death, sending a derelict to a fiery fate in his place, and framing Curran for his murder, with the electrical wizard’s unwitting aid. Just as the murderer prepares to add another death to his doll, Dr. Thirteen triggers an illusion of his own, the same holographic technology that had created William’s ghostly “manifestation” and Curran’s “suicide”, images projected onto reflective particles floating in the air. William’s fires ineffectively, and the Ghost-Breaker wades in, only to lose the initiative a moment later. Just as Williams is about to kill the doubting detective, his would-be widow stumbles in, having caught one of the stray bullets he fired, leaving Dr. Thirteen to close the case in a more peaceful, if somber, fashion.

This is a really solid Dr. Thirteen tale. It’s got a good central mystery, wrapped in the appearance of a false enigma. It’s a clever twist on a familiar plot, with a private detective brought in to play unwitting patsy for a nefarious plot, providing an unimpeachable witness for a false reality. The pay-off requires science fiction technology, but for a story taking place in the DC Universe, that is pretty believable. Of course there would be realistic holograms floating around in that world. Thirteen himself is clever and resourceful, not really being taken in by the plot. In only 8 pages, Wein manages to deliver a complete and satisfying mystery, complete with a nice emotional beat at the end. DeZuniga’s art is pretty solid throughout, achieving some really nice effects with some of the holographic sequences. I’ll give this fine backup 3.5 Minutemen. It’s a good and intriguing read, and unlike the title tale, in this one, Wein makes excellent use of his limited space.


And that will do it for this delayed dose of Bronze Age brilliance! We’ve got a solid set of stories, all of them making for at least decent reads, and with a very diverse set of styles. I hope that y’all found them as interesting as I did, and that you’ll join me again (hopefully soon!) for another ed

Into the Bronze Age: December 1971 (Part 2)

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Detective Comics #413


Cover Artists: Neal Adams and Gaspar Saladino

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

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

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

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

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

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

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

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

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

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

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

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


“The Kingpin is Dead”


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

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

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

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


Flash #211


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

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

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

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

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

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

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

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

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

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

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

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


Is This Poison Legal?


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

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

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

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

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

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

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


Green Lantern/Green Arrow #87


Cover Artists: Neal Adams and Jack Adler

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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


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

Into the Bronze Age: October 1971 (Part 2)

DC-Style-Guide-1

Welcome to another edition of Into the Bronze Age!  The world seems quite intent on falling to pieces around us, but let’s take a little time to look back at a simpler era and a better class of comic.  The big news in this edition is the finale of the (in)famous GL/GA drug story, but we’ve got a couple of other interesting books to keep that one company.

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 #405
  • Adventure Comics #411
  • Detective Comics #416
  • Green Lantern/Green Arrow #86
  • Mr. Miracle #4
  • Phantom Strange #15
  • Superboy #178
  • Superman #243
  • Superman’s Girlfriend, Lois Lane #115
  • Superman’s Pal, Jimmy Olsen #142
  • Teen Titans #35

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


Green Lantern/Green Arrow #86


Green_Lantern_Vol_2_86

“They Say It’ll Kill Me… But They Won’t Say When”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

That’s right, at long last (longer because of my travels and distractions!) we come to the end of the GA/GL drug two-parter.  It’s a famous issue, and we examined why with the first one.  As we saw, these issues certainly deserve their iconic status, whatever flaws they may have, and I was surprised by how much better the first issue was than I remembered.  I was in for a similar shock with this story, which is a much more even-keeled offering than its predecessor.  We don’t have as many heavy-handed and goofy moments here as we did in the last one.  Even the cover has a touch more dignity…which is not to say it isn’t a bit over the top as well.  In fact, it is wonderfully, ridiculously melodramatic, especially with its bold tag-line.  I love Green Lantern’s ‘curse the heavens’ pose as well.  Still, it is effective, striking, and memorable, especially with the faces of the various drug victims making up the background.

Unfortunately, the touching image of Green Arrow carrying the fallen form of his ward isn’t quite what greets us inside, where things start off with a bang…or more accurately, a backhand.  Ollie follows up Roy’s dramatic confession from last issue with a smack to the face and a heavy dose of vitriol.  It’s a really stunning moment, and O’Neil hits us with it right out of the gate.  To see a hero, in his right mind, treat a faltering friend like this in 1971 was practically unprecedented.  It serve’s O’Neil’s purpose, immediately casting the Emerald Archer’s merciless dismissal of his surrogate son’s suffering in the worst light.  Unfortunately, he overplays his hand once more, and the result is a further stain on Ollie’s already fairly blackened character, though it is consistent with the strong views he evinced in the last issue.  It’s just an ugly moment, not helped by the fact that Roy isn’t at his most sympathetic after his weak story last issue.

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Speedy mocks his mentor for his violent response, hitting him with a major guilt trip, and Arrow throws the kid out.  Then we get a moment which ALMOST addresses some of the flaws of the previous story, as the Battling Bowman ponders the situation and points out that, even though he hadn’t paid his ward much attention lately, the kid shouldn’t have needed much at his age, being in college and all.  Then O’Neil once again turns Ollie’s jerk dial to 11, as, from that, he concludes that he is completely “innocent of blame,” which is a self-righteousness and self-deception that is breathtaking, even for O’Neil’s Green Arrow.  Still, in all of this melodrama, there is some realism.

After concluding that he’s father of the year after all, the Emerald Archer sets out to take revenge on the pushers who he blames instead, heading to the airfield where he previously traced their supply to pick the investigation back up.  Meanwhile the two junkies who betrayed our heroes last issue come to Ollie’s place looking for Speedy and, not finding him, decide to shoot up their reward.  The drugs are pure, and one of them overdoses in what is, admittedly, a pretty good scene, though Adams perhaps overdoes the revelation a bit.

Later, we find Hal Jordan still running through previous events, unable to shake the feeling that there is something wrong with Speedy, and when he heads to GA’s to check on the kid, he finds the junkie and begins his own investigation.  Ollie, for his part, turns the table on a guard at the airport who gets the drop on him and is sent into a trap for his troubles.  It’s a nice scene, emphasizing both his anger and his skill, that he’s still dangerous, even with a busted wing.

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In the meantime, the Emerald Gladiator finds Speedy passed out in an alley and discovers the truth.  They have an almost decent conversation, though O’Neil overdoes the youth’s rhetoric a bit.  The generation gap stuff he spouts is a little problematic given the fact that most of the members of the previous generation Roy knows are freaking paragons of virtue.  Nonetheless, Hal’s measured response and kindness is a very pleasant departure from his stupidity and naivete from early in the run.  The ring-slinger takes the kid to Dinah’s house for sanctuary.

On the docks, where the Battling Bowman has followed the guard’s tip into trouble, he finds the thugs he tangled with at the airport last issue.  We get a nice fight scene, with Arrow still holding his own, but it ends with him getting knocked out.  When he comes to, we meet the man behind the drug operation, a wealthy socialite named Saloman, whose massive yacht, stuffed full of important people, is just leaving.  He tells his men to dump the antagonistic archer into the drink as soon as he’s away.

green lantern 086 018Adams gives us a fantastic image of Ollie’s plight, as he’s tossed overboard tied to an anchor, but the hero manages to grab an acetylene arrow and cut through the chains, making a desperate and dramatic escape.  Just then, the Lantern arrives and disposes of the thugs with some green gorillas.  As they pursue the head honcho, Speedy is busy going through withdrawals, aided by Black Canary’s quiet compassion in another good sequence, improved by a lack of dialog.

In the Caribbean, Saloman Hooper visits his pharmaceutical lab, where he picks up a suitcase worth of dope (which doesn’t seem like enough to justify the scope of his operation), only to be caught in the act by the Green Team.  While Ollie takes out the mogul’s minion with a one-armed arrow shot (shades of Dark Knight Returns!), Hal tosses his friend his ring in order to deal with Hooper with his own two hands.  This is actually a pretty believable, satisfying moment, unlike the book’s tendency to have the Lantern just decide that he needs to use his fists to feel like a man.  He’s angry, and he takes it out on this privileged punk, but he has enough self control to do it ‘unofficially,’ so to speak, like a cop putting aside his badge to do something that needs doing but which falls outside of the law.  Notably, Arrow calls him on this afterward.

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The issue ends with the funeral of the junkie who overdosed, where Hal and Ollie are joined by Dinah and a recovered Roy.  Unfortunately, the newly clean Titan is in no mood to mend fences, and he lashes out at his former guardian, giving a speech about how people like him, who lack compassion, are contributing to the crisis that so many young people face.  As Speedy walks away from the closest thing to family that he has, Green Arrow finds himself proud that the boy has become a man.

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That final scene isn’t as heavy-handed as I remember, though the melodrama still sets my teeth on edge a bit.  What’s worse, it leaves the situation between our hero and his surrogate son unresolved and embittered.  That’s a shame, and this story’s consequences will be deep and long-felt.  On the whole though, this is actually quite a good issue, sensitive and perceptive, but also an engaging and exciting adventure, with some real, if sometimes discordant, character development to go with it.  Once again, the message of compassion and understanding towards drug addicts is powerful, and the theme of empathy, learning to see things from someone else’s perspective, is effective and an interesting continuation of O’Neil’s better efforts in this run.  I think the story itself would have been a bit more effective if we had met our villain a bit earlier, as he’s mostly just a convenient and morally acceptable punching bag, an outlet for outrage and despair.  Still, O’Neil manages to make the guy loathsome in very little space.  Roy’s sudden and complete recovery is more than a little silly, in regards to the reality of addiction, but I suppose allowances can be made for the medium.

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Adams’ art continues to be beautiful and compelling, really capturing the emotion and the power of the moments he portrays.  And yet, even with that focus on drama, he manages to give us some fun and funny moments, like with Ollie’s expression during his impromptu dive.  Once again, we see Adams’ power with a more intimate, personal story.  I just love his portrayal of Ollie.  Characters of that scale are really what he excels at, which is part of why his Batman run is so legendary.  All in all, this is a very good story, only slightly damaged by O’Neil’s excesses and his lack of forethought.  It is an important comic, culturally, and its themes and subject were incredibly groundbreaking in its time.  Heck, we’re still fighting some of these battles, and a story that reminds us of the humanity of those who are suffering is still relevant, perhaps moreso these days than in recent years.  I’ll give this milestone issue 4.5 Minutemen out of 5.  It isn’t perfect, but it really is a good one.

P.S.: To mark just how important his comic book was, it carries a copy of a letter from the Mayor of New York, commending the creative team for their work and pointing out the seriousness of the drug crisis.

 


Mister Miracle #4


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“The Closing Jaws of Death!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Editor: Jack Kirby

“The Romance of Rip Carter”
Writers: Jack Kirby and Joe Simon
Penciler: Jack Kirby
Inker: Joe Simon

“Jean Lafitte: ‘Pirate or Patriot?'”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Jack Kirby

We’ve got another marvel-packed issue of Mister Miracle here, and, as always, I was excited to read it, especially after the pulse-pounding excitement of last issue’s Paranoid-packed pandemonium.  Sadly, this one doesn’t quite live up to the thrill of the first half, though it does introduce us to a wonderful character and an important part of Scott Free’s supporting cast.  It’s got another great cover, like most of this series, though one wonders how our escape-artist hero gets from being locked in a trunk to tortured in a medieval dungeon.  The answer is, of course, Kirby madness.  Nonetheless, we get another death-defying scene in this cover, memorable and exciting, beautifully rendered by the King.

Inside, we don’t start with the miraculous one plummeting to his death, still locked in that suitcase, but back at his home, where a fretting Oberon finds himself with an uninvited guest.  A fierce and outlandishly armored warrior woman appears behind him, jarring the loyal fellow from his reverie rather violently.  She declares herself a friend of Scott Free and demands to know where he is, mentioning they both come from Apokolips.  When Oberon mentions Doctor Bedlam, the newly introduced Barda suddenly teleports after her friend, fearing for his life.

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Now we pick up where we left off, and Scott’s situation looks hopeless, but Barda appears in a flash of light and catches his suitcase in a feat of strength, casually ripping it apart, ropes and all, only to reveal that it is…empty!  Wonderfully, we don’t see how the eminent escape artist pulled off this trick just yet; instead, we see him perched on a balcony several floors up, where he is quickly swarmed by more crazed civilians.  They think he is a vampire and attempt to stake him, but Mr. Miracle is too slick for them, and eludes his pursuers in several fun pages, even sliding down the banister of the staircase like Errol Flynn.

mrmiracle-12Suddenly, he’s attacked by refugees from a Robin Hood picture, as a bunch of guys in medieval costumes capture the hero.  They drag him into a dungeon, which turns out to be a set in the Galaxy Broadcasting TV studio, conveniently located on this level.  Inside is a director, even nuttier than most, who directs his men to kill the interloper so that his death-throes can make for good television!  Despite his struggles, Scott is forced into an iron maiden, and all seems lost as the lid slams shut.  The whole scene is fun but utterly crazy.  It reads like a Fantastic Four issue from the era where Stan and Jack weren’t talking to each other and Stan was thrown into narrative gymnastics in an attempt to explain the bizarre and unrelated images Jack created as his imagination ran away with him.  However, this time, there’s nobody to blame for the sudden shift and strange explanation other than Kirby himself.  I guess he just wanted to draw an iron maiden, so he shoe-horned the setting in, logic be darned!

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Back in our original office-building setting, Barda is getting attacked herself.  She casually rips a stone column out of the lobby and tosses it onto a half dozen men, almost certainly crushing them all to death.  Despite Mr. Miracle’s insistence that she stay out of this so that his deal with Bedlam could be honored, she is worried, so she pursues her friend, smashing her way through the overly-excited extras in the process in a really nice panel.  Yet, when she pries open the torture device, it is empty, and Scott casually strolls up and greets her.  Once again, we don’t find out how he accomplished this yet, establishing a running joke in the issue.

The two press on, confronting the disembodied energy-form of their antagonist in another nice sequence.  Bedlam promises to unleash the entire fury of the building’s trapped inhabitants upon the pair, but the next thing we see is them teleport back home, greeting a worried Oberon and catching up.  The dialog in this section is pretty rough and stilted, especially when Scott awkwardly declares: “Maximum is the word for you, Barda!  I could never think of you without deep and genuine fondness.”  I know that line just makes the ladies swoon!  From the start, Barda and Oberon are sparring verbally which, despite the dull dialog, is still fun.  We learn that Barda helped her friend escape, but she didn’t go with him, and now she’s an officer in Darkseid’s Female Furies, as everyone helpfully spouts exposition.

In a fun little scene, Scott takes the domestic roll, preparing dinner for Barda, which is really striking in a comic from 1971.  That’s honestly somewhat groundbreaking.  I doubt you’d ever see Superman making dinner for Lois Lane!  It also establishes the unusual dynamic between these two characters.  As he works, the heroic homemaker reluctantly explains to his assistant how he escaped from the various traps he faced.  We’re introduced to the ‘multi-cube’, Scott’s multi-purpose escape tool, which will become a common feature of his stories, if I remember correctly.  Mr. Miracle used it to cut his way out of the trunk as it twisted in mid-air, which works pretty well as an explanation.

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Unfortunately, the other stories aren’t nearly as good.  He used a fast-acting acid on the back of the iron maiden and literally just stepped through it, which apparently no-body noticed.  Even more problematic, he literally presses the ‘off’ button on all of the panicked people in the tower, putting them to sleep with his multi-cube and just waltzing out the front door.  Okay……why not just do that in the first place?  That’s a pretty massively unsatisfying conclusion, which is a shame, because this is otherwise a really fun issue.  The yarn ends with Barda showing up for dinner, having changed out of her armor into something a tad more revealing, leaving Oberon picking his jaw up off the floor.

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This is a solid adventure, despite its glaring deus ex machina, though it is primarily worthwhile for introducing Big Barda, who will eventually become Scott’s partner and wife, creating one of the great comic relationships and partnerships.  Mr. Miracle without Barda is like Nick without Nora, and she is, even from this first appearance, a unique and interesting character, further credit to Kirby’s boundless creativity.  In addition, I absolutely love Scott’s laughing, devil-may-care attitude throughout the story, the extra element of flair and style to his antics, which really capture his personality and are part of why I love the character.  I also quite like the running gag of not explaining his escapes right away, however flawed the execution is here.  Hopefully Kirby will make better use of it in the future.

Art-wise, we’re seeing some rough panels again with this issue, and I think Colletta’s impact is still being felt.  On the plus side, it seems we get a new inker next issue!  Despite some weaknesses, especially with inking and coloring, there are some wonderful panels and some fun, dynamic sequences throughout.  Ultimately, I’m quite torn on the score.  This issue’s flaws are significant, especially the dialog and weak conclusion, but it is also a lot of fun.  I suppose I’ll be generous and go with 3.5 Minutemen, as the comic is carried along by the interest of Barda and the fun of Scott.

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The Phantom Stranger #15


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“The Iron Messiah”
Writer: Len Wein
Penciler/Inker: Jim Aparo
Colourist/Letterer: Jim Aparo
Editor: Joe Orlando
Cover Artist: Neal Adams

“I Battled for the Doom Stone”
Writer: Ed Herron
Penciler: Alex Toth
Inker: Alex Toth

“Satan’s Sextet”
Writer: Robert Kanigher
Penciler: Tony DeZuniga
Inker: Tony DeZuniga

“I Scout Earth’s Strangest Secrets”
Writer: Jack Miller
Penciler: Mort Meskin
Inker: Mort Meskin

What a wildly, wonderfully ridiculous cover image.  It’s gloriously strange and unusual and so very, very much something that could only happen in comics.  We’ve got an African witch doctor raising a zombie…but not just any zombie, a ROBO-zombie, complete with stainless-steel robo-zombie Afro, all while the shadow of the Phantom Stranger looms in the background.  It’s a thing of mad beauty, and I love it.  It’s beautifully illustrated by Adams, and it absolutely grabs your attention.  Could you honestly say you could see that image on the newsstand and NOT want to figure out what in the blue blazes is happening inside?  If so, I can only assume you’re an imagination-less wreck of a human being.

The story within doesn’t quite live up to the glory of the robo-zombie cover, but then, how could it?  It is an interesting and unusual one, though, and it begins, not with necromantic robotics (more’s the pity), but with a young African scientist named John Kweli, who is returning to his native country after having been educated in the West.  Suddenly, the train on which he’s traveling derails in a fiery crash, and the brilliant man would have died, if not for a Stranger pulling him from the wreckage.  Kewli awakens in the home of an old friend, Ororo (no, not that one).  She has treated his injuries, but she also bears bad news, his father, the tribal chief, has died.

John is prepared to come home and take over his responsibilities as chief, but he’s met with resentment for having gone away to be educated and built a life overseas.  His people feel like he abandoned them, including the lovely Ororo.  He also finds things greatly changed, with signs of unrest and oppression everywhere, barbed-wire and troops abound.  Ngumi, the village shaman also rejects John, promising that Chuma, the Warrior God, will free his people without the young man’s help.

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Ororo tells her friend about what has happened in his absence, that though their country has been liberated, they are now enslaved to the interests of big foreign business.  Driving away, John and Ororo encounter a lion and wreck their jeep.  The young scientist bravely prepares to sacrifice his life to lure the beast away, only to have the Phantom Stranger leap out of nowhere to tackle the feline fiend in magical fashion.

the phantom stranger (1969) 15 - 08

The next day, Kewli goes to visit Amos Trent, the oil company’s man on the ground, but Trent isn’t interested in his pleas or his threats, so the young scientist decides to take matters into his own hands, so of course he builds a robot.  Some time later, a group of soldiers who are abusing the villagers are scattered, not by John, but by “Chuma”, the Iron Messiah, the android John has used his scientific skill to build in order to rally his people.  Over the next weeks, Chuma trains the villagers in the ways of war, and Ngumi, the shaman is revealed as an agent of the oil company.

Unfortunately, even iron will can be bent by such a burden, and Chuma begins to develop human feelings…and human frailties.  He declares his love for Ororo, and when she rejects him, saying she loves his creator instead, the Iron Messiah rejects his role as savior and leaves the people to the fate.  It is here that the Phantom Stranger intervenes once again, convincing the automaton that the only way to prove he is a being with a soul is to choose to help his people, to be better than jealousy and spite.  Back at the village, the government troops have attacked, and John has rallied the people, but they are losing without the power of Chuma to inspire and aid them.

Chuma charges into the battle, turning the tide, but his help comes at a terrible cost, as he shoots his creator in the back in a fit of jealousy, only to be witnessed and called out by Ororo.  The people reject their Iron Messiah and destroy him, thanks again to the Phantom Stranger, who leaves, pondering the enigma that is life and giving a speech about not “tampering in God’s domain.

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It’s…a little abrupt, really, and rather grim.  These 14 pages pack a whole lot in, and Len Wein has a very interesting story to tell…I’m just not entirely sure he’s finished telling it.  We get a robot who develops human feelings, including hatred who turns on his creator, a full on Frankenstein, but it is also sharing space with a story about the exploitation of Africa.  There’s just too much in too little space.  Chuma literally goes from his creation to his renunciation of his purpose in three pages, and John, who has until then been our protagonist, almost drops out of the story at that point.  The Stranger’s attempt at a moral just feels extremely tacked on, though it certainly has potential.  In the end, what exactly was the point of the Stranger’s intervention?  Was it to free the natives from both the outsiders and from their superstitions?  Whatever it is, it needs more development.  The whole thing is cramped, but it is also intriguing in a number of ways.

It is really noteworthy that we have a story set in ‘darkest Africa’ where the natives are not portrayed as ignorant savages, despite their belief and hope in Chuma.  Even more, the natives are not rescued by a white outsider.  Instead, the hero is a black man, and a black scientist at that, who succeeds, not through brute force, but through intelligence and cleverness.  That’s still very much a rarity in any media in 1971, much more so in comics.  We also have another example of the depredations of faceless corporations, as the oil company is pretty unambiguously evil here.  That is a sign of things to come, I’d wager.

The whole tale is beautifully illustrated by Aparo, who is handling all of the art chores.  He gives us some really striking panels and pages, and the art has a nice sense of drama, especially with Chuma.  I’ll give this rushed, slightly muddled story 3 Minutemen, as its strengths and weaknesses somewhat even out.

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“Satan’s Sextet”


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If you thought robo-messiahs were strange, you ain’t seen nothing yet.  Our Dr. Thirteen backup this month is in the style that I think works best, with the good Doctor doing his ghost-breaking on his own, without tangling with the Stranger.  Nonetheless, this particular outing isn’t exactly a home run.  It begins promisingly and strangely enough, with a group of seemingly sinister musicians leading a line of dancers into the sea, where they presumably drown, only for the band to emerge later, still playing.  Later that night, Dr. Thirteen happens to be driving along the beach when he sees a ragged, raving figure stumble out of the surf.

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The man claims to be the wealthy Willard Wentworth, who has a home on the beach.  He hired “Satan’s Sextet” for a house party because he was lonely, but they hypnotized all of the guests and led them to a watery grave.  Wentworth isn’t sure how he escaped, but he stumbled out of the water sometime later, shaken and terrified.  Thirteen agrees to investigate, but when they return to the beach house, they find it packed with people, a party in full swing.  The owner claims not to know any of them and accuses the band of murder.  Dr. Thirteen insists they stay and continue their investigation (Maybe he just wants to party!), and the pair are given love-beads.

the phantom stranger (1969) 15 - 30

Suddenly, the band’s music becomes hypnotic, and they once more lead the party goers into the waves.  Thirteen is forced to follow, but his mind is working all the while, and he deduces that the beads are responsible, and he removes his and Wentworth’s necklaces.  Returning to the house, he overhears the convenient exposition by the bandleader, whose motives are…well, as prosaic as his methods are insane.

Apparently, he’s the millionaire’s disowned son, who got plastic surgery and planned this whole thing to kill his father so he could get his inheritance.  The beads had hallucinogens in them which were activated by the vibrations of the band’s music.  Ooookaaaay.  That’s pretty out there, even for comics.  Entertainingly, Thirteen overcomes the band with a massive mounted fish, and the police arrive to tidy things up.  Dr. Thirteen rides off into the sunrise, but not before laying some major guilt on Wentworth, pointing out that he must have really screwed up to raise a murderer!  Ouch!

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This is a fun concept that sadly doesn’t really deliver a good story.  The image of the Pied-Piper-esq murder is really neat and creepy, but the explanation and the motivations don’t live up to the cleverness of the gimmick.  I think this might have worked better as a Phantom Stranger story, with an actual supernatural explanation.  Nonetheless, it’s a decent enough read.  The sequence where Dr. Thirteen reasons his way to the solution to the mystery is quite solid, and it has a nice sense of suspense and stakes as he slowly drowns.  Tony DeZuninga’s art isn’t particularly impressive, but it does the job, though the inking is a bit overdone in some sections.  He tries to create a somewhat psychedelic feel to the band’s sections, and that is partially successful.  I’ll give the whole thing 2.5 Minutemen.

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And with those maudlin mysteries, this episode of Into the Bronze Age comes to a close!  It was a really interesting trio of books, flaws and all.  Thank you for joining me on this journey, and please come back soon for another edition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: July 1971 (Part 3)

DC-Style-Guide-2.jpg
Welcome to another edition of Into the Bronze Age!  In this post we’ve got old soldiers and new gods, plastic paradises and cosmic chaos.  It’s an interesting set of stories we have on tap today.  Join me as I work my way through them!

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 #402
  • Adventure Comics #408
  • Brave and the Bold #96
  • Detective Comics #413
  • Forever People #3
  • G.I. Combat #148
  • Green Lantern/Green Arrow #84
  • New Gods #3
  • Superboy #176
  • Superman #239 (Reprints, won’t be covered)
  • Superman #240
  • Superman’s Girlfriend, Lois Lane #111
  • Superman’s Pal, Jimmy Olsen #139
  • World’s Finest #202

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


G.I. Combat #148


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“The Gold-Plated General”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor: Joe Kubert

“Blind Bomber”
Writer: Hank Chapman
Penciler: Mort Drucker
Inker: Mort Drucker

“Cry Wolf Mission”
Writer: Bob Haney
Penciler: Russ Heath
Inker: Russ Heath

“Soften ‘Em Up”
Writer: Bob Haney
Penciler: Irv Novick
Inker: Irv Novick

“Battle Window”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert

This month’s Haunted Tank adventure is a fun one, featuring an unusual guest star, of sorts.  That figure standing astride the tank’s turret on the cover, six-guns gripped grimly in his hands, is probably a familiar one to history buffs.  The cover image itself is a pretty good one, though a bit crowded by copy.  It’s a nice, dramatic image, and beautifully rendered by Joe Kubert in his stark style.

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The crazily courageous general isn’t introduced right away inside.  Instead, we begin with our favorite Confederate ghost, who actually does something useful!  He spies Jeb and crew sleeping as danger approaches, and the general causes a chill wind to awaken them.  The tankers rush to the Stuart, only to have a German tank light up the night with explosive shells.  They’re almost wiped out, and burning debris falls onto the tank.  Crawling low, they manage to reach their vehicle, and they proceed to play possum in a burning coffin, waiting for the Panzer to get close enough to kill.  It’s a pretty great sequence.

 

They hold their nerves long enough and manage to scrag the enemy, but the next day, covered in soot and grime, they meet their new CEO, General Norton.  The tall, resplendent figure, with a gold helmet and gold-plated six-guns, is not impressed, and after calling the unit together, he tells them that they are facing professionals who fight, act, and look like soldiers.  Yet, he claims that the tankers look like amateurs, and he insists on spit and polish, saying they’ll fight better if they look better.  They’ll have more confidence and pride.  Jeb isn’t too sure, but his ghostly namesake agrees.  Of course, this General Norton is an ersatz version of George S. Patton, perhaps the most hard-charging American general in World War II.  He’s a fictionalized version of the great leader, but he has the twin six-guns and the hard-nosed demeanor.

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The affectionate note of the parody/tribute becomes clear as, just then, a flight of dive-bombers attack, sending all of the tankers scrambling for cover.  That is, they all seek cover except the general, who stands tall, firing his pistols defiantly.  Afterwards, still holding his smoking guns, he declares, “From now on we fight on our feet!  We don’t take it!  We dish it out!”  It’s a great moment.  The next day, shaved and cleaned up, the force moves out on a German position, taking heavy fire.  Suddenly, the barrage lightens up, and Jeb sees that General Norton has moved into the lead, drawing the fire of the defenders and leading from the front.

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His tank smashes through a building to flank the German anti-tank guns, and his men follow him in, routing the Nazi troops, another great sequence.  The position secured, one of the crew pipes up to ask if they can drop the spit and polish act now that the General himself is covered in the grime of battle.  Norton’s response is great: “No Corporal!  You see…I’m the general!”

 

This is a good, solid war yarn, with more of a sense of whimsy and fun than most of these.  The inclusion of a Patton parallel is a fun touch, and the character is fittingly larger than life, as was the man himself.  It’s also nice to see the ghostly general Stuart actually do something useful, though his contribution is very brief and very limited.  I’m still hoping we’ll see some stories that will take better advantage of the device he represents.  We are only a few issues away from a big change in the title, so we’ll see! Russ Heath continues to turn out really fantastic work on this book.  The sequence with the crew waiting it out in the burning tank is really fantastic.  If we can’t have Joe Kubert, then Russ Heath is definitely the next best thing.  I suppose this good all-around war yarn deserves 4 Minutemen.

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P.S.: Notably, with this issue, Joe Kubert started adding the famous “Make War no More” slogan on his war titles.  It’s possible it predates their appearance here, but this is the first time it showed up in this particular book.  This was Kubert’s and Kanigher’s effort to tell war stories without glorifying war, and it’s an interesting gesture.  The slogan is appended to every story within.  Obviously this change reflects the growing anti-war sentiments of the DC creators, which in turn reflects that of the nation itself., and we’re approaching the end of the Vietnam War, which was brought about in large part due to the loss of public support.

I’m not entirely sure how I feel about this move.  After all, you could see it as a bit disingenuous to keep telling the same stories but just slap a slogan on them and claim that squares things.  Many of the war tales DC published do, in fact, deal with the horrors of war rather than attempt to glorify it.  Yet, there are those that are a bit more ‘ra-ra,’ especially with the number of reprints in these books.  I suppose that the slogan was the team’s way of making the best of a difficult situation.  Their job was to tell war stories, but they themselves had become increasingly anti-war.  Either way, this new event rather nicely illustrates the cultural pressures coming to bear on the medium.

 


Green.Lantern/Green Arrow #84


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“Peril In Plastic”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Bernie Wrightson
Colourist: Cory Adams
Letterer: John Costanza
Editor: Julius Schwartz

We’ve got another issue of O’Neil’s Green Lantern, to which I was certainly not looking forward.  Fortunately, I was pleasantly surprised by it!  It’s a very strange issue in a lot of ways, and yet, it manages to be much more enjoyable than most of his run.  The cover is not particularly great, however.  The use of the real image in the background rather clashes with Adams’ colorful art.  The plight of our heroes does look pretty dire, but the effect is not entirely successful.  Interestingly enough, the photograph is actually of DC legend Carmine Infantino.  I’m not quite sure what that says.

The story in question begins where the last issue left off, where Hal carried a still crippled Carol Ferris into the (non) sunset, having revealed his identity to her.  The two spend the following weeks reconnecting and rekindling their love.  Adams gives us a half page that has a really neat design to tell the tale of their romance.  Yet, when Carol decides to go visit another specialist in the hopes an experimental procedure will restore her legs, she tells Hal that she must do this alone….for plot reasons.

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At loose ends and a bachelor again, Hal saunters on over to Ollie’s new apartment, which is a far cry from his former rich digs.  As the two friends chat about love and music in a charming scene, they hear a radio broadcast about explosions at a dam protecting Piper’s Dell that threaten to flood the town.  Suddenly, Hal realizes that this was Carol’s destination, and he zooms off to stem the tide!

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Hard to envision Hal as a fan of Dixieland…

At first, the Emerald Gladiator tries to use his ring simply to smother individual explosions, but he realizes that he’s only playing damage control, so he creates a magnet and sucks the bombs directly out of the structure.  Finally, he patches the crumbling edifice with mud, creating an emergency fix.

 

Exhausted by the effort, the Emerald Knight is none too pleased when the town’s mayor approaches him and insists on honoring the hero.  Showing Hal the town, the Mayor, Wilbur Palm, presents cookie-cutter houses and a pollution-spewing factory.  When I read this, my first thought was, ‘oh no, not another environmental sermon!’  But O’Neil actually has a more subtle and humorous game to play here, to his credit.

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The Mayor tells his guest that the factory makes strange little pins called Kalutas, which, every few minutes, tickle their wearers and puff out a whiff of perfume.  Hal’s face as he’s given one of these things is priceless.  Suddenly, the entire town shakes and an odd sound fills the air, but the Mayor simply says it’s the machinery in the factory.

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In a funny sequence, Palm drags Hal up onto a plastic stage, which breaks as soon as the Lantern puts his foot on it, and presents him with a plastic key to the city, which also breaks immediately, all while the ceremony is taped, lacking a live audience.  Finally sick of this strange place, the Green Gladiator tries to take off, only to find that he can’t focus.  Suddenly an army of suits, the Mayor’s ‘Executive Board,’ descend on the shaken hero, beating him mercilessly.  Just before he passes out, Hal summons the last of his will power and sends his ring to Green Arrow.

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Unfortunately, just as the most powerful weapon in the universe arrives, so does Black Canary, and who is going to notice a world-shattering wishing-ring when she’s in the room?  Sadly for Hal, Dinah has gotten her head back together, and she’s come back to town to visit Ollie.  The two head out for dinner, the ring still lying undiscovered in the apartment.  It’s a fun piece of irony.

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Meanwhile, the Lantern awakens to meet an old foe.  It seems that he’s fallen into the hands of…Black Hand?!?  That’s right, O’Neil gives us an honest-to-goodness supervillain for only the second time in his run, and it’s an interesting choice.  Apparently, Hand was masquerading as the mayor, all part of a plan by his corporate masters, who sprang him from prison to run their program.  Essentially, Piper’s Dell is a test case, an experiment.  It’s the company town taken to it’s logical extreme, with the populace not merely beholden to their corporate overlords but literally controlled by them.

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The townspeople are rendered pliable and suggestible by the constant irritations and distractions of the Kalutas, the poisons in the air, and the mind-numbing sounds of the factory.  The villain demonstrates by showing his captive footage of a townswoman being convinced that the hero had tried to destroy the dam rather than save it.  This was, of course, all part of the plan, and Carol was lured to town in order to trap the Lantern himself.  The lovers are reunited, only to be turned loose into a town that has been programed to hate them.

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While one couple fights for their lives, another fights each other.  Dinah and Ollie are having a spat because the bow-slinger fought with a drunk who was hitting on the Canary.  After the lovely Ms. Lance takes her leave, the Arrow finally discovers the ring and quickly sets out to rescue its owner, stopping on the way to charge it.  Now, I’m not 100% positive, but am I wrong, or couldn’t Ollie just slip the ring on and use it?  Either way, we get another funny scene as the newly poverty stricken hero uses his last $20 to rent a dinghy, unable to afford a speedboat, and begins to row.

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Hal and Carol have their own problems, however, as they are being pelted with plastic bricks (!) and chased by crazed townsfolk.  Pinned against the edge of the dam, the Lantern prepares for his last stand when, suddenly, a familiar voice tells him to freeze.  Green Arrow has arrived in the nick of time, and he makes an incredible shot, threading the needle to send the power ring back to its owners, his arrow passing through Hal’s fingers!

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The newly empowered Emerald Crusader makes short work of the mob and smashes into Black Hand’s headquarters.  Despite the villain’s resistance, the Lantern easily disposes of him by melting the plastic roof and entombing his foe in artificial materials.  The tale ends with the gathered friends walking through town and wondering what could possess people to trade their freedom and independence for the type of life that those in Piper’s Dell embraced, only for Ollie to wryly gesture to the Christmas shoppers eagerly snapping up plastic Christmas trees at a nearby store.

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This is a surprisingly good issue.  It’s off-beat, unusual, and more than a little silly, but it is clever and rather whimsical as well, which makes up for a lot.  The lighter tone rather lowers the stakes for the comic, meaning it doesn’t have to work as hard to earn its keep and achieve its aims.  Importantly, the characters are all a lot more likeable than they have been throughout the run so far, with both Hal and Ollie coming off as heroic, intelligent, and capable, which has certainly not always been the case.  The character moments really make this story shine.  The romantic interlude with Hal and Carol is touching and sweet, while the interactions between Ollie and Dinah are pretty darn funny.

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It was also nice to see an actual supervillain show up, and I have always had a bit of a soft spot for Black Hand, despite the fact that he was (in the classic setting) a bit of a goofball.  Sadly, he doesn’t give that great of a showing here, easily defeated as he is and lacking his signature weapon, much like Sinestro in his previous story.  That’s a shame, and it feels like a waste, especially because, despite appearances, Hand is actually a really good choice for this scheme.  He was a grifter and a shill, a smarmy punk with intelligence and zero empathy.  He’s a great choice to head this corporate brainwashing program.  The scheme itself, despite being a bit silly, is at least of respectable dimensions.  The unnamed corporate overlords plan to effectively conquer the world with this technique.  That’s a threat that is worthy of Green Lantern, at least in theory.

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O’Neil’s message here is an interesting one, and it is delivered with a fair amount of wit and charm.  Essentially, this is a critique of the growing disposable, artificial nature of American lives, filled as they are with so much plastic stuff.  It’s interesting to see this concept show up here because it is a common sentiment for old timers today, and I know I’ve heard my father lament “cheap Chinese junk” more than a few times.  In addition, there’s the related theme of people allowing themselves to be distracted by all of these things to the point that they blithely trade away their freedoms and their identities.  This is similar to one of O’Neil’s earlier stories, interestingly enough, in a Superman backup.  Of course, Adams’ art is fantastic throughout, and he does a particularly good job with the satirical elements of the story, portraying Hal’s befuddlement in the town.  His quiet character moments really shine.  I suppose I’ll give this unusual issue 4 Minutemen, despite its silliness.  The character moments lift it up to a higher level, and the fact that is is more satiric than preachy renders its foibles engaging rather than off-putting.

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Green.Lantern/Green Arrow #84


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“Death is the Black Racer!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

More glorious Fourth World madness awaits us in this next issue!  It is a pretty interesting one, introducing another of the zillion and one concepts that Kirby packed into his new mythos, but unfortunately it is one that never quite worked, the Black Racer.  This character seems to be an obvious attempt by Kirby to recapture the magic that conjured the Silver Surfer into existence, but in circumstances that he could control, and who could blame him?  The concept of the Silver Surfer is a pretty silly one, but somehow, it works, probably because of the beautiful simplicity of Kirby’s design.  The Black Racer is not quite so fortunate.  His design is fairly awful, with the garish red, blue, and yellow, the incongruous armor, the skies, and the ski-poles.  Personally, I think it’s the poles that put it over the top, but you could really take your pick, as none of those elements work all that well.

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The cover, for its part, is better than many of those we’ve seen from this set of books.  The photo-background isn’t as distracting as most of the others, and the color of the sky makes it less flat and boring.  The central figure of the racer, however goofy his look, is nicely rendered, and there is some drama to the composition.  Unfortunately, the ski-riding figure doesn’t have the dramatic visual impact of, say, Orion or Mr. Miracle.

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The story itself begins in grand fashion, with a high-stakes race through the cosmos, as Lightray flees from a mysterious figure on skis, the Black Racer.  The young New God tries everything he can think of to shake his implacable pursuer, but nothing works.  He filters his light powers through a giant, crystalline meteor to generate a beam of incredible heat, but his antagonist easily dodges it, matching the youth’s every move.

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ng03-10Meanwhile, on Earth Orion and his rescued human friends make plans to combat Darkseid’s terrestrial forces.  The various mortals each get a little characterization, and Kirby does a good job of developing them in a small space, but they remain largely unused.  As the Dog of War steps aside to put on some native clothes, he ponders his handsome visage, and we learn that Mother Box has reshaped his features to help him blend in on New Genesis and that his actual face is far more brutal and ugly than the one he shows to the world.  Orion, like his readers, wonders what this means about his origins.  It’s an intriguing scene.  His disguises, both guise and garments, in place, he rejoins his friends.

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Lightray, for his part, continues his desperate race, igniting a nascent star in his wake, but his pursuer still hangs grimly to his trail.  Finally, exhausted and distracted, the fiery youth smashes into a meteor and is trapped…until the mysterious Metron suddenly arrives, just in the nick of time, teleporting the Black Racer far away…to Earth!

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On that benighted globe, the Racer is quick to pick up new quarry, and he flies to the ghetto of Metropolis where he finds two gangsters involved in a shoot-out.  After one of the low-lives, Sugar-Man, kills his opponent, he notices that there was a witness to his crime.  An ex soldier, Sgt. Willie Walker, wounded in action in Vietnam and now paralyzed and speechless, lies helplessly in his bed while the thug prepares to kill him, just for good measure.  Suddenly, a gauntleted hand reaches out and blocks the gun, which explodes in Sugar-Man’s face.

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What follows is really striking, as the Racer steps casually through the wall, noting that he’s heard the wounded man’s silent pleas.  The strange figure offers Walker freedom and power, if he’ll just take his hand.  Unbelievably, the paralytic suddenly stands and speaks, and he finds his mysterious visitor’s armor empty on the floor.  When he dons it, he becomes the Black Racer and soars into the sky in search of new quarry.

 

Across town, Lincoln and Orion smash their way into an Intergang hideout, where the gangsters are preparing to plant a bomb for their Apokoliptian masters.  Sugar-Man is one of their hired killers, and the wounded criminal is dispatched with the device while his fellows try to hold off the heroes with their alien weaponry.  Yet, while Orion may be temporarily stymied, nothing stops the Black Racer, who follows the fleeing felon, triggering the bomb and sent it towards space (though a page later we’re told this was Orion with his Mother Box, which is a bit confusing; perhaps we’re meant to understand that the Racer just carries out what is already happening?).  Sugar-Man meets a rather noisy end in low orbit as the bomb goes off.

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The tale ends with Orion and his ally calling the police to take care of their captured gangsters while the Black Racer returns to Willie Walker’s room, becoming the paralyzed soldier once more just before his caretakers, his sister and her husband, come back.  They lament that they left the helpless man alone while a killer was on the loose, not knowing that he himself has become an embodiment of death.

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This is really a fascinating issue, despite the fact that it doesn’t entirely work, and some of its faults are pretty glaring.  Nonetheless, there is something special here.  The idea of introducing a cosmic personification of Death is certainly a fitting one for this setting, and in his way, the Racer fits well into the story Kirby is telling.  After all, the old pantheons always had their death gods, Anubis, Hades, Hela, and the rest.  It makes sense for the New Gods to be the same.  Still, in execution, the Black Racer is flawed as well as promising.  On the one hand, Kirby is adding some diversity to his new mythology, which, inspired by the Norse pantheon as it is, can certainly use it.  On the other hand, just like with Vykin, we’ve got yet another black character with ‘black’ in their name, as if we’d miss the subtle distinction otherwise.  We’re really past the point where creators should know better.  It is noteworthy that Kirby begins to introduce ghetto-based black characters at this point, right as the ‘blaxploitation‘ genre is taking off.’  Remember, it was this very month that saw the release of Shaft, which defined the genre.  Clearly, not only were racial issues in the zeitgeist, but so were stories of minority protagonists in their own settings.

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Silly sobriquets aside, Kirby is doing more than just introducing another celestial champion here, and it is the Racer’s other half that really resonates in this story.  The plight of Willie Walker brings a truly engaging human element to this cosmic drama.  His story is heartbreaking, yet like Daredevil before him, his disability is revealed not to be a bar to his freedom, but in this case the price is a strange and perilous one.  The setup is rich for development and story possibilities, though, if I recall correctly, that potential goes unrealized in the short life of this book.  Time will tell on that score.

On the art front, Kirby’s not at his best in this issue.  His work is often rough and uneven, and some of the big moments are a actually rather unattractive.  This is also true of his designs.  While the gangster character have some of that classic Kirby panache, the Racer is just a mess.  It is fun to see Orion playing Phillip Marlowe, complete with fedora and dark suit, though.  This is just a flawed treatment of a flawed concept, but both the issue and character it introduces have a certain amount of charm despite their failings.  I’ll give it 3.5 Minutemen, as despite rough art and a poor design, there is something worthwhile in the Black Racer and his debut issue.

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Interestingly, according to the Kirby Museum’s great article on New Gods #3, apparently DC was eager for characters that could be spun out of the King’s Fourth World should it prove a hit, so part of the insane productivity and fertility of these books is probably in response to pressure from the powers that be, as well as Kirby’s own desire to populate his own comic book universe.  He certainly had enough different concepts introduced in these books to furnish an entire comic line, from the Black Racer to Lonar the Wanderer (who we’ll meet eventually).  That certainly sheds a new light on some of the unusual narrative choices Kirby made in his Fourth World titles.

Well, whatever the case, we have run out of post!  Three more issues down, and entertaining reads all!  I hope that y’all enjoyed my commentary and will join me again soon for the next batch of books.  Until then, keep the Heroic Ideal alive, and try to stay ahead of the Black Racer!

 

Into the Bronze Age: May 1971 (Part 5)

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Welcome to another edition of Into the Bronze Age!  With the world apparently either burning or drowning, this seems like a perfect time to read stories about super beings and heroes.  In desperate times, some light-hearted adventure is often just what the doctor ordered!  We certainly have some interesting titles in this batch.  We’ve got one of the weirder Justice League issues I’ve ever read, but we also have some more epic Kirby goodness to cleanse the palate, as well as more of O’Neil’s interesting Superman run.

Hi-ho Bronze Age!  Away!

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 #400
  • Adventure Comics #406
  • Batman #231
  • Brave and Bold #95
  • Detective Comics #411
  • The Flash #206
  • Forever People #2
  • G.I. Combat #147
  • Green Lantern/Green Arrow #83
  • Justice League of America #89
  • New Gods #2
  • Superman #237
  • Superman’s Girlfriend, Lois Lane #110
  • World’s Finest #202

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


Justice League of America #89


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“The Most Dangerous Dreams of All!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

Okay guys.  Brace yourselves.  This is a weird one.  In fact, that doesn’t do it justice.  It’s just plain bizarre and…well…I’m afraid it is also just plain bad.  I love the JLA, and I can appreciate an experimental story, but what we have here is a failed experiment.  We start with an unusual cover, nicely drawn by Neal Adams, but rather uninspiring.  It claims the reader will have a chance to inhabit the role of Batman or Superman…what about Aquaman?  Anyway, inside, we begin with a JLA meeting, with Aquaman acting as chairman, which is mildly fun.  Sadly, this is the last semi-useful thing he will do in this issue.  The gathered Leaguers break up and head back out among the populace, dressed in some really swinging 70s fashions.

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Bruce Wayne thinks he’s cool with his ascot, but check out Aquaman’s duds!  That takes confidence!

Oddly, we suddenly cut to Mike Friedrich, a character in his own comic, who tells us that sometimes stories exert their own pressure and insist on being told.  O-okay?  We cut to LA, where Black Canary is apparently just walking around the street in costume for no particular reason, when she runs into the cleverly named ‘Harlequin Ellis.’  Those of you with a taste for science fiction and some background in its luminaries may well recognize both name and figure.

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That’s right, this guy is an homage to Harlan Ellison, famed fiery sci-fi writer for TV, movies, and print.  The comic character also happens to be a TV writer with a fiery personality, and he sets his sights on the Blonde Bombshell.  Another strange note here is that the narration is second person, inviting the reader to identify with Dinah, though that doesn’t last.

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They meet and there is an instant connection, as in, love at first sight, which is hokey enough on its own, but an established trope.  Add to that ‘ol ‘Touchy-Feely’ Friedrich’s narration, and the scene is rather cringe-inducing in saccharine tone.  The pair grab a cup of coffee and stare longingly into each other’s eyes until Green Arrow shows up and reacts about as well as you’d expect when he finds Ellis making time with his girl.  The writer laughs the situation off, but he offers a chance for Dinah to meet him if she wants to “dump this crude bozo.”  Here the narration switches to the standard omniscient third person.

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He’s really lucky the Ace Archer doesn’t turn him into a pin cushion…

Afterwards, we follow ‘Harlequin,’ back to his…home?  Office?  It’s unclear, but his secretary and some other guy are there, presumably people actually connected to the real Ellison, but they add pretty much nothing to the story.  The writer is deaf to their pleas, sitting at his typewriter, dreaming up stories concerning the JLA.

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Suddenly, Green Arrow and Black Canary find themselves transported to Mexico, where they find a curio store with a strange artifact.  When they touch it, they fade to black, and we cut to Superman, or, maybe Ellis imagining Superman?  Either way, at this point the narrative perspective shifts again, and suddenly we’re supposed to identify with Ellis, who is apparently creating real events with his imagination, fueled by his broken heart…somehow.  It is…confusing to say the least, and this artifact is never explained.

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Superman, guided by Ellis, spies Canary, who is no longer in Mexico, I guess, and swoops down to carry her away, speaking romantically, which confuses the heroine.  Then the Man of Steel spots the JLA, trapped in a cave by a cyclops, and he says he’s somehow responsible, presumably because Ellis has imagined all of this.  What’s worse, Aquaman is dying!  Super-Ellis charges the Cyclops, and, in a sequence with really heavy narration that drowns out the art, he overcomes the monster, only to arrive too late.  Aquaman is dead!

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Except, not really, of course.  The Metropolis Marvel suddenly turns into Harlequin, and the League vanishes, leaving the Emerald Archer and the Dynamic Dame back at the restaurant where they started.  Black Canary once again displays her ‘woman’s intuition’ powers and gets a sense of what’s happening, with a weird visualization of the ‘pit’ of despair that threatens to swallow Ellis, who is heartbroken over the rejection by the girl who he just met.

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Heading to club where he offered to meet Black Canary, his mind drifts again, and suddenly he is Batman, observing Green Arrow facing a ‘Minotaur,’ which is clearly a centaur, while the lovely Mrs. Lance looks on.  The unfortunate archer’s arrows are ineffective, and when Black Canary moves to intervene, Bat-Ellis jumps in to save her, using his cape to blind and defeat the beast.  Once again, he is revealed to be the writer, and the scene fades, but the Emerald Archer is still hurt.

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Summoning help, Dinah leaves Ollie to go meet Ellis, and we get another weird visualization of despair as she explains that her heart belongs to someone else…and apparently doesn’t bother to follow up on how this guy has incredibly potent reality warping powers.  She just lets him walk away, and the comic ends with another appearance by Friedrich, who builds on his earlier statement, talking about how he identifies with all of his characters.  It is a weird and not terribly clear or satisfying ending.

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Yikes!  This dialog!

So, this is one weird issue.  It’s got a strange, dream-like structure that is confusing and disjointed.  It’s trying so desperately for pathos and emotional weight, and it is just failing spectacularly in that regard.  This is clearly a personal project for Friedrich, a fan letter to Harlan Ellison, which is fine, but it just doesn’t work for the rest of us.  It is badly conceived, badly executed, and badly written.

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Friedrich tries several interesting tactics here, but none of them really work.  His structure, meant to evoke a certain stream-of-consciousness storytelling, leaves the readers unable to follow the plot (I’m still trying to figure out the magic artifact thing).  The narration is another failed idea.  Second person narration is traditionally used to place the reader in the story after a fashion, but he breaks whatever success that move could have had by switching characters multiple times.  While I’m sure it would have been neat to see the wink at Harlan Ellison during this era, whose name was showing up all over the place in the 60s and 70s, including on some story credits at Marvel around this time, the story is just a mess.  I’ll give it a sad 1.5 Minutemen.

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New Gods #2


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“O’Deadly Darkseid”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

Fortunately, we have another issue of Jack Kirby’s epic New Gods saga to make it up to us!  It has another photo-collage cover, though you can hardly tell, as the image is dominated by Orion’s tortured form.  That part of the composition is pretty great, but I think the three floating heads would have been better as just one figure, whether of Darkseid or his minions.  Either way, it’s something of a mixed bag.  When you open the book, however, the splash page more than makes up for it.  It’s a great image of the opposed worlds of Apokolips and New Genesis with a nicely written bit of narration that catches new readers up on the mythic origins of our tale.  I particularly like the description of Apokolips, with “its stark and functional temples–in which creatures of fury worship a creed of destruction!”  Not half bad!

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The story really begins with Highfather, who is communing once more with the Source, which tells him that it is time for more inhabitants of New Genesis to follow Orion to war.  The young Lightray begs to make the journey, but he is refused, while on Earth, the man in question makes a disturbing discovery, as he finds Darkseid waiting for him at the home of one of his new human allies.  The great villain sits impassively in a chair, and when Orion hesitates in his instinctive attack, the master of Apokolips taunts him with secret knowledge.  Then, from behind the door springs one of his minions, who attacks the Dog of War with a “shock-prod.”  Orion pushes through the pain and grapples his foe, eventually knocking him through the wall and sending him plummeting into the air, only for both Darkseid and his dance partner to disappear.

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The scene seems slightly…beneath Darkseid.  It isn’t quite grand enough, fitting more with a gangster film than a cosmic epic, with the single heavy hiding behind the door.  I think Kirby is still finding the right tone for the character, as I suspected might be the case.  After the fight, Orion’s five rescued companions introduce themselves, giving him an instant supporting cast.

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Now, as I remember, these five contribute almost nothing to this book, but we’ll see if my memory has been unkind to them.  They certainly don’t’ evince an excess of personality in this issue.  I assume the King wanted to provide a human perspective on the grand cosmic tale he’s telling, but I think a single human sidekick could have filled that function more easily than five of them.

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At any rate, the next scene follows the escaping Darkseid, who goes back to his hidden base and quickly displays his displeasure with his flunky’s failure.  There he finds Desaad, who is working on a device to trigger abject panic in its targets in the hopes of triggering the brainwaves for which they are searching.  After a successful test on the hapless workers nearby, Darkseid orders the device into action.

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That’s some glorious Kirby-tech!

Meanwhile, Orion uses his Mother Box to fill his newfound friends in on the conflict into which they’ve stumbled, and we get previews of some of the Apokoliptian threats that face the Earth, including Mantis and the Deep Six.  The fact that Kirby never had Aquaman encounter those aquatic aliens is a massively missed opportunity.  This section serves as a bit of a catchup, bringing readers up to speed on the current state of affairs across the 4th World books, including a glance at the Wild Area from Jimmy Olsen.

Show and Tell time is interrupted by the unleashing of the fear ray, which sends the city into a panic.  Orion dons his Astro Harness and rides to the rescue, and once again, I can’t help but feel like we’re probably missing some detail in some of these panels, thanks to Coletta.  Either way, our ferocious hero arrives at the source of the ray, a giant billboard, but it has defenses of its own.  He is blown out of the sky, but not before he blows it away in turn.  Orion manages to stop his careening fall with a blast of his ‘Astro-Force,’ saving himself and returning to his friends.  Darkseid, for his part, is disappointed at the lack of results, and in his dialog with Desaad we get yet more hints about Orion’s origins.

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This is a pretty good issue, though it is largely setup and catchup.  Still, it manages to provide us with a solid adventure tale and several moments of plot and character development.  In terms of the art, it is absolutely beautiful for the most part, and if Kirby’s work got a bit too cramped and rushed in this month’s Forever People, that is absolutely not the case in this book, where he gives us not one, not two, not three, but FIVE lovely full-page splashes, not counting a gorgeous double-page image of New Genesis.

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All of this eye candy robs us of some plot and action, leaving this issue feeling a bit thin, but it admirably serves its purpose of setting the stage for the adventures to follow.  There are still a few spots where Kirby’s pencils are a bit off, notably with Orion looking a bit funky in a few panels, but his dialog is, thankfully, missing that occasional clunkiness we’ve noticed in these books.  Taken on its own, this story is flawed but fun.  I’ll give this issue 3.5 Minutemen, with the art making up for the paucity of plot.

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Superman #237


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“Enemy of Earth”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Cover Artist: Neal Adams

Our final book for this post is another issue of Denny O’Neil’s Superman run.  So far, these comics have proven to be pretty solid, if a bit strange at times.  Let’s see how this one stacks up!  First off, we’ve got a really striking and unusual cover.  Adams has certainly rendered the bizarre mutations of the crowd well…but I’m not sure that the effect isn’t more comical than dramatic.  Either way, the cover certainly piques a reader’s interest.  The tale inside is a pretty solid adventure story, and there’s a certain amount of personality and wit that raise it above the average.  It begins in standard Superman fashion, with the Man of Steel racing to save a crashing plane.  Yet, the aircraft in question is an experimental device that has been up into space, and when the Kryptonian sets it down and rescues the pilot, he finds him hideously mutated!

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superman 237 0005After taking the unfortunate flyer to a hospital, where the doctors are completely stumped, the Man of Tomorrow reasons that the illness could be the result of an alien disease.  To ensure that he isn’t contaminated, Superman just takes a quick jaunt to the radiation belt to take a bath in deadly rays, as only Superman can.  This is a fun little scene, though there is a rare failure in Swan’s art as he can’t quite pull off an interesting illustration of the phenomena.  I would rather have liked to see what Kirby would have done with that!

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Returned to Earth, our hero changes into Clark, after which he is ambushed by Morgan Edge, who tries to give him a tongue lashing for not getting the story on the experimental ship, only to have Mr. Mild Mannered very politely but firmly let him know that the reporter was on the way to deliver that very scoop on the air.  It’s a brief but nice scene, giving Clark a chance to show some personality, which is too rare in these older stories.

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Yet, during the broadcast, the Kryptonian begins to feel weak, only to discover that the Sand creature that has been following him is nearby.  Turning back into the Metropolis Marvel, Superman confronts his dusty double, but his efforts to communicate are met with silence while an attempted touch is met with a burst of energy so powerful it knocks him through the roof!  Even worse, when the Action Ace regains his feet, he finds the Daily Planet staff have been affected by the same strange alien disease as the pilot!  It seems clear that the radiation bath was insufficient and Superman has infected them.  This leads us to a nice dilemma.

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Superman realizes that he’s responsible for this and that he’s a danger to everyone he’s around, but just then he hears a mayday from Lois, who is on assignment in South America.  Her plane is going down in an area being overrun by a horde of army ants that are consuming everything in their path.  O’Neil displays a bit of personality and cleverness in Superman’s exasperated reaction as he observes “that girl just can’t lead a normal life!”  It’s another small but enjoyable moment.

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After alerting the hospital, the Man of Tomorrow takes off for South America, still trailed by the Sand-man (no, not that one!).  Meanwhile, Lois’s plane has crashed, apparently because her moronic pilot forgot to put fuel in it!  This is a weird little detail.  What’s the point of it?  There’s no real payoff, and it just seems too stupid to be believable.  Nonetheless, that’s the explanation we’re given, and things get worse when bandits arrive!

Superman arrives to help, but when he lands amidst the marching army ants, two of them that touch him immediately grow to massive size and attack him.  After disposing of them, the hero discovers that one of them grew even further after he hit it, and he wonders why.  Disposing of the ants by throwing them into space, the Man of Steel faces a terrible choice.

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He’s seen first hand how dangerous his mere presence can be, infected as he is with the strange disease.  He wonders if he should head out into space, never to return, thus leaving Lois to her fate, or intervening and risking who knows what effects on Lois and perhaps even the microbes in the air itself.  Now, this is, even in context, a bit extreme given the existence of sources of help like the Green Lantern Corps., but we’ll give it a pass for the dramatic weight it achieves.

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Meanwhile, an ill-conceived bit of heroism leads to the pilot being knocked out and the bandits abandoning them both.  Lois tries to lug this albatross around her neck to safety, but he’s too heavy and the ants are too swift.  This leads to another really good moment, as the reporter contemplates just leaving the idiot, especially because this is his fault in the first place, but she decides she has to do the right thing, no matter the cost.  That’s a great character moment for her, and it reveals the type of woman Lois should be.

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Elsewhere, the doctors have cracked the case and cured the disease.  They send out broadcasts to let Superman know, but in some good dramatic irony, he is sitting in space, unable to hear.  Just then, the sand creature arrives, now somewhat colored after their contact.  Realizing that the energy explosion after their encounter was the reason one of his hands didn’t infect one of the ants, the Man of Steel takes a desperate chance, embracing the creature and triggering a tremendous blast that sends him hurtling earthward like a meteorite.

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superman 237 0029 - CopyHe lands with a tremendous impact near Lois, and though he is weakened, he is stills strong enough to carry her and her burden to safety, handily capturing the bandits in the process.  Just when it seems like everything is going to be alright, the sandy stranger arrives, finally able to talk after their latest contact, and the dusty doppelganger tells Superman that he is the Kryptonian’s exact equal, and he fears that they cannot both survive!  Dun dun DUN!!  That’s a pretty solid cliffhanger.

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This is a pretty good story, even if it isn’t outright fantastic.  We get a pretty great problem for our hero to solve, and it’s one for which all of his great strength is useless, and there are several small but entertaining moments that demonstrate a surprising amount of personality and even provide some character development.  One of the strengths of O’Neil’s run is his tendency to provide Superman with interesting moral dilemmas, where his abilities are secondary to the problem at hand.  It’s a good way to provide drama to a character as powerful as he is.  I’ll give this one 4 Minutemen.

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And that wraps us up for this post.  It’s certainly an interesting trio of books, and the JLA issue especially is something of a time-capsule, both for fashion and for culture.  Thank you for joining me in my journey through these classic comics!  I hope y’all will join me again soon for the last issues of the month.  In the meantime, stay dry and safe out there in the real world!  Here in the Grey household, our prayers are with those affected by the hurricanes, fires, and floods.  Until next time, keep the heroic spirit alive, and as part of that, try to find some way to help those that need it!

 

Into the Bronze Age: May 1971 (Part 4)

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Welcome back Internet travelers!  In belated honor of Jack Kirby’s 100th birthday last week, I’ve got a new post featuring some comic goodness, courtesy of the King!  As you might imagine, there are also plenty of features celebrating this event out there in the vast Internet ocean.  Check out a nice set of tributes on Kirby-Visions, a lovely biography of the King on The Kirby Effect, an affectionate tribute from the Fire and Water Podcast (Gallery), and a great cover gallery of the Master’s 70s work on Diversions of the Groovy Kind!  If you happen to be in New York, be sure to swing by the Kirby Museum for a celebration of the man, the myth, the legend, and his life and works.

So, let’s see what these books have in store for us!

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 #400
  • Adventure Comics #406
  • Batman #231
  • Brave and Bold #95
  • Detective Comics #411
  • The Flash #206
  • Forever People #2
  • G.I. Combat #147
  • Green Lantern/Green Arrow #83
  • Justice League of America #89
  • New Gods #2
  • Superman #237
  • Superman’s Girlfriend, Lois Lane #110
  • World’s Finest #202

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


Forever People #2


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“Super War!”
Writer: Jack Kirby
Pencilers: Jack Kirby and Al Plastino
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

We start this post off with the second issue of The Forever People, which has a rather uninspiring cover.  We’ve got a nice, dynamic Kirby figure on the front, as Mantis leaps out at us, but I really rather dislike photo-collages on covers.  They just look drab and ugly.  The black and white image, fuzzy from 70s printing limitations, just seems a mess, contrasting unpleasantly with the clean-lined characters.  The story inside, however, is more successful, giving us a more thorough introduction to our young heroes, and with no Superman to steal the spotlight this time.  The tale begins with the kids having apparently arrived right in the middle of a major intersection in a city, and their arrival provides quite a stir and quite a traffic jam.  The gang are all amused at the quaint ways of the humans and their slang, and after some hijinks where the youths are mistaken for hippies, they hop on the Super Cycle and ‘phase out,’ arriving in a nearly abandoned section of town.

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Meanwhile, we meet the villain of our piece, and not in the most impressive fashion.  Apokaliptian soldiers drag the Mighty Mantis from a cocoon and throw him before Darkseid.  For his part, Darkseid has suddenly snapped into focus, much more the character that would come to shake the very foundations of the DC Universe than the one we met last issue.  From his craggy features to his imperious manner and grand plans, this is our villain fully realized, which is nice to see.  I rather imagined it might take more time for Kirby to find his feet with him, and there may still be some adjusting.

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Yet, Darkseid is ever in charge, and he berates his cringing subject for his attempt to usurp power for himself.  It seems Mantis wanted to conquer Earth for himself, and, surprisingly, Darkseid agrees, just reminding his minion that he still answers to the master of Apokolips, who plays a more subtle game.  Mantis returns to his ‘power pod’ to continue gathering his strength.

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Meet one of the greatest villains in the history of comics.

Amidst the derelict buildings of their destination, the Forever People encounter a crippled young boy on crutches named Donnie, who is really excited to meet super beings like them.  His uncle, Willie, the watchman of the area, is somewhat less thrilled, however.  He threatens the group with a gun until Beautiful Dreamer uses her illusion powers to make him see them as clean-cut, normal kids.  There’s actually sort of an interesting note of social commentary as she says, “You used to know lots of kids like us!  Remember?  We never passed without saying ‘hello’!”  I imagine that there’s a note of wistfulness, a sad acknowledgement of the growing generation gap, and a wish for its healing, in that little statement.  One can easily see Kirby himself having known such kids and missing the world they inhabited, yet also still acknowledging that young folks weren’t bad just because they didn’t fit that mold.

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I don’t think naming yourself ‘Beautiful Dreamer’ is going to help your case, girl.

At any rate, as Willie invites the youths to stay with him, night falls over the city (we haven’t been told which city), and Mantis emerges from his pod in a very vampire-esque sequence.  His powers at their zenith, he blasts his way out of the tunnels that have sheltered him and begins an attack on the city.

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Our young heroes are busy scouring the abandoned apartments for furniture to furnish their new pads, and young Donnie is introduced to Serafin’s ‘Cosmic Cartridges,’ which lead to a pretty cool psychedelic scene when the boy touches one.  It’s a nice moment of Kirby Cosmic, and it is really a dose of something new at DC, with lots of potential imaginative power.  Their tete-a-tete is interrupted when they see a news broadcast of Mantis’s rampage, and the Forever People quickly rush to summon the Infinity Man!

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The mysterious champion from beyond the realm of the natural laws confronts Mantis, who is fighting with the city’s police, lobbing charged objects at them like a more garishly garbed Gambit.

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Infinity Man belts the perilously powered villain, but Mantis responds by encasing his foe in a block of ice “which can hold giant worlds in the grip of icy death!”  Meanwhile, Darkseid and Desaad observe the situation, with the sinister scientist measuring the rising fear within the city in the hopes that it will stimulate the mind of the one who possesses the Anti-Life Equation!

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Mantis continues to run amuck, creating flowing streams of magma and reveling in destruction, but the Infinity Man doesn’t play by the normal rules of physics.  He uses his strange powers to molecularly disassemble his icy tomb in a scene with a cool concept but rather poor execution, for which I’m fairly certain we can at least partially blame the inks.

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Freed, the hero attacks the Apokalyptian would-be conqueror once more, striking him with a beam that destabilizes Mantis’s powers, causing him to vent his stored energies uncontrollably.  The defeated felon flees into hiding once more, and the Infinity Man summons the Forever People back to Earth and disappears into the ether.  The comic ends with Darkseid dispassionately regarding Mantis’s failure and making his inscrutable plans.

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This is a pretty solid second issue.  We get to learn a bit more about all of our young heroes, and once more I’m struck with how good a job the King is doing with their characterization in relatively small space.  There is a lot of personality on display in their pages, from the boisterous good humor of Big Bear to Serafan’s wide-eyed fascination with human culture.  Yet, we still don’t see the kids do much of anything.  even the Planeteers tended to be more useful than these five.  They summon the Infinity Man right away, and he provides a fairly impressive showing.  The fight with Mantis is pretty exciting, and Kirby makes it fairly creative and entertaining.

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fp02-26Sadly, one of the real weaknesses of the issue is the art, which I really didn’t expect.  I’m fairly certain we’re seeing the consequences of having Vinnie Colleta inking all of Kirby’s books.  There is a lot of heavy inking, lost detail, and empty backgrounds.  There are some muddy, ugly panels as well.  Of course, the King’s pencils are not at their best here either, and the really striking moments often share space with some slightly awkward panels, like Mantis’s strange flight pattern during the fight.  When the art is good, it’s great, but when it’s bad, the contrast is quite telling.  Still, there are some wonderful moments throughout.

Notably, Kirby’s attempt at creating unique speech patterns for his New Gods is on full display here, and it is partially successful.  The kids strike a mostly enjoyable balance, providing an ‘outsider’ perspective on human culture with almost-hip dialog that isn’t quite recognizable, but Infinity Man and Mantis are a little odder, overly-written and a bit off-putting at times.  The final result is a fun, enjoyable issue that continues to unfold the mysteries of the cosmic epic Kirby is weaving, and it’s certainly worth a read.  I’ll give it 3.5 Minutemen.

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G.I. Combat #147


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“Rebel Tank”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor: Joe Kubert

“Sniper’s Roost”
Writer: Bob Haney
Penciler: Mort Drucker
Inker: Mort Drucker
Editor: Robert Kanigher

“Tin Pot Listening Post!”
Writer: Bob Haney
Penciler: Jerry Grandenetti
Inker: Jerry Grandenetti

“Broomstick Pilot”
Writer: Ed Herron
Penciler: John Severin
Inker: John Severin

“Battle Window”
Writer: Robert Kanigher
Penciler: Ross Andru
Inker: Mike Esposito

“Target for an Ammo Boy”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert

You sure got a lot of story for your quarter in these old books.  Just look at all of those war yarns packed into this comic!  Anyway, they all lie under a decently dramatic cover, the classic perilous situation cliffhanger, and the Haunted Tank tale it represents is a fair one, though it has some elements that sit somewhat uneasily with me in light of recent events in the U.S.  It starts with Jeb and his crew being left behind by their C.O., who gets knocked out defending a bridge.  The Haunted Tank rides to the rescue in a wonderfully dramatic sequence full of action and explosions, two important ingredients in awesomeness.  Jeb brings his tank in through cover, and they manage to knock out the remaining enemy armor, destroying the bridge in the process.

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Mortally wounded, their C.O. dies in Jeb’s arms, and once again, the art proves the power of the comic format, as Heath packs a lot of emotion into a single panel.  Afterwards, the ghostly General Stuart visits his namesake to provide yet more enigmatic advice.  He tells his charge that the tank will soon be fighting on his side, which is strange, seeing as the Civil War (which J.E.B. points out the Confederates called ‘The War Between the States’) ended a hundred years before.  He warns that some Southerners are still fighting it.

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When the crew returns to base, they encounter their new commanding officer, who is named Major Bragg, a rather ill-tempered Southerner who gives my folks a bad name.  The Major wears a Confederate forage cap, and he is very upset to learn that Jeb shares the name of the famous rebel general.  Essentially, this whole story is a reprise of #141, with Jeb being given grief for his name, but under combat conditions instead of training.  Bragg, who is still bitter about the whole Appomattox thing, relegates Jeb and his men to courier duty, refusing to let them fight unless the lieutenant backs down about his name.  Things get tense, and Jeb’s crew find themselves slugging it out with hecklers to defend their honor.

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One day, a supply run for the armored column (and using a light tank to carry ammo seems a bit…odd) leads the Stuart to a mountaintop fortress which has knocked out the rest of their tanks.  Even the Major was stopped cold in his assault, but, despite his orders to pull back and not engage, Jeb takes his tank into the teeth of the enemy position.  He uses his lighter vehicle to flank the fortress, and they manage to destroy the edifice.

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Finally, they have earned Major Bragg’s respect, and he admits that Jeb is worthy of the name, saying “You’re a rebel at heart [..] a Johnny Reb in a Damn-Yankee uniform!”  That made me chuckle.  There’s an old joke where I come from about people growing up and realizing that ‘Damn-Yankee’ happens to be two words, just some light-hearted regionalism.

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So, this is a fine little story, with some really nice looking action, especially in the first part, but it is a bit repetitive in its theme. Bragg isn’t really that much of a character, having only one real note, so he isn’t all that interesting.  Incidentally, I wonder if his name is a reference to the famously prickly and unlikeable Confederate general Braxton Bragg, whose name is significantly more awesome than he was.  Either way, the comic Bragg, like his possible namesake, is not exactly an electrifying presence.  On the positive side, I do enjoy the camaraderie of the tank crew that we see, with them standing up for each other, even against their fellows.  I suppose, all things considered, I’ll give this one a solid 3 Minutemen.

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Green Lantern/Green Arrow #83


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“And A Child Shall Destroy Them!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

Time for another dose of naval-gazing ‘adventure’ with the Green Team.  Yay?  I’ll admit, I’m really not enjoying this series.  I’m rather dreading that some of the darkest days are still before us.  I’m afraid this particular issue is not a high point, though it does reintroduce a character who is very important to the Lantern’s mythos, which is worth something.  The book has a standard ‘looming shadow’ cover, and as is often the case, this one is something of a cheat.  It’s not a particularly exciting image, and it’s got cover dialog, of which I’m rarely a fan.  I’d say the biggest weakness is the presence of the rather unintimidating looking character, Grandy.  While his being there fits the story, it takes away from the menace of the scene.

The tale inside begins with a scene from a month ago, where that same fellow from the cover is walking with a young girl when he bumps into a dark haired woman.  The man asks the girl to punish the woman for not apologizing, and the child’s eyes glow.  Suddenly the woman drops to the ground in agony.  Creepy!

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In the ‘present,’ our hard traveling heroes have showed up at the ‘Meadowhill School,’ escorting Dinah Lance to her new job as a P.E. teacher at the girl’s school.  One wonders what kinds of credentials she could have produced for such a job in her secret identity.  Also, what happened to the flower shop?  O’Neil gives us some attempts at character development, with the lovely Mrs. Lance talking about how she’s felt useless and lost and hopes to do something productive by working with children.  What?  Saving the world with the JLA isn’t fulfilling enough?  I think you might have issues, lady!

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It fits in vaguely with the uncertain direction O’Neil has taken the character down in this book, but it’s still obvious that this is we’re moving at the speed of plot.  As they approach the school, O’Neil takes a page from Stan Lee, and he has Dinah employ that very special superpower that all females have in such stories, woman’s intuition.  She gets a sense of dread, and suddenly they are attacked by a mad flock of birds.

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The Green Team shifts into fighting togs, and the Emerald Archer uses a sonic arrow to scatter the foul fowl.  Just then, a tree branch falls right on top of Ollie, but he is saved at the last minute by Hal’s quick action.  Then, once again illustrating the ridiculous missmatch in power between the two, as the Emerald Crusader gathers the birds up and sends them ten miles away with a thought.  Yep, good thing you and your bow were here, Green Arrow.

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Then, continuing to display the brilliant and exacting attention to detail that we’ve been observing in this run, the heroes just stroll up to the school in full costume, with Dinah still in civies.  That won’t endanger the ‘ol secret identities at all.  ‘Hey, I wonder if that woman hanging out with Green Lantern and Green Arrow might have something in common with that superheroine who also hangs out with them?  Nah!’  In a mildly clever touch, they hang a lantern on the inspiration for this story, with the characters referencing Alfred Hitchcock and The Birds.

At the school, they meet the owner and headmaster, Jason Belmore, who, long-time readers of the series may remember was the fiance of Carol Ferris, the excuse for putting her on a bus in the book.  Of course, it makes no real sense for him to be running a girl’s school, but add that to the list of plot conveniences in this tale.  Belmore immediately insists the heroes leave, without expressing the slightest curiosity about why Dinah is palling around with Justice Leaguers.  Strangely, after this is done, the nervous headmaster turns to the cook and seeks his approval.  The cook, the same fellow from the opening scene, sics the same little girl on our heroes.

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Meanwhile, the Lantern spots a figure by their car, only to discover that it is Carol Ferris, though she is bound to a wheelchair.  She asks to be taken away with them, and the trio drive off, with Hal’s former flame asking for help for her current fiance, who is living in fear (awkward!).  Yet, as they drive, the car begins to come apart, and it careens off of a cliff, with only the Emerald Gladiator’s ring saving them.  It’s a nice looking sequence, especially when the Lantern summons a power-ringed Pegasus to carry the trio.  It’s a wonderful image, beautifully rendered by Adams.  Sadly, it’s the only magnificent moment in the book.

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When they land in an abandoned barn to seek shelter from a sudden rainstorm, Carol wonders about the Lantern’s new limitations, and he begins to talk about his loss of confidence.  Taken on its own terms, its’ a touching scene, and Adams does a heck of a job rendering the care and weariness on Hal’s face as he talks.  In the context of the series, it is undercut by the problems with the earlier stories that brought him to this point.  Continuity is a double-edged sword, after all.

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Back at the school, Dinah dismisses her class a bit early, which angers Grandy, who threatens her in really creepy fashion.  The canny Canary realizes something is up, so she slips into costume, once again again flagrantly endangering her identity.  ‘I wonder if the tall statuesque blonde has anything in common with the tall, statuesque brunette who is the only other woman here?’

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green lantern 083 015Prowling the halls, she is discovered by Belmore and Grandy, who attack her, but she easily handles them until the little girl, Sybil, uses her powers to cripple the Canary.  Then, unsurprisingly, Grandy removes her wig and discovers her identity.  Wow.  Who could have ever seen that coming?  Notably, O’Neil includes a moment where the Blonde Bombshell reflects that she’s enjoying the violence and notes that she needs to be careful about that, which is interesting, but it’s still presented in the nonsensical context of Dinah ‘hating violence.’

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The cruel cook orders the frightened children to haul her to the basement, where he explains that he found Sybil wandering in the woods, and now she enforces his will.  He plans to murder Dinah by proxy, so he stirs up a wasps nest and locks her in.  She claims the door is too sturdy to break down, but she apparently conveniently forgets about the fact that she has a super powerful ‘Canary Cry.’  Add it to the list.  Unable to think of anything better, the heroine hunkers down and hopes to survive.

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The Green Team returns to the school, but when they encounter Grandy, he sics Sibyl on them again, crippling them both with pain.  Ollie hears Dinah’s scream from below and struggles to his knees, fighting against the agony and loosing a flash-bang-like arrow that disables the creepy kid.  They race to the basement and rescue Dinah, though she is hurt.  The Emerald Archer wants to tear the cook apart, but the Lantern insists that, because he was responsible for crippling Carol, the fight was his.

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It sort of is at that, Ollie…

When Grandy is confronted, he demands that Sibyl punish Green Lantern, only for her to speak for the first time and refuse.  She is tired of hurting people, but the vicious fellow slaps her and tells her to “obey.”  With tears in her eyes, she agrees, only to bring the roof down on them.  And Hal apparently just watches.

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Seriously, the whole building collapses, and they get everyone else out, but Green Lantern seems to just let that little girl die.  Ollie asks his friend if he could have saved her, and his response, “I’ll live with that question the rest of my life” isn’t much of an answer at all.  It’s a weird, unhappy moment.  Yet, the story ends on a different note.  Hal approaches Carol and tells her that he was foolish and prideful, insisting that she love him on his own terms.

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He removes his mask (in public, let’s not forget, with lots of other people standing around), and reveals his identity, telling her he’s realized what really matters.  She apparently completely forgets about poor Jason Belmore and declares her love for the Lantern, who scoops her up in his arms and heads off into the rain.  Once again, it would be a sweet scene on its own terms, and the team really pack some emotional punch into it, but the context hurts it.  The last image of the book is of a little girl standing over the Lantern’s mask.  Dun dun DUN!

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Interestingly, I have zero memory of Carol being crippled from when I read through these books the first time.  I wonder how long that is going to last.  Well, as you can probably tell, I wasn’t exactly thrilled with this issue.  To be honest, it really isn’t a bad story as such, and it certainly achieves what it sets out to do.  It strikes a very effectively creepy tone, evoking Hitchcock movies and The Twilight Zone.  I’m almost certain that there is a particular story being referenced in this setup, with the creepy kid with powers, but I can’t quite put my finger on it.  Nonetheless, the authorial gymnastics that O’Neil has to go through in order to place his characters in this situation are more suited to Scooby Doo than Green Lantern.  Once again, he’s forcing the characters into the plot rather than letting the plot adapt to the characters.

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The tale also has a really grim ending, with the unhappy little girl apparently killing both herself and her tormentor.  Compare this with another of our recent stories featuring an unhappy child with powers and its happy ending, and you’ll see quite a contrast.  The art, as always, is beautiful, and Adams really gets a few chances to shine with some dramatic moments, but he still gets few opportunities to really take advantage of the fact that he’s drawing Green Lantern, other than the winged horse.  Interestingly, Adams apparently had some fun with his faces in this issue, as, according to Dick Giordano, he based the faces of Sibyl and Grandy on then current President Richard Nixon and Vice President Spiro Agnew, who he disliked.  Weird, you’d think, given the power dynamics, it would be the other way around.  For my part, I rather think that Grandy looks much more like horror legend Vincent Price, who certainly fits the tone of the tale.  Art origins aside, this is a rather uneven story.  Taken all together, with the significant flaws and the significant successes, I’d give this tale of horror 2.5 Minutemen, though I really am inclined to give it less thanks to the plot induced stupidity of the heroes.

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P.S.: On a broader note, I think I have finally put my finger on precisely what I dislike about this series.  It is the element of dreariness that characterizes it.  Green Lantern stories have the limitless wonders of the universe as their playground, and yet this run has its eyes firmly on the muddy earth, almost never looking to the heavens.  I understand O’Neil’s reasons for that, as I discussed with the first issue, but even with such earthbound tales, there is room for a glance at the stars now and then.  Yet, that is not all.  No, there is just no sense of joy, of revelry, of real adventure to be found in this book!  This issue displays these qualities perhaps the most clearly of any we’ve seen.

Their stories are small, but not just with the necessary intimacy of character drama.  They are small with a pettiness, a smallness of soul, and not just of setting.  What O’Neil is trying to do is admirable, and there are times when the comic shakes off its shackles and stretches to the stars, and I don’t just mean the issues set off planet.  There are moments when there is hope and joy and wonder to balance the dreary slog of his preaching or torturing of his characters, but they are, unfortunately, in the minority.  If there is one thing that comics are about, it’s hope, though that is true of Art in general, the Art that gropes its way towards the divine.  Despite the very heavy-handed invocations of hope from time to time, it seems largely absent from this series.  There is just too much misery, too much ugliness, and not nearly enough wonder.


 

Well, that does it for these comics.  We didn’t exactly have an inspiring set of books in this batch, but they certainly weren’t boring!  I hope y’all enjoyed my coverage and commentary on these comics, and I also hope you’ll join me again soon for more Bronze Age goodness!  We’ve got a JLA issue in the next batch, which is usually something I look forward too, but this is certainly an unusual one!  Until then, keep the Heroic Ideal alive!

 

 

Into the Bronze Age: April 1971 (Part 6)

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Faster than a speeding bullet, more powerful than a locomotive, able to leap long-boxes in a single bound, it’s Into the Bronze Age!  I’ve certainly got an interesting pair of books in this post as we finish out the end of the April, 1971.  All of these stories are unusual in one way or another, so it shouldn’t be a boring batch, if nothing else.

I want to thank all of my readers for your patience as I’ve been moving slowly on this feature lately.  I’m rushing to finish a great deal of my professional work here at the end of the summer, which sadly leaves me little time for this pleasant diversion.  Anyway, thanks for sticking with me, and I promise to keep limping along steadily, if not rapidly.  Well, without further ado, let’s see what awaits us at the end of the month!

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

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


Superman #236


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“Planet of the Angels”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson

“The Doomsayer!”
Writer: Dennis O’Neil
Penciler: Dick Giordano
Inker: Dick Giordano

Say what you will about Denny O’Neil, he was unquestionably an innovator, always trying something different, though it didn’t always succeed.  Today’s cover story is just such an experiment.  It’s interesting and unusual, but not entirely effective.  The cover is certainly striking, picturing the Man of Steel facing off against demons at the very gates of Hell, a very unlikely image for a Superman comic.  O’Neil has been trying to shake up the status quo, to bring new life and energy to the rather staid hero, and he’s been succeeding so far.  This comic isn’t quite as successful as some of his previous efforts, though.

It begins with a fun little scene where the World’s Finest team of Superman and Batman bust some safe-crackers.  O’Neil and Swan manage to make them both seem useful, despite the fact that the invulnerable, super-fast sun god could easily have handled these two ordinary crooks before Batman so much as put on his cowl.  Swan really does a great job with this team.  The effect is enjoyable, despite their incongruity.  Superman offers to buy his partner a cup of coffee, and I’m deeply disappointed that we don’t get to see a HISHE style scene with the two heroes sipping java in a cafe.

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Missed opportunities aside, after the Dark Knight begs off because he’s bushed, the Man of Tomorrow heads to his Fortress of Solitude where he tries out a ‘brainwave project’ that he’s been working on, a device that will compare his brainwaves to those of a normal human.  Envying humans and their need for sleep and dreams, he tries out the gadget and suddenly finds himself on a strange world!  What’s going on?

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He’s on a fiery plane where he is suddenly attacked by a gang of demons straight out of pop-cultural portrayals, right down to the goat-feet and pitchforks.  Their polearms glance off him harmlessly, and the Kryptonian easily repulses their attack.

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Just then, he is greeted by a trio of angelic looking figures who introduce themselves as Gabriel, Raphael, and Michael, Christian archangels who tell the Man of Steel that he’s in the afterlife.  They stand amid beautiful green hills, and below them burns a sulfurous pit.  They display the popular misunderstanding of theology that Hell is for “those who follow not the paths of virtue,” and tell Superman that he has died and must prove himself worthy of Heaven by slaying the demons below.  Something about this seems off to him, but the Action Ace heads into the flames nonetheless.

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In the pit he discovers a massive gate and is haunted by twisted images of his friends appearing in the flames.  Realizing that something is off, Superman decides to use his head, and he tunnels underneath the gate, easily disarming the ‘demonic’ guards on the other side, where he tries to get some straight answers out of one of their number.

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The ‘fiend’ tells the Metropolis Marvel that what he sees is an illusion caused by the ‘angel’s’ hypnotic powers.  With concentration, the Man of Steel sees, not a demon, but a uniformed alien, who tells the hero that he and his fellows are law officers who were chasing criminals, those same ‘angels,’ who lured them to this planet and trapped them.  The criminals telepathically summoned Superman to destroy their enemies for them.

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Confronting the false heavenly host, the Man of Steel sees through their illusions, including phantoms of his friends being threatened, and charges through their weapon blasts to knock two of them out.  The third escapes, however, carrying a powerful bomb (through deep space!), with which to destroy the Earth!  The Man of Tomorrow catches up just in the nick of time and stops the antagonistic archangel, returning him and his fellows to the lawmen (err…law-aliens?), and repairing their ship.  The tale ends with Superman back in the Fortress of Solitude, where he reflects that he had a living dream, even though he didn’t sleep.

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This is a weird issue.  I like how Superman picks up on the incongruous elements of the ‘angel’s’ stories and setting, and I like his willingness to question figures of even the ultimate authority.  It shows a greater maturity for his character than we’ve seen in the past, and these are obviously elements that O’Neil has been trying to develop.  Yet, precisely what is happening in the story is rather unclear.  Does Superman’s device cause him to dream?  Is this a real and random encounter that has nothing to do with the device?  It’s really ambiguous, and unintentionally so, I think.

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Neither possibility lines up perfectly with the story as told, and there doesn’t seem to be any overriding point to either possibility either.  Add to that the fact that Superman just absolutely breezes through all of his challenges in this story, despite the fact that O’Neil has been trying to present him as less all-powerful and the presence of alien weapons that could reasonably have presented a threat to him, and you’ve got an uneven tale that feels a bit sloppy.  I’m also a little disappointed that the ersatz angel’s appearances weren’t illusions, as it seems incongruous for aliens to be flying through space in robes and without any protective gear.  I understand what O’Neil was going for with his little ‘evil can be beautiful’ touch at the end, but it still doesn’t quite work.  In the end, I’ll give this off-beat issue 2 Minutemen, with the dip below average primarily because of its unnecessary ambiguity.  It’s strange but ultimately forgettable.

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“The Doomsayer!”


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While the first story was something new, this backup is something old.  This is another ‘Fabulous World of Krypton’ backup feature, though, honestly it feels like a bit of a gyp.  The frame-tale guest stars Green Arrow and Black Canary, so take a wild guess what the theme is.  If you guessed ‘yet another preachy environmental yarn,’ you win the cigar!  This story just doesn’t fit the tone of Kryptonian tales, and it’s a good example of what happens when you shoe-horn in a message, prioritizing that over story.  It all begins with Superman, Green Arrow, and Black Canary having a picnic, which is a fun idea, but a rather odd set of characters.  Predictably, Ollie starts bellyaching about a nearby factory that’s spewing out pollution.  At this point, why does anyone even hang out with this annoying archer?  Well, this reminds Kal-El of a story from the glory days of Krypton, the story of a city called Surrus.  In this city there grew special flowers, the Surrus blossoms, that sang a beautiful, calming song that had an almost soporific effect on the populace.  Shades of the “Lotus Eaters!”

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This city was also home to a scientist named Mo-De, who discovered the fate of Krypton twenty whole years ahead of Jor-El!  After he made his discovery, he rushed out into the city streets and started playing Jeremiah, telling the citizens that there was still time to act.  The people didn’t want anything to do with him, just wanting to be left alone to listen to their flowers.  In desperation, Mo-De rushed into the fields and cut down the blossoms, but the enraged citizens, finally shaken out of their lethargy, beat him mercilessly and locked him in a greenhouse with more of the singing sprouts.

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Eventually, the sounds break his will, and he emerges another zombie-fied lotus eater, err…flower listener.  He passed the remaining years in peace, but died with the rest of Krypton.  After Supes finishes his story, Canary is horrified, and she rushes off to have a word with the factory’s owner, having been shaken out of her lethargy.  “Message for you, sir!”  It’s a shame it was so subtle.  I almost missed it.

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This isn’t a bad story, really.  It just doesn’t really belong here, and the entire thing feels forced, from the odd picnic with these characters that don’t really seem to have much in common (all in costume, no less), to the rather Twilight Zone-esq plot, which just really doesn’t seem to fit the utopian, highly organized Krypton that we’ve seen before.  O’Neil does a good job of economical storytelling, packing his preachy message into seven short pages pretty efficiently.  The message itself, though feeling a bit repetitive because of its environmental theme, is actually a slightly unusual one and not half bad.  Focusing, not on the pollution itself, but on the populace’s apathy, their greater interest in their entertainments, their distractions, than on their future, is a good angle.  The execution of the plot itself isn’t half bad, with the crowd’s reactions and the scientist’s fate all fairly creepy and menacing.  The fact that O’Neil did use Krypton allowed him a certain amount of shorthand with the fate of the planet, which helps his efficiency in storytelling.  There is also significance in the continued push towards social relevance, even in such an unlikely place as the Krypton backups.  Taken all together, this little yarn is worth 3 Minutemen, with the incongruous elements limiting it to an average score.

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P.S.: There’s also a somewhat clever joke in the name of the town, as “SUSsurrus” is a word meaning a soft murmuring or whispering, something of an indistinct, gentle noise.


Teen Titans #32


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“A Mystical Realm – A World Gone Mad”
Writer: Steve Skeates
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Joe Letterese
Editor: Murray Boltinoff

Steve Skeates’ tenure on the Titans book continues this month, and we get a rather weird story under a fairly awesome cover.  The peril of the two Titans in the image is pretty dramatic, and the dragon is quite impressive looking.  The whole composition has a dream-like (or perhaps, nightmare-like) quality that smacks of the twisted fairy tale we find within. The story it represents begins with a scene that takes in media res too far, with Kid Flash and Mal traveling through time and referencing events that the reader hasn’t seen.  It seriously made me go back and check the last issue to see if I had forgotten something.  It’s a clever scene given the use of time travel, as it begins ‘in the present,’ but it’s probably too clever for its own good.

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They think they are back in 1971, but instead of finding familiar surroundings, they discover medieval-looking peasants and, of all things, a dragon!  Kid Flash’s speed manages to get them to safety, and only then do we get the flashback we’ve been needing.  It seems that Mr. Jupiter, the vague and largely pointless patron of the Titans team, is apparently a scientist as well as a millionaire.

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One day he was experimenting with a time-travel device, just casually running incredibly dangerous and unstable tests in his building with a bunch of teenagers around.  Something went catastrophically wrong (shocking, I know), and Mal was flung back in time.  Cardy’s rendering of the page is really cool, but the scene is rather dumb.  It’s pretty clear that we’re moving at the speed of plot, here.  Also, here is yet another experiment that could conceivably destroy the world as we know it.  I’m thinking that the safest course of action in the DCU would be to ban science in general.

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Mal finds himself back in the Stone Age, facing a tribe of cavemen who begin to worship him because they saw him appear out of thin air.  Apparently the young man listened to the Ghostbuster’s good advice, as he plays along.  Meanwhile, back in the present, Jupiter feels bad for about half a second for how his irresponsibility and complete lack of safety standards hurled an innocent kid through time.  The other Titans encourage him for some reason, and Kid Flash makes plans to take a jaunt through time to try and find his friend.

Back in the past, Mal finds trouble by stealing a caveman’s cavegirl and finds himself in a club duel.  Cardy renders the fight beautifully, and Skeates doesn’t spoil it with dialog.  Mal holds his own, but a misstep leaves him hanging onto a cliff, just as Kid Flash arrives.  As the caveman prepares for a death-blow, the Fastest Boy alive knocks the club out of his hand, but he manages to bean himself in the process and earns a spot on the Head-Blow Headcount, as well as sending the neanderthal plummeting to his death.  With the hero knocked out, there’s no way to save the savage, which doesn’t seem to bother the boys much.  They take manslaughter awfully casually.

In the altered present, Kid Flash realizes that they’ve unintentionally changed history with the death of that caveman.  The young speedster knows they must go back and save the neanderthal, but he needs a cosmic treadmill to do it and doesn’t know where to find one in this medieval world.  The peasants from earlier mentioned sorcerers, so they set out to try to find someone with the power or knowledge to help them.  Discovering a castle, the pair are greeted by illusory monsters in the moat, but they manage to get past them by pole-vaulting onto the battlements, despite a mysterious hooded figure’s interference.

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It’s a nice sequence, but it gives us one of the stranger dialog exchanges I’ve seen in a while.  Mal says to Wally, “Love your white soul, brother Titan!” and his partner responds “Love your black one, Mal–and if I’ve got any soul–you taught me how!”  It’s a pretty goofy exchange by today’s standards.  I understand what Skeates was aiming for, and it makes more sense in the context of the racial tensions of the day.  In addition, there’s some decent character development in this passage and the story as a whole, as Kid Flash was the most antagonistic to Mal in their earlier encounters.  This emphasis on racial unity, however silly the setting and clumsy the effort, is an interesting and thoughtful move on Skeates’ part.  Nonetheless, I can’t help laughing when I read it.

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When the pair reach the castle’s walls, they discover that the wizard is none other than Mr. Jupiter, who here is known as Jupiterius, and he has a quartet of super-powered knights who are ersatz counterparts to the Justice League, including Batman, Superman, the Flash, and Green Arrow, which is a fun little touch for this alternate reality.  The boys ask the sorcerer for help, but he and his champions insist they pass a test to prove their worth first.

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Their first challenge is a test of bowmanship.  Weirdly, they are confronted with Lilith and Speedy, who look like their modern counterparts with no good explanation.  It’s supposed to be some type of trick, but I don’t really see the point of it.  Nonetheless, things seem pretty hopeless.  How can Kid Flash compete with Speedy in his element?  Well, despite the boy bowman making a perfect shot at a keyhole, Kid Flash manages to pull a Robin Hood and split his arrow.  Even more, his shaft manages to slice through the other and unlock the door.  The tale ends with the time-tossed Titans facing whatever mysterious menace awaits on the other side!

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This is certainly an entertaining and unusual story, but it feels very uneven.  What Skeates is trying here is creative and promising, (I always like an imaginative alternate reality) but his execution is just rather off.  It’s fun to see the medieval Justice League, a concept that will be revisited a few times over the years, but they don’t really do anything, and the addition of Mr. Jupiter feels a bit shoe-horned.  Sure, he’s important to the Titans, but his presence with the League implies a more important role in the DCU than really seems warranted.  Of course, I may just be letting my dislike for the pointless character color my reading.  As for the death of the caveman, I think I would be much more bothered by that if it wasn’t pretty clear that the heroes will reverse it.  Nonetheless, I would have liked to see Wally deal with that at least a little bit, rather than immediately shrugging it off.  Honestly, after reading this story, I had to double check to make sure it wasn’t ‘ol Zany Haney.  I was certain that this was one of his half-baked yarns, as the wild world the characters visit just feels more random than thought–out.  Needless to say, the art is gorgeous, and Cardy does a great job with all of the medieval and fantasy elements.  His soft, sketchy work really sells the illusions and mystery of the book.  In the end, it’s a fun if flawed and strange story, so I’ll give it 3 Minutemen.

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The Head-Blow Headcount:

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We’ve got a bunch of new additions to the Wall of Shame this month.  Poor Aquaman makes yet another return, but he is in good company as Batgirl, Mr. Miracle, and Kid Flash all join him.  This puts Batgirl back ahead of Robin, sadly for her.  The Headcount certainly drives home just how much of a trope this is, with so many of our stars showing up on it.  I wonder if we’ll ever see the Last Son of Krypton gracing this feature.


Final Thoughts:


And that finishes up April 1971!  This is a month of endings and beginnings, a month of specters and spooks, and a month of innovation as well as repetition.  The books of this month reflect the paradoxical nature of this era in DC Comics, with the extremely conventional sharing space with the experimental.  At the same time Leo Dorfman is turning out standard Silver Age fare, Denny O’Neil is working to revamp Superman, all while Jack Kirby is busy pushing the boundaries of the medium.  Notably, while O’Neil fails to challenge the Man of Steel, Kirby finds great success with both physical and dramatic obstacles worthy of Last Son of Krypton.

Comics also seem to be edging further into the long forbidden realms of horror and the supernatural, with two different tales this month featuring hauntings and wandering spirits.  This is to be expected in the Phantom Stranger, though his story once again proves mature and impressive, but the theme is surprising in the Rose and Thorn backup.  I am also surprised by my continuing enjoyment of the Lois Lane book as a whole.  It remains an interesting and off-beat change of pace in my monthly readings.

This month saw the end of Aquaman and the birth of Mr. Miracle, the death of something special and the advent of something unique.  One group of creators was denied the chance to finish what they started, while the King is finally given the chance to give form to the gathered inspirations of his unsatisfying final years at Marvel.

Social relevance continues to be a force, with even the last Aquaman title dealing with themes of pollution and human environmental impact in an oblique fashion.  Denny O’Neil, of course, continues to hit environmental themes, but even his prime Superman story this month has a touch of social commentary in its subtle encouragement about questioning appearances.

We’ve also got superheroes accidentally killing people left and right this month, with both Supergirl and Kid Flash unintentionally taking a life.  We’re still in an immature enough era that these deaths are mostly unremarked and their moral dimensions almost completely ignored.  Hopefully we’ll see a more intentional approach to the moral responsibility of these characters grow up in the succeeding months and years.

In terms of form, we’re seeing more and more continued stories, with Supergirl wrapping up a several month long arc that actually did affect the character during its progression.  Rose and Thorn continues its episodic format, and Jimmy Olsen and the Titans books are doing the same.  This is providing the opportunity for more expansive plots and greater development.  I wonder if we’ll see that become the dominant form for most of DC’s titles.

Well, it was certainly an eventful month in comics, and there is still plenty more to come!  I hope y’all enjoyed this month’s books and commentary, and I also hope you’ll return soon as we begin another month of reading.  Until then, keep the Heroic Ideal alive!

 

Into the Bronze Age: March 1971 (Part 5)

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Hello folks, and welcome to another edition of Into the Bronze Age!  I’m back on my routine, at least for a little while, so I’ll hopefully finish this month up soon.  I’m very excited about today’s post, as we’ve got New Gods #1, the start of what is undoubtedly the most significant of Jack Kirby’s Fourth World books.  There’s also a delightful little surprise in this month’s Superboy, which added to my enjoyment of these comics.  In general, we’ve got a good set of books to discuss, so let’s get to it!

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.


Justice League of America #88


JLA_v.1_88“The Last Survivors of Earth!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

This is an interesting cover for an unusual issue.  Notably, this comic has the distinction of being the only pre-crisis JLA book to feature Mera on the cover, and she does look good there with the rest of the League.  It’s a shame she didn’t get into action with them more often.  The cover itself is indicative of the era, showing the JLA having failed in some fashion, a common trope, but interestingly, there is some truth to this particular tableau.  The issue inside is a fun one, if a bit odd, as the heroes really don’t have much impact on the outcome.

The tale begins with a strange golden spaceship, which has a pretty cool design, speeding towards Earth as a robotic voice addresses its passengers.  The voice reminds its charges that they are the people of Mu, which, like Atlantis, is a legendary lost continent, and a very promising addition to the mythos of the DCU.  The mechanical voice continues, recounting how the citizens of Mu had used their superior technology to flee what they thought was a dying world, but their return, thousands of years later, has revealed a flourishing orb.

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The people of Mu, being kept alive by their machines, are now degenerated and decadent from their enforced isolation and inaction, and they can only respond with hatred to the modern inhabitants of Earth who they assume must be inferior to themselves.  Dillin achieves a pretty creepy, horrific effect with his portrayal of the Muians, vast rows of stiff, motionless figures, all screaming mindlessly for blood.  It’s like a much darker version of Wall-E, and as we’ll see, it serves a similar theme.

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Meanwhile, blissfully unaware of the threat approaching from space, a trio of Justice Leaguers pursue a “busman’s holiday,” working at an archeological dig in the South Seas Islands.  Carter and Shiera Hall have been joined by Hal Jordan of all people, and they are working to uncover clues to lost civilizations.  I love these types of glimpses into the ‘off-duty’ lives of the Leaguers, especially when they are hanging out together.  This is a really fun setup, and I would have enjoyed spending more time with these characters here, but Shiera quickly turns up a tablet inscribed with strange symbols that seem to point to the mysterious continent of Mu.  Just then, lightning strikes her out of a clear sky!  Green Lantern is able to blunt its force, but she’s still stunned, so the heroes suit up, with Hawkman taking his wife to a hospital while Hal contacts the League.

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In a touch that I quite enjoyed, Aquaman was on his way to join the trio to lend his services in interpreting whatever they found.  If you’re working on lost continents and civilizations, what better expert to call in than the king of just such a place?  It’s a really cool detail, and it proves wise, as he fills Hal in on what the Atlanteans know about Mu: it was an advanced civilization in the pacific that disappeared mysteriously.  The Sea King also brings news that strange disasters are occurring in the Gulf of Persia, the Mekong Delta, and the Coast of California, all of which point to Mu (though how they do so is quite unexplained).  The Emerald Crusader divides the League’s forces to deal with the different disasters and heads out himself, only to be struck by lightning as well, just managing to save himself at the last moment!

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In California, Batman, Green Arrow, and Black Canary arrive in the Batjet, but there is some tension in the air, as Batman remembers a kiss aboard the Satellite.  When they land, Black Canary pulls the Dark Knight aside, much to Arrow’s chagrin.  After telling Ollie that she’ll talk with whoever she care to, she tells Batman that she wants his advice on how to deal with the hot-headed archer, and she came to him because she thinks of him as a brother!  Ouch!  Bats is stuck in the one trap not even he can escape, the friend zone!  Nonetheless, he takes it like a man, and when the Emerald Archer starts flipping out and demands to take off, the Masked Manhunter even lets them use his plane.  (Real mature, Ollie.  It’s not like lives are at stake or anything.)  It’s a surprising but enjoyable little scene, with a bit of humor and just a touch of pathos, as Batman realizes that the attraction he feels is one-sided.

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Back on the other side of the world, Superman and the Atom approach the Persian Gulf, where refugees are fleeing a violent set of earthquakes.  The readers get a glimpse of the culprit, a golden medallion, an artifact of Mu, worn about the neck of a respected Iranian man, which serves as a transmitter for the destructive energies of the Mu spacecraft.  The heroes labor in ignorance, however, with Superman doing his best to help the evacuation and save lives while the Atom heads to a lab to try and sort out what is going on.  He stops a few looters and then gets to work, eventually determining the center of the disturbances, but not their cause.

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As the heroes head towards the epicenter of the quakes, the medallion’s owner smashes it, unwittingly ending the disaster.  Notably, the man, a devout Muslim, is portrayed as wise and selfless in a very positive and sympathetic treatment of Islam for a comic from 1971.  We even get an editor’s note providing a touch of background for the religion, which is surprising.

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At the same time, in Vietnam, the Flash has his hands full with an out of control monsoon.  Floods are destroying the country, and the Fastest Man Alive is run ragged trying to save lives.  While he labors, a young woman accustomed to tragedy prays to her household gods, another artifact of Mu.

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In another surprising touch, we’re told her husband was killed by the Viet Cong and her son by American napalm, an unexpected glimpse of the ongoing tragedy unfolding in Vietnam, and one that is handled with an unusually light touch.  Just as Green Arrow and Black Canary arrive and mark the center of the disturbance with a flare, the young woman smashes her idol in rage at its failure to protect her family, ending the storms.

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JusticeLeague88-23Finally, in California, Batman is left alone to confront the arriving Muian ship, and his valiant but foolhardy barehanded attack against the technological marvel, ends in defeat.  It’s a shame he didn’t have an advanced jet with all kinds of weapons on hand.  Once again, Green Arrow’s temper gets everyone in trouble.  The League just might be better off without him.

The people of Mu have their robotic caretaker snare a youth off of the street to interrogate, trying to discover how their attacks have been defeated.  The young man tells gives them a fiery response about how they are really jealous of the freedom and life that regular humans have, and then escapes the ship.  When it takes off, something suddenly goes wrong and it crashes into the sea, incidentally killing hundreds or thousands of Muians.

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When his friends ask him what happened, the young man informs them that he threw a wrench into the craft’s engines, thus saving the day….and also committing a touch of genocide!  The story ends with the Leaguers comparing notes and realizing that none of them ended the threats.  Finally, Aquaman recommends that they write this case up as “unexplained.”

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Yay!  They’re all dead!

This is a fun issue, though the final resolution is really rather too sudden and random, and I’m not quite sure what we’re supposed to make of all of this.  The final narration stresses the theme of the Muians’ plight, the dangers of overreliance on machines, but the message is a tad muddled in delivery.  There’s something here about the triumph of human nature over machines, but it doesn’t quite get developed.  This idea is apparently in the zeitgeist, as we’ve just seen an Aquaman issue on the dangers of over-mechanization.

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JusticeLeague88-10 - CopyDespite the slightly awkward ending, there are a lot of neat elements in this tale, interesting and thoughtful little touches, like having Aquaman be called in as an expert in lost civilizations, some decently graceful attempts at exposing readers to other cultures, and even a little romantic intrigue.  The lost continent of Mu itself is a really fascinating concept, and it’s a shame it didn’t get a bit more development here, though that’s often the case for comics of this era.  I’m curious if anyone else ever made anything of the seeds planted in this story.  The threat the heroes face is one well suited to the League, and it’s an interesting change of pace that the team doesn’t actually save the day.  Most everyone gets something to do, though Aquaman gets the short end of the stick, as usual.  Dillin’s art is uneven in this one, alternately very strong and rather awkward, but for the most part he turns out a very pretty book.  There are a few just strange looking panels, though, like Batman’s awkward run.  In any event, this is an enjoyable read without the weirdness of the some of our previous issues.  I’ll give this one a solid 3.5 Mintuemen.

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New Gods #1


New_Gods_v.1_1Orion Fights for Earth!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

Now here we go!  Kirby’s New Gods book is, unsurprisingly, the core of his New Gods saga, and it is here where we really begin to learn what’s behind everything we’ve seen teased in the other books.  The cover copy declares that this is “an epic for our times,” and that is a fitting description for the adventure that lies inside.  After all, an epic is usually defined as a long narrative poem of high tone and style dealing with the deeds of a powerful hero, often across a backdrop of the fantastic, and, other than the lack of verse, Kirby’s book does match up to that definition fairly well.  It is certainly a story that is larger than life, mythic in scope and proportions, and that is obvious even here at the very beginning.  In his other Fourth World books, the King has been introducing interesting and exciting new concepts, innovating in smaller ways, but with this book, Kirby begins to do that which he had done in Marvel in the 60s, create something completely new.

The world he conjures is unlike anything seen before, at least in DC Comics.  There are similarities to his Asgardian adventures and the cosmic aspects of his Fantastic Four, but there is a scope here, an imaginative intensity, that is unprecedented.  These are truly new myths being created before our eyes, with just that type of archetypal power, and the end result, however flawed in the particulars as it can be on occasion, is still something incredible.  I love these stories, and it is really a breathtaking experience to go back and read them in the context of what was going on at the time.  Reading them cold in the 21st Century only allows you to experience them obliquely.  You don’t realize how incredibly groundbreaking they were, because what they accomplished has in the decades since become commonplace as swarms of imitators have flooded comics with similar work.  Yet, seeing Kirby’s Forth World burst onto the scene in this book in 1971 really puts into perspective just how revolutionary Kirby was, as he always was.

This first issue is no exception, and from the beginning, you can tell you’re in for something special.  I have to say, though, that the cover is not particularly impressive.  The figure of Orion is a striking one, but the weird coloring has never appealed to me.  I’ve always preferred the recolored versions I’ve seen.  Nonetheless, what’s within does not disappoint.  The tale starts with the fall of the old gods.  In an incredible Kirby splash page, he tells with remarkable narrative efficiency of the Twilight of the Gods, of Ragnarok.  These old gods, who look rather suspiciously like Kirby’s Asgardians, battle one another in an apocalyptic scene, and with a single page, the King wipes away what he had once created in order to begin afresh.  It’s beautifully fitting on many levels.

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The conflict ends in the destruction of the world of the gods, which is torn in two, and the two new orbs are left floating in space.  We aren’t told yet, but these will become New Genesis and Apokolips, the eternally opposed homeworlds of the New Gods.  Kirby’s narration throughout this section is, quite honestly, probably some of the best prose he’s ever written.  He really manages to capture the epic tenor he sets out for, and though sections of the book can get a bit clunky, the opening pages set an impressive tone.

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Across the vastness of space comes the dramatic figure of Orion, possessor of the “Astro Force,” whatever that means, a warrior who we meet as he returns home to New Genesis, and we’re treated to some incredibly striking visuals of its beautiful floating city and Cyclopean architecture.  He’s greeted by the lighthearted Lightray, a lightning quick young man who flies circles around the dour Orion and implores him to stay in the paradisaical city and “learn to laugh again.”

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Their conversation reveals our first hints at Orion’s dual nature, and we get a sense that he is a troubled soul and more than meets the eye.  The warrior has been summoned home to meet with his father, and the New Gods’ leader, Highfather.  The very patriarchal looking Highfather leads his son to “the chamber of the Source,” where they see a white stone wall, their “link with the Source.”  The idea of “the Source” provides a suitably vague and cosmic…well, source, for the powers of good, while still allowing for a surprising compatibility with the concept of the one God and thus folding in rather nicely with DC’s lightly drawn cosmology, even jiving peacefully with my own religious sensibilities.

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As the pair stands before the wall, they are joined by Metron, an eternal scholar, a being of intellect, whose outlook has something in common with the cold logic of Star Trek’s Mr. Spock.  It seems there is no love lost between Orion and this newcomer, and their verbal sparring is only interrupted when Highfather communes with this mysterious Source, and a in very biblical image, a fiery finger writes upon the wall and “having writ, Moves on.”  The message it leaves behind is “Orion to Apokolips–then to earth–then to WAR.”  It’s a portentous declaration, but Highfather reminds Orion that, though the Source advises, they still have the freedom to choose, and it is this freedom that separates those of New Genesis from Apokolips.  The young man’s choice leads him across the vast distances between worlds, to war!  As he takes his leave, Metron offers a cryptic statement that reveals he knows that Orion’s true origins lie on Apokolips, and Highfather angrily swears him to secrecy.  I quite like the celestial scholar’s line, “How wonderfully wise is the Source!  Who is more ready to fight the father– than the son!”  It illustrates the archetypal dimensions of the story Kirby is spinning.

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To Apokolips Orion flies, and our first glimpse of the grim, gray world is quite stunning, with its ashen surface and massive fire pits.  It looks every inch the archetypal Hell, and as he travels above it, Orion’s thoughts inform us that it is the opposite of New Genesis, a world dedicated to conquest and domination, to the extermination of freedom.  His reconnaissance is interrupted by a trio of Apokaliptian shock troopers, the parademons, which starts a running battle as Orion faces various waves of enemies, including heavy cavalry mounted on giant, vicious dogs!

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Most of the troops are visually interesting and imaginatively designed, and the action looks good in Kirby’s wonderfully dynamic style.  In the various skirmishes, we begin to get a sense of Orion’s lust for battle and the dangers of his temper.  Finally, the warrior makes his way to the palace, only to discover that Darkseid has already gone to Earth, but his visit does not go unremarked, as the titanic tyrant’s son, Kalibak the Cruel, is there to greet him.  Their battle is interrupted by the sudden arrival of Metron, who has come to hurry Orion on his way.

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ng01-29The scholar warns the warrior of Darkseid’s plans, telling him that the Apokaliptian monarch even now works on a device that will allow him to search all of the minds on Earth for the mysterious and sinister ‘Anti-Life Equation.’  Before vanishing as mysteriously as he appeared, he also reveals that Darkseid began his search there on Apokolips with a quartet of kidnapped humans.  The warrior frees the captives, and holding Kalibak off, opens a boom tube to Earth to help them escape.

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Then to Earth they travel, leaving a raving Kalibak behind them, swearing revenge.  Once there, Orion explains to the four he rescued that there is a conflict brewing of universal significance, something far beyond their understanding, and the book ends with him shouting a challenge to Darkseid, a challenge which Darkseid, from his hidden fastness, answers.

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ng01-20Then to War!  Wow!  Summarizing this book was a real challenge.  Since so much of this is new and since there are so many big ideas flying around, it is tough to be brief when talking about this story.  In fact, I left some interesting moments untouched, like the glimpse of New Genesis’s culture revealed in Highfather’s reverence for the innocence of youth, which itself is an effective shorthand for his world’s love of freedom and for the stakes for which this galactic game shall be played.  In general, this is a great story, though it will eventually be overshadowed by what comes after.  Kirby’s art is a little rough in some spots, and of course Colletta’s inking doesn’t do him many favors.  None the less, the visual imagination at play is wonderful, with both New Genesis and Apokolips fitting perfectly into their archetypal roles.  Kirby’s imagination is clearly unleashed in this book, and the fruits of his labors are wondrous.  There are Promethean structures everywhere, and many panels stress the scale of the world we’ve entered, as Orion is shrunk to insignificance before a starfield or an ominous edifice.

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ng01-16I’ve mentioned how archetypal this story is, and that is an important part of its success, as the King is essentially creating a new myth, working in the broad, bright colors of legend, evoking the eternal struggle of the Norse Gods, the Olympian war against the Titans, or similar cosmic conflicts.  This is a larger scale, a much larger scale, than anything we’ve seen in DC Comics, and clearly already more fully realized than any similar worldbuilding we’ve seen in the last year.  The only parallels can be found in Kirby’s own work in Marvel, but with the Fourth World the King seeks to surpass even those heights .  Think about how astonishing this book must have been when it hit the stands amongst the mundane everyday stories filling DC’s books.  Even this month’s Justice League tale, which has some measure of imaginative reach, feels positively cramped and halfhearted by comparison.  Despite that, he’s doing some pretty solid character work even from this first chapter, especially considering the era.  There are mysteries surrounding Orion, and a lot of personality at play in everyone we meet.  The impression of depth is downright palpable, and you just know that this conflict sprawls far beyond the pages of this book.  What’s more, we can see the lasting impact of this story in the fact that so many of its elements, even just from this first entry, have gone on to become central elements of the DC Universe.  It’s a great beginning, and I can’t wait to read the rest of the series!  I’ll give this first chapter 4.5 Minutemen, as it loses just a little for the clunkier moments.

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Superboy #172


Superboy_Vol_1_172“The World of the Super-Ape!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Murphy Anderson
Letterer: John Costanza
Editor: Murray Boltinoff
Cover Artist: Neal Adams

“Brotherly Hate!”
Writer: E. Nelson Bridwell
Penciler: George Tuska
Inker: George Tuska
Letterer: Joe Letterese

Oh boy, we’ve got gorillas on the cover!  According to legend, DC’s indefatigable editor, Julie Schwartz, believed (and not without some reasonable circumstantial evidence) that a gorilla on the cover of a comic would boost sales.  Supposedly, the effects were so marked in the Silver Age that all of his editors wanted gorillas for their covers, and he had to institute a policy of no more than one gorilla cover a month!  Whatever the case may be, there sure are tons of gorilla covers from this era of comics!  This particular offering is a fairly striking one, and there’s a nice mystery, which gets a fairly good buildup in the story itself.  As for that very cover story, it has a really ludicrous premise, but the whole thing is handled surprisingly well.  While the concept is very Silver Age, the writing feels a tad more mature.

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The tale opens with a recapitulation of Superman’s origin, but this time, there are two rockets headed for Earth.  One crashes in Smallville, and the other, strangely enough, in the heart of Africa, where its inhabitant is adopted by the apes.  Then the scene shifts forward 15 years, where an ivory poacher vanishes after an encounter with a strange shadowy figure.  The preserve officers call in Superboy when they are stumped by the lack of tracks.  A second group of poachers, out to capture gorillas for a zoo, also go missing, once again accosted by a shadowy figure.

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There’s a nice effect to these mysterious attacks, and Robbins continues to delay the final reveal of the antagonist, granting the first half of this comic a cool, old-school monster movie feel.  Tension mounts from scene to scene as the mystery deepens.  The payoff isn’t quite as good as I had hoped, however.  Eventually, Superboy decides that there must be connection between the apes the poachers were hunting and the mysterious disappearances, so he dresses as a gorilla in order to have the primates lead him back to their tribe….which is pretty silly, but okay.  The apes oblige, and in their cave, the Boy of Steel sees strange statues, idols, and even a magnificent throne, all carved in the likeness of a massive gorilla, and carved by intelligent beings.  Brown does a good job rendering these scenes and granting them a mysterious atmosphere.
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Inside the cave, Superboy discovers the captured poachers making a break for it, one of them having secreted a gun when they were taken, and he reveals himself in order to help their escape.  The gorillas pose no threat to him until, all of a sudden, a SUPER ape appears, one speaking Kryptonese!  That’s right, he is confronted by a flying, invulnerable gorilla, complete with cape and tights, no less!  They fight but find themselves too evenly matched, even clashing with heat vision in a nice panel.
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The Boy of Steel decides to try to solve riddle of this obvious fugitive from his homeworld, so he heads back in time and observes a second renegade scientist, the anthropologist an-kal, sending a cybernetically enhanced ape to safety and cursing the Science Council for not approving of his work.  Oookay.  This guy is even crazier than ol’ Jor-El!  What is it with Kryptonian scientists?
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“They can be a great people […] They only lack the light to show the way. For this reason above all, their capacity for good, I have sent them you… my only son…err…simian.”

Back in the modern day, Superboy rounds up the escaping poachers and brings them right back to the super-ape, Yango, telling his simian simulacrum that they don’t need to fight.  The youth realizes that the gorilla has dedicated himself to protecting the animal world as he has the human world, and so he is delivering the criminals to his justice and trusting, for some reason, that the gorillas won’t just murder them.  They part as friends, Superboy to continue his work in man’s world, Yango, in that of the animals.
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What a goofy concept, and what a goofy visual!  Yango, a gorilla in a full costume, looks pretty silly.  Despite that, this is a fun issue, and the super-fight is pretty entertaining.  It’s also interesting to see Robbins take on the issue of poaching, however obliquely, way back in 1971.  We see in this another attempt on DC’s part for social relevance, and, interestingly, the message doesn’t overwhelm the adventure, unlike some Green Lantern yarns I could name.  In fact, it rather fades into the background amidst the energetic rush of the story.  The first half of the comic is really the best, as the mystery of what is taking the poachers unfolds, but the reveal of Yango himself is, I have to admit, not what I expected.  I’m curious if this oddball character ever appeared again, but I don’t think he did.  If any of you readers know differently, please let me know!  Despite the silliness of the super-simian, I have to say, I enjoyed this read.  The whole tale has something of an Edgar Rice Burroughs, Tarzan feel to it, and that’s a good thing.  I’ll give it 3 Minutemen, as the yarn is entertaining despite its goofiness.
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“Brotherly Hate!”


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We’ve got a real treat in the back of this book this month!  After too long in limbo, the Legion of Superheroes returns to the pages of DC Comics!  This starts what will become a regular backup feature for quite some time.  Eventually, the Legion will actually muscle Superboy out of his own book!  This is good news to me, as I’ve really enjoyed the daring deeds of these futuristic do-gooders.  Our story this month is a solid one, with a touch of family drama flavoring the adventure.  It begins with a Legion rocket arriving at the “Interplanetary Bank,” where they discover that the “guardian beasts” have been disabled.  I’m already 100% onboard, as a setting in which there is something called an “Interplanetary Bank” and which is guarded by giant monsters seems pretty promising to me!  The Legion team, Lightning Lad, Timberwolf, and Light Lass discover that the perpetrator was none other than Lightning Lord, the brother of Lad and Lass!

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We get a brief reprise of how the trio got their powers, and then, to my delight, we get a nice origin for the Legion itself!  Young Lightning Lad, Garth Ranzz, travels to Earth looking for his brother, and on the ship, he meets the future Cosmic Boy and Saturn Girl, as well as the “richest man in the universe,” R.J. Brande.  When a gang of assassins try to kill Brande, the trio intervene, each using their powers to pitch in.  Brande is thankful, but he is also inspired, so he offers to set the three youths up as superheroes, citing Superboy and Supergirl as examples of teenage heroes.  They all agree, and the Legion is formed.  I’d read summaries of this event, but it is really fun to actually see it played out.

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With their flashback over, the team tracks Lightning Lord’s ship, confronting him on a barren and rocky world.  When they confront him, Lightning Lad tries to talk his brother down, but when he refuses, both of the Legionnaire siblings hesitate, causing Timberwolf to spring into action.  The high-voltage villain tries to zap him, but Lightning Lass throws herself in front of the beam to save the boy she loves.  This enrages Timberwolf, but Lightning Lad insists that he face his brother alone.

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They are evenly matched, and they throw electrical bolts back in forth to little effect.  Yet, Lightning Lad backs his brother against a metallic cliffside and ricochets a blast into his back, knocking him out, but turning his hair white in the process.  Their sinister sibling captured, the heroes find themselves hoping that he will reform, but something tells me that’s a tad unlikely.

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This is an all-too-brief adventure, but it is a fun one.  Bridwell manages to add just enough pathos to the confrontation to make it interesting, and the action is entertaining.  I have to say, though, I think my favorite part is a look at the Legion’s founding.  I suppose I share something of Bridwell’s love of continuity.  That sense of history, of more stories than exist on the page, is key for the “impression of depth” that is such an important part of a well-realized setting.  I’ll give this fun little Legion legend 3.5 Minutemen.

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What a set of stories!  We finally get the debut of New Gods, and we get the return of the Legion to boot!  I’ll call that a win.  This finishes off our penultimate batch of books, bringing us to the end of the month, a hearty dose (an overdose?) of Superman!  Please join me again soon for my commentary on those comics as I trudge further Into the Bronze Age!  Until then, keep the heroic ideal alive!

Into the Bronze Age: March 1971 (Part 4)

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Hello my dear readers, and happy Memorial Day if you’re in the U.S.!  Today we honor those who have served so that we may enjoy our freedoms, those who have gone into danger so that the rest of us may be safe.  This post about make-believe heroes has nothing to do with those real heroes, but a similar ethos of selflessness defines both.  The former are a lot more important, but there are more eloquent voices than mine singing their praises today, so I’ll stick to my humble purpose.

I’m afraid I have been long absent from the Greylands, but never fear, I have returned!  There were numerous calls upon my time and attention at the end of the semester, and they brought me far afield.  There were papers to write in preparation for conferences, conferences themselves to attend, and of course the usual hustle and bustle of the semester’s close.  We also had a weekend of volunteer work with the churches in our town, doing needful work in the community.  To top matters off, we in the Grey household also had various personal challenges, but the clouds seem (hopefully) to be parting at last, and I think it may be time to return…to the Bronze Age!

Once more I find myself quite willing to seek solace from the dreariness and bleakness of the modern day in the four-color glories of yesteryear.  This particular post is all the more exciting as we’re finally getting into the other Fourth World books with today’s Forever People #1!  Please join me for a new dose of Bronze Age goodness, and hopefully this will mark a return to a more regular posting schedule.  Thank you all for your patience!

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.


Forever People #1


Forever_People_Vol_1_1“In Search of a Dream!”
Writer: Jack Kirby
Pencilers: Jack Kirby and Al Plastino
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

With the thunder of a boom tube and the roaring of the Super-Cycle, Jack Kirby’s Fourth World arrives in earnest!  It is in these three new books, Forever People, New Gods, and Mister Miracle, completely his own creations, that the King’s long-awaited vision, his long cultivated ideas, really come into their own.  Jimmy Olsen has been teasing something vast and wondrous beyond the horizons of the known reaches of the DC Universe, but The Forever People dives in more directly, while the other books will go further still.

And it all begins with the very Kirby set of characters on this cover, the Forever People, a group of free-spirited teenagers and part of the vast tapestry of stories and characters Kirby wove around the concept of the New Gods.  Curiously. these particular characters haven’t amounted to much over the years.  They’re probably the element of the Fourth World that has found the least traction in the wider DC Universe.  While the saga of Darkseid and Orion has provided the backdrop for many an epic adventure and the daring Mr. Miracle has found his place with the Justice League, these kids never quite found their niche.  I remember that being at least somewhat the case from the very beginning, so I’m curious to see how these issues will hold up to my memories.

The cover itself is more interesting than compelling.  It sets up a bit of a mystery, and it’s a mystery that the story within does develop to a degree, but I think its strongest feature are the incredibly Kirby-ish characters front and center.  They’re a wonderfully colorful and lively looking group, and they fit the very distinctive aesthetic that the King was developing for the New Gods, sort of a shiny, sci-fi take on his classic Asgardian designs.  Their individual designs aren’t all successful.  Mark Moonrider in particular has a bit too much going on, what with the superfluous loincloth worn over his pants.  Nonetheless, they’re certainly striking.

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Their first tale begins with the introduction of that constant feature of Fourth World stories, the boom tube, a glowing trans-dimensional portal accompanied by an otherworldly sound, and, in this case, by rhyming verse, which is an interesting and unusual way to start a comic.  From the portal emerge the Forever People, a colorful quartet riding an amazing vehicle, the Super-Cycle, in a two-page spread that I have to imagine was more impressive before Vinnie Colletta got his hands on it.  I’ve searched for a picture of the original pencils, but no luck.  Still, it’s a nice first look at our young heroes as they come careening onto the Earth.  As we will discover in a few pages, these are the Forever People, Mark Moonrider, Big Bear, their hippy-looking pilot, Vykin, and Serifan, whose costume I’ve always rather liked.

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They’re headed for a collision with a teenage couple in a conventional car, but they phase through the automobile, saving themselves, but seemingly dooming the other kids.  Just as their car flies over a cliff, those startled youths are rescued by Vykin the Black, (or Vykin, the inappropriately named), and his Mother Box.  We then get the first of our evocative but incredibly vague and contradictory Jack Kirby descriptions of his crazy Fourth World concepts, as the Forever People argue over exactly what a Mother Box is.

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While Mark Moonrider tells the rescued couple that it’s like a computer, Vykin strenuously objects that Mother Box lives and talks to them.  At this point, I can only assume the human kids have become convinced they’ve meet a group of madmen.  The young New Gods tell their newfound friends that they’ve arrived on Earth from a place called ‘Supertown’ to rescue someone called ‘Beautiful Dreamer,’ a vital mission, but they pleasantly agree to let the kids take some pictures for their friend, Jimmy Olsen.

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As the couple departs, Serifan falls into a trance, and his friends note that he’s made contact with Beautiful Dreamer, but they are being watched by malevolent eyes!  A group of hi-tech thugs has spied the team’s arrival, and we discover that they are members of Intergang who report to none other than Darkseid!  Our still mysterious menace tells his flunkies to follow but not to engage and warns them that the kids are more than they appear.

fp01-13Meanwhile, at the Daily Planet, Clark Kent is just finishing up an interview with the heavyweight champ, who confesses to the reporter that he feels like his accomplishments are insignificant when a being like Superman is around who can do pretty much anything.  He and Lex Luthor should form a support group!  The dialog is a bit over the top and goofy, but the sentiment is actually an interesting one, and the theme of the Man of Steel’s presence having unintended sociological consequences has, of course, become much more common these days.  Once again, Jack Kirby was ahead of his time.

The encounter leaves the Last Son of Krypton introspective and lonely, feeling like he doesn’t really fit in on Earth, something that is becoming a recurring theme in the last few months.  His reverie is interrupted by the arrival of Jimmy Olsen, who has brought his friends’ bizarre pictures to show off.  With his telescopic vision, Clark spots an alien city at the center of the picture of the boom tube.  There’s a rather hokey bit as Superman gets hung-up on the idea that there is a place called ‘Supertown,’ but the upshot is he decides to investigate these strange travelers.

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Man, that must be one heck of a camera to capture microscopic detail…

fp01-18On his way to intercept the Forever People, the Man of Steel is spotted by Intergang, traveling the same route in a helicopter, and, on orders from Darkseid, they turn their fancy new weapons on the Kryptonian.  Their ray guns hurt him, but he is Superman after all.  In a nice looking sequence, the Metropolis Marvel rips up a tree and hurls it through the helicopter.  Seeing this, the Forever People assume that the new arrival must be another volunteer from Supertown, but before he can explain, they declare that Mother Box has located Beautiful Dreamer nearby.  The kids can’t fix her location, but Superman’s x-ray vision spots an underground entrance.