Into the Bronze Age: September 1971 (Part 2)

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I am vengeance, I am the night, I am Bronze Age awesomeness!  Welcome, Internet travelers, to another edition of Into the Bronze Age, where we’ve got a set of Bat-comics on the docket.  We’ve got the whole Bat-Family in attendance, as well as some friends of the cowl, so let’s we what they’re up to!

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 #404
  • Adventure Comics #410
  • Batman #235
  • Brave and the Bold #97
  • Detective Comics #415
  • The Flash #209
  • Forever People #4
  • G.I. Combat #149
  • Justice League of America #92
  • New Gods #4
  • Superboy #177
  • Superman #242
  • Superman’s Girlfriend, Lois Lane #113
  • Superman’s Pal, Jimmy Olsen #141
  • World’s Finest #205

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


Batman #234


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“Swamp Sinister”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artists: Neal Adams and Dick Giordano

“The Outcast Society”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano

“Castle With Wall-to-Wall Danger!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Joe Giella
Letterer: Gaspar Saladino

This month, our headline tale is another episode in the growing saga Ra’s Al Ghul, but this time it doesn’t have Neal Adams’ peerless pencils to help it.  According to our credits, he was involved in the cover, but it looks much more like Dick Giordano to me.  Either way, it’s a solid composition, capturing a nicely dramatic scene, though something of a cheat.  The story within is not quite as good as the earlier entries in the set, but the last one makes an especially hard act to follow.  It begins, dramatically enough, with a body delivered to Bruce Wayne’s penthouse apartment!  As the great detective begins trying to piece together where his deceased guest might have come from, the mysterious Ra’s Al Ghul arrives and helpfully explains.

It seems that the head of the League of Shadows himself sent the body, by way of a calling card.  The horribly disfigured corpse was once one of his men, a researcher named Pollard, who, together with another named Striss, was working on a chemical compound for him, a compound that “renders molybdenum as weak as tinfoil.”  Yet, instead of delivering the formula once it was prepared, they planned to steal it.  Interrupting the theft, Al Ghul was struck down, and the thieves escaped.

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Talia discovered her father and set out after the traitors, while their doctors managed to revive the Demon’s Head.  Notably, for the first time we begin to get a sense of Al Ghul’s immortality angle, as he mentions having been revived often before, but there is no sign yet of the Lazarus Pits.  As for the corpse, it seems that the chemical the thieves stole has an unexpected side effect.  If left exposed to the air, it becomes a deadly plague.  The horrible disfigurement of Pollard is the result.  Having been exposed during his attack on Al Ghul, Pollard died shortly thereafter, but Striss escaped, ignorant of the danger of what he carried.  Now Al Ghul must locate the fugitive before his daughter, who is ignorant of these facts, does, and he needs the World’s Greatest Detective to do so in time.

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The Dark Knight agrees, as if he has any choice, and takes off.  He theorizes that Striss will want to test his chemical, and he goes to the closest supply of molybdenum, which is held by an eccentric billionaire.  At the fellow’s mansion, Batman discovers an attack already underway.  The gate has been gassed, and masked men stalk the grounds.  Taking out the marauders in a nicely drawn sequence, the Caped Crusader makes his way into the mansion itself, where he finds a frightened French housekeeper who tells him that the invaders took the master of the house to “the small stream.”

The hero is momentarily stumped, knowing there are innumerable smalls streams around, but then he realizes that, in French, the word for “small stream” is “bayou,” and he makes an important connection.  He realizes that Striss has taken his billionaire captive to the eccentric fellow’s private fallout shelter, which is located in the Louisiana bayou.

Tracking them with the help of Ra’s, Batman bails out of a plane over the swamp and begins his search, finally interrupting an confrontation between the villainous doctor and Talia.  During the ensuing struggle, the chemical vial is shattered, and Striss falls into the lethal liquid.  The others escape, and Al Ghul’s doctors manage to treat them for the plague.  The tale ends with Batman noting that the grateful kiss he receives from Talia would be much more enjoyable if he hadn’t just witnessed her cold willingness to kill.

This is a fair enough little adventure, and we get a few interesting moments with Al Ghul, including the hints about his unnatural resiliency.  Yet, there isn’t a lot to it, and the final result feels a little lackluster, especially in comparison to the rather breathtaking chapter that preceded it.  Al Ghul isn’t quite as mysterious or fascinating  a figure, and although Batman and Talia share an intriguing moment at the end, she doesn’t really have much to do either.  In the end, the tale feels a bit cramped, and Novick’s art, though solid as usual, isn’t quite as striking as Adams’, especially when it comes to R’as himself.    I’ll give this story 3.5 Minutemen.  It’s fine, but it isn’t exceptional.

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“The Outcast Society”


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Our Robin backup continues the hippie commune-centered adventure of the previous issue.  Robin is fairly appalled at the poor conditions in which the commune inhabitants live, with rickety shacks for shelter, no power, and carrying their water from the nearby stream.  The leader of the dirty hippies, Jonathan, tells the young hero that they don’t want his “plastic world.”  There’s an interesting connection there to a recent Green Lantern issue about the growing artificialness of the world.  Despite the protestations of the hippie head-man, Robin insists that he must arrest Pat Whalon, as the bullet that his girlfriend wears around her neck, the same that was dug out of his leg, matches the gun of her policeman father, who was shot down in the previous issue.

The ‘Outcast Society’ refuses to let the Teen Wonder take the punk, saying they have to vote about whether or not to allow this.  Funny, but I don’t think the cops would see it that way.  Robin agrees to be patient and gets the grand tour.  He sees the hippies building, working, and farming, and the portrayal of the place is full of starry-eyed optimism.  Dick takes part and pitches in, while Pat makes a nuisance of himself, bragging about his radical exploits and generally being a real jerk.  Finally, the Community votes to let the Teen Detective arrest the rabble-rouser, but Pat sets a nearby field ablaze and escapes!

This a decent little tale, though not terribly compelling.  Novick and Giordano do a really good job with the art, though, bringing energy and personality to the various characters inhabiting this world that helps to make this story where not much happens still feel somewhat worthwhile.  Robin in particular looks great, with his cape always whipping about dramatically.  It’s rather funny to see the sympathetic treatment of hippie communes here from a modern perspective.  Old ‘Touchy-Feely’ Friedrich is in full swing.  Notably, most communes didn’t fare too well or last too long.  Unsurprisingly, taking a bunch of ignorant kids who don’t know how to do anything and don’t have any kind of solid moral code and sticking them in a field to make their own way didn’t generally turn out all that well.  I’ll give this particular Outcast tale an average 3 Minutemen.  It isn’t bad, but it isn’t particularly great, either.

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The Brave and the Bold #97


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“The Smile of Choclotan!”
Writer: Bob Haney
Penciler: Bob Brown
Inker: Nick Cardy
Editor: Murray Boltinoff

“Who Has Been Lying in My Grave?”
Writer: Arnold Drake
Penciler: Carmine Infantino
Inker: George Roussos
Editor: Jack Miller

Our bi-monthly dose of Zaney Haney comes with another helping of Wildcat this month, which is always welcome.  As I’ve said before, the character that Haney really had the best handle on was ‘ol Ted Grant.  Yet, this issue doesn’t really take advantage of that familiarity.  Our heroes are partnered up on the cover, but that isn’t quite the case in the comic itself.  The cover has nice Nick Cardy art, and it makes for a striking image, though it is a fairly massive cheat, in terms of the story it represents.  There’s not even that much of a defense of the image as symbolic.

That story begins in fine fashion, with Bruce Wayne, vacationing in Acapulco, watching a young man preparing for a demanding cliff-dive.  Suddenly, the bold billionaire sees a rifleman, preparing to kill the kid.  When the native makes his dive, so does Bruce, as Batman!  Using his cape as a parachute (which we haven’t seen too often at this point, I think, but will eventually become a staple of the character), the Dark Knight manages to ruin the would-be killer’s shot.

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Later on, Bruce, back in-mufti, follows the assassin’s target, a young native named Luis.  He spots a poster of his old friend, Wild Cat, apparently boxing in the local arena under the name El Tigre.  Strange!  Just then, the hapless kid is jumped by a trio of knife-wielding thugs.  Batman intervenes once more, but by the time he dispatches the desperadoes, Luis has vanished.

That night, Bruce attends the fight, only to see the former champ get drugged and knocked out.  When the hoods try to get to him under cover of the ensuing riot, the Masked Manhunter takes a hand once more.  Rescuing Ted and his assistant, who turns out to be Luis, the Dark Detective takes them to their shack, where he learns their story.  It seems that Ted had once fought Luis’s father, and after the Mexican boxer refused to take advantage when Ted got resin in his eyes during a match, the pair became great friends.

brave and the bold 097 011Years later, when Luis’s father began to search for a lost cultural treasure of Mexico, an idol of the ‘smiling god,’ Choclotan (which is, of course, fictional), the old champ came to help.  Yet, when the pair were searching the mountains for the lost treasure, Luis’s father was killed and Ted’s head was creased by a bullet, leaving him amnesiac.  Apparently there is a sinister band of smugglers after the treasure as well, headed by a shadowy figure known as El Grande.  They are the ones behind the attacks on the duo.

brave and the bold 097 014Luis found his costume and has been helping him make a living by fighting as ‘El Tigre,’ while the youth cliff-dived for tourists.  Yep, sounds like a great plan.  Have the man with brain damage fight in boxing matches!  Anyway, poor judgement aside, Batman agrees to help, and they set out to search for Choclotan.  They encounter an old friend of Luis’s family on the way, a rancher named El Sordo, who owns a massive stead in they area they are traveling.  Apparently he was Luis’s father’s manager, and he offers to guide the group in their search.

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On the way, Ted suddenly snaps out of his fugue for a moment, telling the group they need to climb a nearby cliff.  When the agile Luis does so, he sees massive jaguar prints carved in the valley, leading the way to the treasure, and tells Batman that jaguars were the sacred animal of Choclotan.  As they push on, the group realizes they’re being followed, and that night, while El Sordo is on watch, the Dark Knight makes his own patrol, only to be attacked by machete-armed muchachos.  Suddenly, Wildcat appears and lends a hand, and the pair manage to fight off the fiends and discover an apparently wounded El Sordo.

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Yet, when they finally reach the end of the trail, a flooded volcano crater, and Luis dives in to locate the treasure, his reemergence reveals treachery!  El Sordo is, in fact, El Grande, and he has captured the heroes.  Insisting that Ted is merely faking his memory loss, Grande/Sordo has his beastly henchman, called ‘The Ox,’ attempt to beat the truth out of the boxer.  Despite the champ’s best efforts, he takes a beating and finally tells their captors that he remembers.

The treasure, he claims, is in a nearby cave, and his confession is taken as a terrible betrayal by young Luis.  Yet, when the smugglers enter the cave, Wildcat suddenly stops Luis from following, and moments later, a massive jet of water shoots out of the cavern, washing the would-be thieves away!  The treasure chamber was booby-trapped, and Ted’s memory had come back, allowing him to recall this and trick their enemies.  Finally, the trio discover the grinning god, and Choclotan can return to his people.

This is a fun yarn, and it is honestly rather tame for a Zaney Haney offering.  The plot is relatively unified by his standards, and while the exotic Mexican setting provides plenty of flavor, there aren’t any particularly insane flourishes to speak of.  Sadly, Wildcat isn’t really present for much of this story, instead he’s present in name only, as his amnesiac self lacks any real personality.

There are some nice elements to the adventure, like the surprisingly subtle hint about El Sordo, when we learn that this wealthy rancher was formerly just a fight manager, which should make an attentive reader suspicious.  Of course, such a reader would also notice that Wildcat effectively killed several men in the finale, a fact that is barely acknowledged.  Yes, it’s mostly an example of a ‘hoisted by your own petard‘ trope, but Ted’s role is a bit more direct than those usually are, as he willfully sends them into a situation he knows will probably kill them.  That’s problematic, but such concerns never slowed Zaney Haney down one bit.

On the art front, I can’t say I’m fond of the combination of Bob Brown and Nick Cardy.  Brown seems to be trying to ape Cardy, or Cardy is overwhelming Brown, but the final result is less somewhat than the sum of its parts, seeming like a poor compromise between their two styles.  I suppose I’ll give this fine, Indiana Jones-style adventure 3.5 Minutemen.  It’s an entertaining read.

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Detective Comics #415


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“Challenge of the Consumer Crusader”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artists: Neal Adams and Dick Giordano

“Death Shares the Spotlight!”
Writer: Frank Robbins
Penciler/Inker: Don Heck
Letterer: Ben Oda

“The Forbidden Trick”
Writer: William Woolfolk
Penciler: Leonard Starr
Inker: Leonard Starr
Editor: Whitney Ellsworth

“The Case of the Finders Keepers”
Penciler/Inker: John Prentice

Our issue of Detective Comics this month is notable, not so much for its story, which is fair enough, but for the real-life people it is based on, which provide another of those intriguing glimpses into the zeitgeist of the era that I love.  We’ve got a solid enough cover, a dramatic image of the hanging Batman, though it is, unsurprisingly, something of a cheat.  The tale within begins with the Dark Knight following, of all things, a garbage truck!  He’s trailing two trashmen when they jump a man in a suit and prepare to throw him into the compactor in the back of their truck.  The Caped Crusader intervenes, and with the help of the would-be victim, he manages to chase the thugs off.

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After the action, the Masked Manhunter discovers that their target was none-other than Tom Carson, famed “consumer crusader” and “leader of ‘Carson’s Consumer Commandos.'”  That’s right, there’s a Ralph Nader in the DC Universe!  This fascinates me.  Ralph Nader is a champion of consumer rights and has been a huge factor in holding government and industry accountable for their deeds in the U.S. in the last half century.  He also created “Nader’s Raiders” and “Public Citizen,” a pair of watchdog groups that advocated for public interests.  Nader was in the headlines in the early 70s, and it is fun to see him and his work referenced in such a way in comics.  What an unusual topic for a superhero story!

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Detective415-07Anyway, this pseudo-Nader, Tom Carson, tells Batman that he has a lot of enemies because of all of the big companies he’s ticked off by exposing their malfeasance.  Yet, the most recent case is Magna Industries, who were preparing to introduce a “microwave anti-pollution device.”  Carson’s group was testing their product, and he notes that a poor result could be disastrous for the company.  The Caped Crusader drops Carson off with Barbara Gordon for safekeeping, which is a fun little detail, and then he heads to check out Ben Ames, president of the company in question.  He notes that, as Bruce Wayne, he knows Ames personally, and can’t believe he’s behind the hit.

Detective415-09At the Ames estate, the Dark Knight sees a light on and reasons that the corporate bigwig might be waiting for a certain call.  Disguising his voice, Batman fakes the call from the Carson’s car, which he borrowed, and proves Ames’ guilt.  In order to figure out his motive, the hero tries a more theatrical approach.  He uses some of Carson’s spare clothes and some phosphorescent paint to stage a ghostly visitation.  Suddenly, Ames is confronted by the “ghost” of the man he tried to have killed!  During the confrontation, Ames declares that Carson drove him to it because he tried to blackmail his company, threatening to release a damning report, despite the fact that the device was perfectly safe.

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One mystery solved, the Masked Manhunter sets out to find who is in back of the blackmail scheme.  Heading to Carson’s headquarters, he interrupts his assistant, Joan Wilde, in the middle of a call to Ames.  Unfortunately, she has confederates.  In a neat sequence, they attack Batman, using the various testing devices in the consumer products laboratory.  After a desperate and colorful battle, the Dark Knight manages to turn the tables on his antagonists, who get caught in their own trap as the machines turn on them.

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You’ve heard of jungle Batman and snow Batman, but how about disco Batman!  Staying alive, staying alive!

Pursuing the femme fatale behind the caper, the hero leaps into a convenient car to give chase to her, only to realize it is hooked to a crane for crash testing.  Before he can react, the Dark Detective finds himself hurled high into the air, only moments from a cataclysmic collision with the ground.

When the car comes crashing down, Miss Wilde is certain she has disposed of her foe, only for Batman to emerge, a little worse for the wear but uninjured, from the smoke.  He tells her that he threw himself into teh air to avoid contact with the car, and that, plus the airbags, allowed him to survive.  I’m not sure that would actually work, but it makes comic sense, so I’ll give it a pass.  The issue ends with Carson discovering the corruption in his organization and being cleared of any involvement.

This is a solid little mystery, and the fight in the testing laboratory is pretty fun and creative.  It’s a really clever setting for a superhero fight, filled with lots of bizarre gadgets and silly contraptions that make for good superheroic fodder, all of which could realistically exist in such a place.  It’s also really quite interesting to see the consumer rights revolution make its way into comics, albeit obliquely.  Who knew the DC Universe had their own Ralph Nader?  You keep up the good work, Tom Carson!  So, I’ll give this tale 3.5 Minutemen.

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“Death Shares the Spotlight”


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Detective415-21Our Batgirl backup picks up where the last left off, with Babs dashing off to ‘call the police,’ an excuse she uses to go into action.  She contacts the agent who had been in charge of auctioning off the props from the Mesa movie studio, one of which was used in that night’s assassination attempt.  The girl detective learns that a hundred of the prop guns are still in Gotham, being used in a wild west show featuring a former Mesa movie star.  At the same time, Jason makes his own connection and sets off as well.

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Counting on the powder-burns on would-be killer’s hand to identify him, Babs is disappointed when all the show’s players begin using prop guns.  That doesn’t stop the star of the show, Chuck Walla, from letting his guilt and self-consciousness drive him to flee the spotlight in an attempt to destroy the evidence, his gloves, before anyone notices.

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When Batgirl confronts him, the actor catches her at gunpoint.  He admits that he tried to kill Tiz, who was once his girl, before joining up with her new husband.  Just then, Jason jumps in, having followed his own trail to the assassin.  The Daredevil Dame pitches in, taking out Walla but making her beau think it was his blow that did it, which is rather cute.

This is a brief and rapid-paced tale, feeling even shorter than normal, but it is reasonably complete.  I did feel a bit disappointed that there wasn’t a bit more to it, and Walla’s panicked display of guilt was a bit much.  Unfortunately, this also features some of Don Heck’s worst work we’ve seen so far.  It’s very rough and awkward in several scenes.  I’ll give this lackluster offering an average 3 Minutemen.  It’s not bad, but it isn’t particularly good either.

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And that does it for this iteration of Into the Bronze Age!  Bat-books galore!  I hope y’all enjoyed the post and that y’all will join me again soon for another dose of classic comics.  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: July 1971 (Part 4)

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Hello Internet travelers, come on in and enjoy some classic comic goodness!  Today we’ve got a double dose of Superman titles with some good stories and some better backups.  Let’s see what the the Last Son of Krypton is up to as Man and Boy!

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.


Superboy #176


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“The Secret of Superboy’s Sister”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson
Editor: Murray Boltinoff
Cover Artist: Neal Adams

“Invisible Invader!”
Writer: E. Nelson Bridwell
Penciler: George Tuska
Inker: George Tuska

We’ve got what looks like a super gimmicky story for our Superboy comic today, but it isn’t as bad as it seems.  The cover is just okay, one of those ‘what in the world is happening’ pieces, and the sight of a little girl on a flying carpet made of junk is pretty unusual, admittedly.  The design definitely feels a bit archaic at this point, though, right down to the softer coloring in this particular image and the Silver Age-ish setup of the composition.

Fortunately, the story inside isn’t quite as gimmicky as the cover might lead you to believe.  it begins during a powerful thunderstorm, with the Kents awaiting a visit from an old friend and her daughter.  Notably, the ages of these guests don’t actually make sense with the recently established actual ages of the Kents, which sort of illustrates how unnecessary and unhelpful that retcon was.  Nonetheless, the tempest is bad enough that Clark goes out as Superboy to keep an eye on things, arriving just in time to see the visitors, the Warrens, skidding over a cliff in their car!  The Boy of Steel manages to save the daughter when she is thrown from the vehicle, but he can’t stop the car before it crashes.  The mother is badly injured, and he rushes her to the hospital.

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Mrs. Warren asks the Kents to care for her daughter, Kathy, until Mr. Warren can arrive from South America.  Clark is concerned about having this little girl around the house, worried about the pressure this puts on his secret identity, but he makes the best of it, zooming around the world and collecting toys for his short-term sibling.  It’s a sweet response and his parents are proud of this display of character.

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superboy176 0006Later on, the Smallville superstar detects something approaching the Earth from space and zooms into orbit to find a strange, octopus like machine which attacks him.  Easily shrugging off its weapons, he deactivates the device and experiments with it, trying to solve its mysteries over the next few days.  He finds that its heart is an intelligence-gathering machine, essentially a massive electronic brain that absorbed an incredible amount of knowledge about Earth from the machine’s instruments.

Unfortunately, while the Boy of Steel is distracted, the device activates and leaves his lab.  When Kathy touches it, the globe explodes.  She is unharmed, but it is quickly revealed that she has become super intelligent, as she turns the Kent’s black and white TV into a color set and starts correcting her teaches in school.  Her young mind is stuffed with a planet’s worth of knowledge.  She should hang out with the Hawks!

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The young genius even picks the lock on Superboy’s lab and drops hints that she knows who Clark is.  That afternoon, Kathy accompanies Clark to a scrap yard, and when he is distracted by a an emergency at a nearby missile test (why is the army testing weapons in Kansas?!?), the grade-school Einstein takes the opportunity to whip up a makeshift flying carpet out of spare parts.  The Boy of Steel barely manages to save her from a collision with a set of powerlines, and she helpfully reveals that she knows his secret identity!

superboy176 0015Just then, a set of inter-dimensional aliens, the Truhls, arrive to complicate matters.  Apparently Superboy had tangled with them before, even leading a slave revolt on their homeworld.  Apparently, the octopoid device was theirs, and they intend to drain the knowledge it gathered out of Kathy to aid them in conquering the world.  They hit the Boy of Steel with a cool looking weapon and threaten the girl, but she was ready for them!  Having learned of their nefarious motives when she absorbed the machine’s memory, the pint-sized prodigy turned her doll into a weapon!  She zaps the invaders, but her device explodes from the strain, knocking her out as well.

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When Clark recovers, he returns the would-be world-breakers to their own dimension and discovers that the weapon erased all of the super-knowledge from Kathy’s mind.  I rather like to think that she did this on purpose, having been smart enough to realize that she would never be happy with such vast intelligence and preferring just to be a regular kid.  There is, of course, nothing to establish that in the story itself.  The tale ends with her father coming to claim her and the Kents bidding the little girl a fond farewell.

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This is a decent if not terribly outstanding little yarn.  It throws some unusual curves into Superboy’s life without making too much of them, and it doesn’t take itself too seriously, like some similar stories we’ve seen.  It is guilty of the old device of over-emphasizing Superman’s invulnerability, where nothing even phases him, with even hi-tech weapons that would be a good source of peril for him simply shrugged off.  At least the aliens’ final attack does some good, adding a little tension.  Speaking of the Truhl, this story really makes it seem like they hail from an earlier issue, but I can’t find any mention of them.  That’s a shame, because the two panels we get about Superboy’s previous adventure with them sounds way more interesting than this comic!  In terms of the art, I’ve noticed that Bob Brown seems to take on a slightly more cartoony style for this book, which works well for the lighter tone of Superboy.  Perhaps that has something to do with Anderson’s inks.  Either way, his work is quite good throughout, and I’m enjoying his tenure on the title.  As for this issue, I’ll give this readable if forgettable tale 3 Minutemen.

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“Invisible Invader”


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I was excited to see that we’ve got anther Legion backup in this issue.  I’m always happy to see those fine future fellows return.  Their stories tend to be a lot of fun, and this one is no exception.  It begins with Chemical King (who apparently has to be a rebel and not conform to the kid, boy/girl, or lad/lass formula that works for the rest of the Legion) attending the unveiling of the first commercial time-travel service, which is a fun idea.  The Legionnaire is on hand to act as security, but he gets shown up when a masked figure suddenly appears out of nowhere, steals the fares, and then vanishes into the thin air.

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When Chemical King reports to his comrades, the assembled Legionnaires try to sort out how the thief accomplished this feat.  It is the Invisible Boy that comes up with the answer when he deduces that the culprit must have discovered the same invisibility serum that the young hero did.  We get a brief flashback to Lyle’s efforts to work out the formula, along with some really great, thoughtful touches of realism, like the youthful inventor realizing that, if his eyes are transparent, light won’t be able to register on them, rendering him blind.  That’s a great bit of detail, and it makes the hand-waving of the explanation a few panels later easier to swallow.

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The crux of this issue is that the team has to find some way to counter the Invisible Kid’s powers, despite the fact that, once they do, others will be able to do the same thing as well.  Lyle selflessly stresses that there is more at stake than his career, and they get to work.  Unfortunately, nothing they try is effective, but after countless tries, the Invisible Kid suddenly has a revelation and figures it out.  With a solution in hand, the team plans to ambush their unseen assailant during a likely heist, and he obligingly shows up.  The Invisible Invader materializes to steal a jeweled cup from a hovercar race.

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However, when he tires to vanish again, he stays visible, leading the team right to his accomplice and allowing the real Invisible Kid to take him out.  What Lyle realized was, since he had complete knowledge of the serum, he could tell Chemical King what chemical reactions it caused, allowing the chemistry master to simply cancel those in their target.  Thus, the Legion captures the villain, and using a tactic only available to themselves.

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This is a fun little story, brief as it is.  In only seven pages we get a good setup for a crime and a great resolution to the challenge by our heroes.  We even get a tiny bit of worldbuilding and characterization, and all of the assembled Legionnaires get a little bit to do.  These Legion backups are really some of the most consistently enjoyable yarns I read.  They always seem to be fun, and much of their material is new to me, seeing as I’m generally not too familiar with the Legion.  I’ve been enjoying George Tuska’s art on this feature too, though it isn’t as strong on this outing as it has been.  I’ll give this one 3.5 Minutemen, once again, a strong score for a seven page story.

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Superman #240


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“To Save a Superman”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Dick Giordano
Cover Artist: Neal Adams

“The Man Who Cheated Time”
Writer: Cary Bates
Penciler: Michael W. Kaluta

This issue of Superman continues to develop the ongoing plots that Denny O’Neil has been cultivating, and it takes the seminal superhero in some interesting directions.  It’s rather more intriguing than it is successful, but O’Neil’s innovation deserves credit as he actually does shake up Superman’s status quo.  The cover this month isn’t particularly great.  We’re effectively just told that Superman failed without any real visual representation of the event.  It’s not the most electrifying of compositions, though it certainly delivers some melodrama.  The image is well crafted, of course, which is only what I expect from Neal Adams.

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The actual story begins with Superman arriving at the site of a blazing inferno as the fire department tries to put out a burning building.  Discovering that there is still a family trapped within, the Man of Steel flies to the rescue, but he is strangely hesitant.  We learn that his powers are still greatly diminished after his previous adventure, and he’s worried that he won’t be strong enough to pull off a rescue.  Despite his reduced power, the Metropolis Marvel still manages to rescue the family, but once he gets them out, the building’s owner approaches and demands to know if the hero is going to try to save it in turn.

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I love the sweetness of this sequence, as the worried Superman takes time to comfort the kids.

superman 240 0005Once again displaying unusual trepidation, the Action Ace takes to the sky, but his lessened powers prove unequal to the challenge.  In a really nicely rendered sequence, the building collapses, despite his efforts.  When the shaken hero steps abashedly out of the rubble, a photographer snaps a picture, and we get the headline from the cover.  Meanwhile, the Generic Gang has decided to narrow their focus to Superman (shoot for the stars, boys).  Calling themselves the “Anti-Superman Gang,” they meet to discuss whether or not the Man of Might has really become the Man of Milquetoast, finally deciding to risk a test to try to take him out.

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For his part, the Metropolis Marvel finds his town turning against him, meeting mockery in the streets and becoming embittered by the lack of respect for his years of sacrifice and service, which is a pretty natural reaction.  Suddenly, he sees smoke rising nearby and realizes someone is robbing a bank.  For a moment he debates whether he should leave Metropolis to its own devices, which is a nice touch, but the better one is that he shakes off his self pity and does the right thing.  His reasoning here doesn’t quite hit the right tone, though, as he thinks to himself “I’ve got to be what I am,” making his heroics a function of habit rather than a product of principle, which rather misses the mark.

At the scene of the crime, the Man of Steel finds a freaking artillery piece in the street (nobody noticed this thing being driven through town?), and the gang fires on him as he approaches slowly, thanks to his diminished powers, and they actually shoot him out of the sky.  Unable to get close, Superman decides to hit them from range, and in another great sequence, he rips the bank vault off of its massive hinges and hurls it at the artillery piece!  At least the hoods got into the spirit of crime in the DCU, dressing up in matching outfits, though they aren’t terribly interesting.  It doesn’t quite make them a themed gang, but it’s something.

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Back at the Daily Planet, Clark gets a visit from, of all people, Wonder Woman’s mentor and walking cliche, I-Ching, the blind Asian martial arts master and mystic.  Apparently the old man has learned of Superman’s plight, somehow, and, somehow, knows his secret identity…for plot reasons.  He claims he can help, so Clark doesn’t just vaporize him with heat vision and instead agrees to meet him later that night for an attempt to restore his powers.  Yet, a young punk in the office secretly observes this meeting and, being in the employ of the gang and set to spy on Superman’s friends, calls in a report, which eventually leads the criminals to I-Ching’s apartment, just as he begins working on the Man of Steel.

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The martial artist attempts to us his mystic powers to draw the Metropolis Marvel’s spirit out in order to cure it, leaving him temporarily powerless, but in the middle of the ritual, three gunsels barge in and knock him out.  Isn’t he supposed to be sort of awesome, despite being blind, what with the martial arts mastery and all?  Like Zatoichi?  Either way, he goes down like a punk, and the emboldened thugs beat on the immobile Man of Steel, only to find out that he’s more the man of Flesh now, as they manage to bruise him!

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Coming to his senses, Superman leaps up and attacks the trio.  His invulnerable costume stops a bullet, though he is still badly hurt by the impact (which is a nice touch of logic).  In a desperate fight, the suddenly completely mortal Action Ace manages to take out all three gangsters, and the book ends with him standing proudly, having proven himself despite the loss of his powers.

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This is only really a decent story taken all together, but it has elements that are really rather exceptional.  The first sequence, with Superman striving to do what he can, despite his lessened powers is pretty striking, and seeing the Man of Steel fail is definitely surprising in this era.  As is often the case, O’Neil’s treatment of the emotional dimension of the story is just slightly off key, close, but falling a little short of what it should be.  He hits the right note in the the final scene, however, with Superman fighting without his powers.  The desperation of that moment is captured fairly well.

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It’s interesting that O’Neil uses I-Ching for this role.  I suppose it makes sense, seeing as he created the character, but it definitely feels like it comes out of left field.  It would have made much more sense for Superman to contact Dr. Fate or Zatanna.  I’m not even sure these two had ever met before this issue.  I know almost nothing about this character, and he doesn’t really interest me.  I can’t say his showing in this issue is terribly impressive.  His role here, presumably to provide a way to restore our hero’s powers, points to the interesting fact that O’Neil has done something pretty unusual, having kept the Man of Steel at a reduced level for several issues now as his plot unfolded.  In previous stories, when Superman lost his powers, he almost always had them back at the end of the issue.  This arc highlights the changes O’Neil was bringing to the character.  This tale is another solid step forward in that arc, and I’m curious to see what O’Neil will make of the seeds he’s planted here.  I’ll give it a good 4 Minutemen.  The incongruous and unheralded presence of I-Ching and the uninteresting antagonists are the only real problems here.

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“The Man Who Cheated Time”


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The backup this month is another “Fabulous World of Krypton” tale, and it’s a good one.  It begins with a janitor (a SPACE janitor!) checking out the hidden devices in a secret depot of forbidden weapons hidden beneath a cool looking jungle.  The man marvels at a time machine and wonders how it got there, which leads us a flashback where we meet a brilliant scientist, Mal-Va, and his nefarious assistant (scientific assistants seem to be a bad bunch in the DCU), Zol-Mar.  Mal-Va is building a time machine that is set to be demonstrated the next day, but his assistant plans to steal the device and use it to set himself up in the past and live like a king.

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Interestingly, as he leaves, Zol-Mar observes protestors tearing down a statue of ‘Krypton’s most famous military leader,” Dar-Nx, and wishing that the authoritarian leader was still around to keep people in line.  This is a subtle piece of social commentary, and it has surprising resonance today, given the conversation in the U.S. about statues and cultural history.

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Anyway, to put his plan into action, the ambitious assistant meets with one of his master’s colleagues and, distracting the old man by planting an explosive in his lab, he steals an invention that creates hard light illusions.  Next, disguised as Mal-Va, the thief ‘borrows’ a ‘weather-regulator’ from another scientist before paying a visit to his last target.  However, when Zol-Mar meets the last scientist, the fellow pulls a gun on him, knowing that the masquerading miscreant can’t be be Mal-Va because he was just talking to him.  Desperately, the abominable assistant strikes out, grabbing the gun, and vaporizing his opponent.  Stealing a final device from his victim, Zol-Mar is ready.

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The next day, he takes his place in the time machine, having disabled the recall controls, planning to set up in the past and become Dar-Nx’s right hand man with the technology he has stolen.  Yet, as he travels, he realizes that if he just materializes out of thin air, the natives of that time might kill him out of fear, so he uses his image device to make himself look like Dar-Nx himself, reasoning that no-one would oppose him.  Unfortunately, this creates an energy pulse, reversing his course through time, and sending him into the future.  With the return circuit disabled, his master can’t bring him back, and Zol-Mar materializes fifty years in the future, only to find that Krypton is no longer there!  He meets his fate alone in the cold vacuum of space.

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That’s a great ending to a fairly tight little crime story with science fiction trappings.  It’s a great example of the classic ‘villain hoisted by his own petard‘ trope, and it works quite well, with a fitting end for the selfish would-be tyrant.  This wouldn’t feel out of place in one of the more horror/Twilight Zone-esq titles.  At the same time, the tone and setting fit Krypton quite well.  In terms of the art, I’m not that impressed with Kaluta’s work on this backup.  While it is nicely detailed and really imaginative in some ways, especially in terms of devices and technology, it is a bit rough and unattractive in terms of figures and faces.  He does have a nice gift for realizing spaces, though.  Seeing as this was some of his earlier work, I imagine he improved over time.  I’ve seen some of his later work, and it is much nicer.  Either way, his art here is still perfectly serviceable, and the final effect of the story is quite memorable.  I’ll give it a full 4 Minutemen, though I wonder about Bates wasting a page on the unnecessary framing device.

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P.S.: Notably, this tale introduces an artist named Mike W. Kaluta to the DCU.  You might recognize his name from a long and distinguished career, though little of it was in superhero comics, or, if you’re like me, you might recognize it from this month’s Green Lantern issue!  That’s right, the name of the little pins, the strange sound in the backgrounds?  Kaluta.  Presumably, this was in honor of the new talent arriving at the company.  B. Smith kindly pointed this connection out in the comments of that post.  I don’t know what the connection was between Adams and Kaluta, but what a neat little discovery!


This month’s Superman illustrates how far DC Comics have come in one year in terms of continuing storylines.  When we started this little journey, continuing plots were the exception, rare enough to elicit comment and debate in Aquaman, but they are becoming much more prevalent, with ongoing arcs in several titles, including some of the company’s flagship comics.

That brings us to the end of this post, but not the end of the fun for this month.  Come back soon for some more Bronze Age goodness, but in the meantime, be sure to check back on Tuesday for a special Halloween edition of Into the Bronze Age!  If you noticed something missing from the roll call of titles, you might be able to figure out what is waiting for you in a few days.  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: July 1971 (Part 2)

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Welcome Internet travelers and dear readers, to another edition of Into the Bronze Age!  We’ve got three books to cover in this post, and they are a rather diverse bunch.  We go from Zaney Haney to the Fourth World, and from spy thriller to cosmic quest in an earthbound setting.  Let’s see what lies 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 #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.


Brave and the Bold #96


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“The Striped Pants War!”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

Alright, what the heck is up with this title?  Is this a reference to something?  If so, I don’t get it.  All I can think of is Homestar Runner and “his ridiculous stripe-ed pants.”  Either way, there seem to be no striped pants actually in this comic.  Leave it to Bob Haney to confuse his audience from word one!  Head-scratching headlines aside, this is actually a pretty good issue.  There are a few things that ‘ol Zaney Haney always did very well, and one of those is the tale of the aging hero, the world-weary veteran whose best days are behind him.  It’s a story that he told many times, and always with verve.  This particular comic is no exception, though it doesn’t have the most impressive of covers.  It has a solid, if unexceptional, composition that sets up the central conflict of the comic, Sgt. Rock’s questionable loyalties.

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brave and the bold 096 004The story within opens on a dark night in a South American city as a van crashes into a car, the attacking vehicle’s occupants then jumping the stunned passengers.  The car’s driver fights back, only to get shot for his trouble, and his passenger is carted away.  Back in the U.S., Bruce Wayne is called to Washington D.C. where he is ushered into a secret meeting with the Secretary of State and the P.O.T.O.U.S. himself (that used to be an honor).  Nick Cardy does the usual dance, not showing the president’s face, which I enjoy.  It turns out the victim from our first scene was Ambassador Adams, who is a friend of Bruce’s, and who was on an important assignment in South America.

brave and the bold 096 005He was kidnapped by the “Companeros de La Muerte,” the Companions of Death, and they are holding him for ransom.  The President asks Wayne to fill in as a temporary ambassador to complete a delicate treaty, and he introduces Batman, who will travel along as protection.  How can this be?  Well, it’s Alfred covering for his master in a padded costume, of course, and before long the pair are headed south!  This is an interesting setup, and it works surprisingly well considering the stories in the Bat-books relatively recently where Bruce got involved in politics.  It’s unusually consistent for Haney…though I’m inclined to wonder if that’s just a coincidence!

When Bruce arrives at the U.S. embassy, he encounters another old friend, Sgt. Rock, who is head of security.  It was he who was driving the ambassador when he was kidnapped, and the embassy staffer left in charge, Carlyle, makes some snide remarks about his failure.  When left alone, the two old comrades catch up, but Rock is surprisingly bitter and angry about the service, raging that they won’t let him reenlist.  He strips off his shirt and shows the scars he earned in service to his country, but he laments that that country doesn’t want his service anymore.

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brave and the bold 096 013Bruce is struck by the old soldier’s rancor, but he gets on with his job, investigating the scene of the kidnapping as Batman.  In search of witnesses, he enters a bull fighting arena and gets a description of the van from a plucky young bullfighter who, in Haney’s trademark flare for minor characters, is full of personality.  Strangely, the Dark Knight notices Rock tailing him, just as he is attacked by an assassin!  One of the Companeros tries to kill him with a bullfighter’s prop, but the hero’s reflexes prove superior, and the would-be-killer is hoisted by his own petard.

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On his way back to the embassy, the Caped Crusader is attacked by another pair of killers, but he fights them off with difficulty, turning their weapons against them in a great sequence drawn by Cardy and moodily colored.  When he returns, the Masked Manhunter discovers a warning note from the terrorists that declares they will kill their prisoner at noon if he is not ransomed.  That’s not the only discovery, however, as Alfred finds a listening device in Wayne’s room, a device whose source is found to be Rock’s quarters!  Things look bad for the old soldier, especially when he is placed under arrest only to knock out a sentry and slip away.

Nonetheless, Batman continues his investigation, finding the killers’ van and trailing it right back to the embassy itself!  They are hiding the ambassador in a secret basement, and this seems to confirm Rock’s complicity.  The Dark Knight jumps the gathered thugs, getting the ambassador to cover but getting dog-piled by his foes in recompense.  Suddenly, Sgt. Rock comes charging into the room, firing a Thompson, coming to the Caped Crusader’s rescue!  He had escaped just to have a chance to clear his name, which he now does in spades!

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It was all a frame, of course, and the heroes manage to hold off the terrorists, but the desperadoes trigger an old trap from the building’s colonial days, turning heroes’ cover into a cruel cage.  At the top-sergeant’s insistence, Batman reluctantly escapes with the ambassador, only to be confronted by the real traitor, Carlyle.  Fortunately, while Bruce Wayne may hate guns, his faithful butler isn’t so squeamish, and Alfred flat-out shoots the rat!

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Meanwhile, Rock is making his last stand, but in desperation he attaches a grenade to the swinging spikes above him, and when they move back towards his enemies, they explode!  Batman finds his old friend still alive in the rubble!  Later on, they bid a friendly farewell, as Bruce Wayne takes his leave and Rock tells his pal that the army took him back for another hitch.

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This is a really solid story.  It’s fun, exciting, and it has a pretty decent central conflict with the question of Rock’s loyalty.  Of course, we all know that the top kick is as loyal and dependable as…well…as a rock, but Haney does a good job of making his defection seem plausible.  He is making surprising use of continuity here, however, it is largely his own.  I suppose that’s to be expected from the ruler of the ridiculous.  In his stories Batman somehow fought in World War II and is still active in the modern day.  What the rest of the DC Universe needed multiple Earths to accommodate, Haney just shoves into one story and calls it good.  That’s the Zaney one for you!

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Despite that bit of silliness, he does a great job with Rock’s frustration at his treatment, and even his explanation ‘hey, I may grumble, but I’m still loyal,’ rings true.  While the old soldier doesn’t get as much characterization as Wildcat tended to, we still get a good sense of who the veteran is and what struggles he faces.  Cardy’s artwork is lovely throughout, fitting this spy thriller tale quite well.  I’ll give this fun adventure an enjoyable 4 Minutemen.

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Detective Comics #413


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“Freakout at Phantom Hollow!”
Writer: Frank Robbins
Penciler: Bob Brown
Inkers: Dick Giordano and Steve Englehart
Letterer: Ben Oda
Editor: Julius Schwartz

“Squeeze-Play!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Don Heck
Letterer: Ben Oda

Another issue of Detective Comics this month, but the Batman tale within isn’t the amazing and groundbreaking tale of last month’s Batman.  Still Robbins turns in his usual brand of solid mystery yarn.  It’s got a serviceable but not fantastic cover.  The witch’s twisted visage is suitably creepy, but the rest of the image just isn’t all that interesting.  It also isn’t quite indicative of what is going on in the tale, even symbolically.  It’s rather an odd choice in that regard.

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The story itself begins with Batman returning from a case out of town, only to be flagged down by the constable of a small village, Phantom Hollow, who is also a former Gotham cop.  The lawman begs the Dark Knight to come investigate a mystery in his town.  We then cut to the quaint hamlet itself, which is clearly modeled on Salem, complete with its own witch trial.  Supposedly the town is haunted by “Ol’ Nell,” who cursed the bell of the old church, declaring that it would never sound again until it tolled Phantom Hollow’s death-knell.

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Yet, the place’s troubles are start with something rather more mundane, as a trio of local kids ambush a pair of long-haired hippie-types, giving them a compulsory haircut…and, let’s face it…if that’s the worst thing that happens to these two goofy looking losers, they are probably lucky!  It seems like they’re supposed to be around 12-14, and they just look utterly ridiculous.  I imagine that the kids at my school would have probably been crueler in my day!

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The two hippies, Shecky and Jamie, are recovering their wits when suddenly the massive form of the town simpleton, ‘Big Lanny,’ looms into view.  The boys take off and decide to get even with the town by playing some pranks.  It starts with the church bell suddenly ringing ominously for the first time in a few hundred years, but it takes a turn for worse when their attempt to set off cherry bombs near the town jail somehow blows a wall in!

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Batman arrives to investigate the matter and hears some conflicting claims by the local folks, some claiming it was the two weirdo kids, others claiming it was Nell’s ghost.  The local teacher sticks up for the young punks.  The Dark Knight has plenty of suspects, but few clews, so he searches the bell tower, finding that the bell is rusted solid, but a strong pair of hands tip him over the rail and send him plummeting to his death!

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DETECTIVE COMICS 413 010Fortunately, the Masked Manhunter is always prepared, and he tied a bat-rope to his foot when he climbed to the dizzy height of the steeple, which is a nice, reasonable precaution for the hero to have taken.  Outside, he finds the teacher, who was attacked by someone moving fast.  She still insists on the innocence of her students, but when the Caped Crusader finds a speaker that provided the eerie bell-toll and traces its cord to a nearby cave, it is indeed the two would be counterculture rebels that he uncovers.

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DETECTIVE COMICS 413 015While he is confronting the kids, the bell rings again, but their tape recorder is shut off!  Racing back to the church, Batman finds that the bell has been broken free of its rust, a feat that he himself had failed to accomplish.  Suddenly, another explosion rocks the town.  Interrogating his two captives, who remain defiant, the Dark Knight realizes that someone has been using them as patsies, and by pretending to leave them in the care of the teacher in the cave, he lures out the real culprit…Big Lanny?!

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That’s right, the huge handyman was actually a direct descendant of Ol’ Nell, and he faked his stupidity in order take revenge upon the town.  Unfortunately, the massive man, once revealed, remains a frightful foe.  He toss the Caped Crusader about like a rag doll, and only the desperate attack by the two hippie kids saves the hero, toppling the giant and allowing the Masked Manhunter to punch him out.  The tale ends with the teacher pointing out that the two exceedingly poorly dressed boys are modern day victims of the same type of ignorance and superstition (ignorance yes, but how does she get superstition?) as Ol’ Nell was in her day.

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This is a decent mystery yarn, and it is interesting to see Frank Robbins dealing with youth culture and the growing strains on American life, with the nonconformists of this little town playing both sympathetic victims and antagonistic troublemakers.  There isn’t a lot made of the setup, but it is notable that the teacher continues to defend the two kids and that they prove instrumental in capturing the villain.  There’s definitely a message of tolerance delivered through their plot.  Brown’s art is as solid and attractive as usual, and he gives us a few particularly nice images, like Batman observing the explosion from the bell tower.  His Batman isn’t quite as lovely as Neal Adams’, but he always looks good, powerful and dynamic.  I don’t think Bob Brown gets a lot of credit, but he was a very reliably good artist, especially on these Bat-books.  As for this issue, it’s an enjoyable if unexceptional read, so I’ll give it 3 Minutemen.

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“Squeeze-Play!”


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The wig saga continues!  For some reason!  The Batgirl backup from the last issue is concluded here, despite the fact that it really seemed to be just about finished already.  This one starts right where the previous tale left off, with Batgirl locked in awkward combat with the malicious wig-makers, who have managed to get one of their skull-cracking hairdos onto her head.  Vazly hits the switch, and the fighting female seems to writhe in agony, only to reveal that it is just an act.  She had already deactivated the heinous headgear.

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She manages to capture Vazly, but his assistant gets away.  In an admittedly cool sequence, Babs uses her photographic memory to deduce that something is missing from the scene, working out that it is a wig-stand.  She recalls the code that had been on the missing item and works out that it is an address for a would-be victim.  Rushing to the scene of the next crime, Batgirl interrupts Wanda as she attempts to put the squeeze on another rich divorcee.

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Jumping the weird wig-maker as she attempts to make her getaway, the heroine engages in another desperate fight, with the wig again being used as a weapon, this time as a really clumsy garrote.  Fortunately, Batgirl uses her head (as a bludgeon) and captures the remaining villain.  The story ends with her receiving her birthday gift, a wig, from her father.  Both Gordon and his friend Bruce Wayne think she looks better as a redhead, which she does, so Babs decides to stick with the hair God gave her.

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This isn’t a bad story, but it isn’t a particularly good one, either.  Batgirl’s peril feels a bit weak at times, and, as I said, this second half doesn’t feel entirely necessary.  If Robbins hadn’t wrapped so much up in the first half, there would have been more to this story.  As is, it feels largely perfunctory, though Babs’ feat of deduction is pretty cool, taking advantage of a character trait that isn’t always acknowledged, her eidetic memory.  Don Heck’s art is serviceable, but it isn’t very pretty.  He’s just not my favorite superhero artist.  His figures tend to be stiff in action, and the whole thing lacks the smoothness of Bob Brown’s work on the headline tale.  This is a mediocre offering, but there isn’t really anything in particular to fault it for, so I’ll give it 3 Minutemen.

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Forever People #3


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“Life vs. Anti-Life!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

The King’s Fourth World wonders continue to unfurl, and it is certain a fascinating journey!  Here with issue 3 of the the Forever People, the concept still hasn’t entirely gelled, yet Kirby is nonetheless constantly adding memorably to his mythos.  This particular issue is a very uneven affair, but it is also really striking.  We begin with another very lackluster cover.  Other than the Mr. Miracle books, the Fourth World titles just don’t really benefit from good covers.  I wonder if that contributed to their eventual failure.  Either way, with this one we get a rather unbalanced image, against another dim and ugly photo-collage background.  This one is so fuzzy that it’s little more than light and shadow.  The image of the Justifier’s helmet in the background isn’t really all that intimidating, and while the cosmic kids are well drawn, the effect is just not very captivating.  It isn’t helped by that glut of cover copy either declaring but never explaining Kirby’s wild concepts.

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Inside, however, it’s another matter.  From the first page the King gives us a clue as to what he’s about, starting with a quote from Adolph Hitler (!) about how his followers not only dressed alike but even began to mimic one another in facial expressions.  Below is a sea of faces, faces that are eerily similar in their blank, dead-eyed expression, despite the riot of variety among them (though, notably, they are all white).  This is a ‘revelation’, something of an evil version of a revival, headed by Darkseid’s newest flunky, Glorious Godfrey.

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With a fittingly glorious double page splash, Kirby introduces the evil evangelist, who is hawking a heinous set of wares called ‘Anti-Life!’  The trappings and the language are all twisted versions of what you’d see at an old time tent revival, but rather than calling people to a knowledge of their sins and a God who will forgive them and save them from it, Godfrey promises freedom from such self-knowledge, freedom from doubt and uncertainty, the freedom of surrendering your will to Darkseid!  There’s something really fascinating and powerful in all of this.

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Godfrey converts his crowd into ‘Justifiers,’ whose adherence to the external reality of Darkseid’s will allows them to ‘justify’ any actions, enabling these miserable souls to indulge in violence, hatred, and more, all while feeling a sense of belonging in the foul fold.  One of these helmeted hooligans arrives at the abandoned apartment acting as home for the Forever People and threatens their young friend, Donnie in order to find the quintet.  Fortunately for the kid, the team has just walked in, hidden by Mother Box.  Beautiful Dreamer casts an illusion to confuse their antagonist, while Vykin rescues Donnie.  Then, all six youths beat a hasty retreat because the fanatical follower of Darkseid is a walking bomb!  He detonates himself, but the Forever People are able to get out of range.

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Realizing that Godfrey is on Earth by recognizing his handiwork, the team leaves a protective barrier around Donnie’s home and takes their leave, bidding the kid adieu.  This is a bit surprising after the efforts Kirby went to in establishing the kid and the neighborhood as part of what seemed an ongoing setting in the last issue.  Nonetheless, the Forever People load up in the Super Cycle and use Mother Box to home in on the Glorious one.

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Meanwhile, in a scene that is an honestly haunting sci-fi version of Nazi Germany’s Kristallnacht (The Night of the Broken Glass), the Justifiers spread out through the city in flying transports, smash open doors, haul away ‘undesirables,’ burn libraries, and break windows.  The parallels to real history are pretty unmistakable, and Kirby’s depiction of these events is really striking and efficient, only taking two pages to do its work.  Monitoring his minions’ malicious work, Godfrey is primping, preparing for his next show.  He gets a report about the approach of the Forever People and prepares a warm welcome.

The kids, for their part, see the guards around the tent and decide to summon the Infinity Man.  He then bends and breaks the laws of physics as he wades through the solid earth to avoid the gods and warps the paths of bullets when he confronts Godfrey.  He also abuses the rules of good writing, over-explaining everything he’s doing in odd, stilted prose.  No rules can stand against the Infinity Man!  Not even the laws of composition!  The enigmatic hero destroys the mind-controlling organ Godfrey is using to control his converts, but he is stopped in his tracks by being brought face to face with…Darkseid!  Once again, Kirby’s depiction of the villain hasn’t quite solidified yet, and he varies quite a bit from panel to panel.

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Still, what the evil one lacks in visual continuity he makes up for in power, as he uses his eye-beams to split the Infinity Man back into the Forever people, who are easily captured by Desaad.  The unconscious kids are herded into a transport and sent off to a new facility of the cruel scientist’s design.  After their departure, Godfrey and Desaad spar, each seeking to cement his position with Darkseid, and we learn a little bit more about the Anti-Life equation, though it doesn’t make matters much clearer.  Apparently Godfrey believes it doesn’t exist, and that Anti-Life can only be created through his type of direct mental manipulation.  Apparently the Equation would allow its possessor to control the wills of all beings in the universe with a word, essentially destroying free will, the great gift.

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This is a fascinating issue, but it isn’t necessarily a good one.  It is a dramatically uneven book.  When it is bad, it is really bad, but when it is good, it is really good.  It’s strange, because it’s not even always good or bad in the same ways.  Sometimes Kirby’s dialog is extremely overwritten and awkward, and other times its almost poetic.  Darkseid’s declaration at the end that “when you cry out in your dreams-it is Darkseid that you see!” is darn good dialog, but almost everything the Infinity Man and the Forever People say is awkward and unnecessary.  It’s clear that Kirby learned his comic scripting from the school of Stan.  Stan Lee’s style of unnecessary expository dialog is very much in evidence here, but often times without the charm for characterization and cleverness that marked even Lee’s more egregious examples.

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The Forever People themselves are once again largley useless in this issue.  Pretty much the only thing they do is to run away from the first assassin, but they contribute basically nothing to the plot.  If my vague memories of my first read-through are correct, we might see them get more of a chance to shine in the next issue, but we shall see.  Despite these flaws, what Kirby is doing with Godfrey and the Justifies is really intriguing.  The fact that the villains are evil insofar as they surrender their will and judgement for belonging and comfort is very striking, especially in light of the Jewish author and the not-too-distant cultural memories of the Holocaust.  The parallels to the Nazi’s horrific campaign, as I said, are inescapable, but this story still resonates today.

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It is, sadly, not an isolated incident that sees men surrender their moral judgement and their will to unworthy causes.  It is frighteningly common.  It is a difficult and wearying thing to think, to judge, and to strive for a consistently just moral life and philosophy, and people are always anxious to escape the burden of responsibility that we bear by being human.  It is happening in our world today, as people blindly support causes and leaders that blatantly contradict their own stated values, having given up their moral judgement to that of the party, so the only decision they have to make is whether ‘they’ are ‘with us or against us.’  In this way, Kirby’s story works wonderfully well on an archetypal level, for whatever flaws it has as an adventure tale.  In the end, this flawed but provocative comic is still a really interesting read, so I’ll give it 3.5 Minutemen, despite its uneven quality.

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P.S.: This issue sees the first appearance of the letter column, and the response is quite positive.  Notably, sci-fi luminary and the subject of a JLA story I recently covered, Harlan Ellison wrote a glowing missive for the Master.

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And with the Forever People, we round out our comics for this post.  Thank you for joining me for this stop on our journey Into the Bronze Age!  I hope that you enjoyed my commentary and will join me again soon for the next stage of my investigations.  Please come back soon, and until then, keep the Heroic Ideal alive!

Into the Bronze Age: June 1971 (Part 4)

DC-Style-Guide-1

Thanks for joining me for another stop on our journey Into the Bronze Age!  It’s all Superman, all the time in this post, so I hope you like the Man of Steel!  Yet, these are three very different comics, so there is probably something for everyone to be found here, even with the same character featured in all three.  That is a feature of the Bronze Age, the variety of styles and stories available at the same time.  It’s a wide and varied selection of comics that DC published in the 1970s, and about to grow wider in the coming years.  So, let’s see what awaits us in these comics, shall we?

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

 


Roll Call


(You can see everything published this month HERE)

  • Action Comics #401
  • Adventure Comics #407
  • Batman #232
  • Detective Comics #412
  • The Flash #207
  • Justice League of America #90
  • Mr. Miracle #2
  • The Phantom Stranger #13
  • Superboy #174 (reprints)
  • Superboy #175
  • Superman #238
  • Superman’s Pal, Jimmy Olsen #138
  • Teen Titans #33
  • World’s Finest #203

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


Superboy #175


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“Doomsday for a Super-Phantom!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson
Cover Artist: Neal Adams

I am growing to dread seeing Leo Dorfman’s name in the credits.  His stories tend to be on the goofier, more poorly thought out side.  This particular offering is a weird hybrid.  There are elements of it that are quite goofy and others that show a surprising amount of thought.  It has a decent cover, with the shriveled husk of Superboy a pretty striking image.  The villain isn’t that imposing, however, just standing there, though he isn’t that impressive inside either.  The story itself concerns a modern day warlock named oh-so-originally ‘Faustus,’ and his ‘coven,’ his extended family who are supposedly descended from “the race of witches and warlocks.”  Now, putting aside for a moment that the idea of a “race” of witches makes no sense, this actually sounds a bit like the origin of Zatanna Zatara and her “Homo Magi” ancestry.  Interestingly enough, this little tale actually predates that development of Zatanna’s mythos.

Anyway, these modern day magic users are mostly a sad lot, not having much mystical mojo after centuries of inbreeding with regular humans.  Still, Faustus has gathered the family in the hopes of restoring their preternatural power by stealing it from the greatest source remaining in the modern world….Superboy!  Now, I know what you’re thinking, ‘Superboy’s powers aren’t supernatural!’  And you’re right.  To my surprise, that little detail is actually addressed in this comic.

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While most of his family’s powers have withered, Faustus plans to supplement their abilities with technology, as he declares that he has become “the world’s greatest expert in cybernetics,” which, while possibly fitting into a technical definition of the term, really doesn’t quite seem to be a great fit.  Nonetheless, he uses his machines and the most promising of his relatives, an orphan named Asmo, to reach out and steal Superboy’s soul in a decent looking two-page spread.  When the spirit arrives in their lab, he explains that his powers are not magical (see), but scientific, the result of his Kryptonian biology.  He also points out that everyone knows this, making Faustus quite the moron.

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Meanwhile, Superboy’s body sort of continues functioning on autopilot, botching the repair job he was doing on a shattered bridge and flying home, his memory gone, but his instincts remaining…which doesn’t quite fit with what we see.  In the warlock’s lab, the ‘Super Phantom’ seems useless, so most of his family abandons him, but Faustus plans to use Asmo to make use of their catch.  By luring the Boy of Steel’s body to them with a fake distress call, they supercharge the ghost with its powers and leave the discarded form trussed up like a scarecrow.

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Faustus tries to take control of his ‘Super Phantom,’ but Asmo was the source of the power, so he is his master, and when the boy orders the spirit to bring them home, they discover that his powers have manifested as psychokinesis, the one ability that a phantom could use…which actually makes some sense, insofar as a portrayal of magic can.  When they arrive at Faustus’s mansion, the warlock tries to get the boy to use Superboy’s spirit for big, showy crimes and evil deeds, but the kid just uses him for childish desires, like sporting equipment from his heroes and an entire Olympic skating rink.  There’s a sad little scene where Superghost, left on his own for a while, recovers his body and brings it home, only to scare his parents half to death because they can’t see the spirit and just see their son, seemingly dead.  Nice job Clark!

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Back at the mansion, Faustus grows impatient with the boy’s lack of vision, especially when Asmo decides that he has no right to us Superboy for his own benefit when so many people depend on him.  The magician strikes the boy, but realizing that the kid could have Superspirit squish him, the warlock changes his tune and promises to reunite soul and body.  Yet, he betrays Asmo and plans to transfer the power to himself when suddenly his computers seem to suddenly goes all Skynet on him and gains sentience.  The mad machine tosses its former master about until he agrees to obey it, and after some frantic rewiring, the whole house begins to shake.

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Suddenly, Superboy’s body crashes through the wall and spirit and flesh fuse back into a whole.  Not to be beaten, Faustus rushes to press his lab’s self-destruct switch, only to be electrocuted because of the rewiring he had done.  To end the adventure, Superboy explains that he used the telepathy that being a spirit granted him (sure) to read the warlock’s mind, learn how to work the computers and devices, then make them seem to turn on their master and convince him to create a machine that would undo his bodiless condition.

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It’s all really pat and convenient, and it seems more than a little bit of  a stretch.  I know Superboy is supposed to be super smart, but this just seems to take things a tad far, as the kid does all of this presumably incredibly advanced science and magic on the fly, all after reading the antagonist’s mind, despite showing no ability to do that before that point.  The rest of the story is surprisingly fun for a Dorfman tale.  As a matter of fact, the basic concepts, descendants of magic users in the modern world and the fusion of mysticism and technology are pretty promising.  They’ll be parlayed into better stories later on in this decade.  Still, despite its goofy elements and rushed, silly ending, this is a fun enough read.  I’ll give it 2.5 Minutemen, knocked off of the average by that ending.

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P.S.: This comic also includes a weird little two page feature explaining why Ma and Pa Kent look younger these days.  I’m really curious what the real-world explanation is, because the in-universe retcon is that an alien TV executive was secretly filming Superboy for a show, and when his bosses wanted younger actors for the Kents, he sent them a youth serum, and the Boy of Steel faked a mass incident with other old folks to hide the fact that his parents specifically were effected.  So apparently in the DC Universe there are gonna’ be about half a dozen folks from Smallville that are going to have drastically increased lifespans!  What a weird little attempt to address a continuity problem!


Superman #238


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“Menace at 1000 Degrees!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Cover Artist: Carmine Infantino

“A Name Is Born”
Writer: Cary Bates
Penciler: Gray Morrow
Inker: Gray Morrow

This is not the story I expected.  That’s not to say that it isn’t a good story.  In fact, it is, but this cover led me to expect something rather different.  Despite that, it’s a really great image.  I’ve been looking at this comic coming up in my reading order and I’ve been pretty excited about it.  The two figures, beautifully rendered, perfectly convey a crisis of perspective, with Superman’s mirror image lacking the empathy that makes the Man of Steel a hero and thus unwilling to help his counterpart.  The cover copy is hardly needed, the image is so effective.  The trouble is, while this moment is actually in the comic, it is pretty much entirely ancillary to the actual plot.

That plot, instead, centers around the still weakened Man of Tomorrow’s efforts to save the world despite his lessened powers, which is a promising setup.  Oddly, we don’t pick up where our last issue left off, with Superman confronting his dusty doppelganger.  Instead, our hero has gone back to his normal life in Metropolis, and we join him as he springs into action when he hears reports of modern day pirates attacking a ship.  (Hey!  Quit horning in on Aquaman’s act!)

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Still feeling the effects of his contact with his opposite number, the Metropolis Marvel is unable to fly, so he leaps over tall buildings in a single bound on the way to the sea.  Once he arrives at the site of the attack, he just drops straight through one of the pirate ships, which is pretty funny and clever.  The Man of Steel then stops a torpedo from the other craft, though it actually stuns him in his weakened condition.  Fortunately, the Coast Guard arrives and mops up.

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superman 238 0006Unfortunately, they soon realize that this pirate attack was actually a ruse to draw the Coast Guard ship away from its station, guarding “Project Magma.”  Essentially, this is an effort to tap the magma below the Earth’s crust in an effort to provide unlimited power, as the world has begun to realize that oil, coal, and the rest won’t last forever.  The trouble is, the undertaking is incredibly dangerous, because of course it is.  Once again, DC scientists just can’t help but create things that imperil the world, can they?  Well, Superman leaps to the floating test site, only to be met with a “magma house” which is…pretty much exactly what you’d expect.  In a nice sequence, the Action Ace is covered in molten rock, knocked out of the sky, and then trapped as the stone cools upon contact with the water.

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Straining mightily, the Kryptonain manages to break free, but he realizes that the platform is too well defended for him to take by himself without the terrorists having a chance to cause incredible destruction, so he decides to call in the Justice Leag…err…no.  In fact, Superman declares that “there’s just one creature in the universe I can call on,” and that’s his alluvial alternate, the Sand Superman.  Really?  With the entire League at your disposal, he’s the only one who can help?  It’s not like you’re friends with the World’s Greatest Detective, who could develop a foolproof plan for storming the facility, or the Fastest Man Alive, who could disarm all of the terrorists before they even knew they were threatened, or the King of the Seven Seas, who could summon an army of sea creatures to swamp them and wash the place clean.  It’s a tad silly.  If O’Neil had just given us a single line of dialog saying, ‘It’s too bad the JLA are on another case’ or something, there wouldn’t be a problem, but this is an example of the narrative moving at the speed of plot.

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Anyway, it’s at this point that our cover image gets its payoff, as Superman goes to meet his dusty double in the hopes of persuading him to help, but the Sand Superman won’t budge, pointing out that mankind means nothing to him because he isn’t human.  There is a really intriguing element to this encounter, as the doppelganger has the original’s powers and knowledge, but he lacks the human upbringing and experiences that make Superman himself a humble man rather than a superior god.  This doesn’t get developed, which is something of a shame, but neither does it get resolved, so I imagine we’ll see this thread get paid off in a later issue.

In the meantime, the terrorists, lead by a freelance spy named Quig, issue their demands.  It seems that they’re a desperate lot how have run out of places to hide, so they have nothing to lose, and they threaten to unleash a bomb under the Earth’s crust unless their demands are met.  They want a hydrogen bomb, $50 million in gold, and 50 hostages to ensure everyone plays nice.  Interestingly, Lois volunteers to be one of the hostages so that she can be on hand to get the story, which is really brave…probably stupidly brave, but it mostly works.  This brings us to another little flaw in the story, as the powers that be simply roll over and give the terrorists literally everything they want, which is pretty insane in context.  There’s no stalling, no negotiation, just, ‘here’s your 50 hostages, gold, and nuke!  Have a nice day!’

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As Quig gloats over his success, he notices Lois and calls her over.  The daring girl reporter puts him at his ease, then snatches his gun and tries to force the terrorist to give up.  Unfortunately, he’s got nerves of steel, and she backs down before he does, which I wasn’t crazy about.  It’s really a no-win situation for Lois, because if she kills him, she’s going to get gunned down by his men, but she mostly gives up because she doesn’t have the will to shoot him, which seems out of character.  It’s not that Lois would want to take a life, but I think she’s a tough enough lady that, if she had to, she would do so and then feel bad about it afterward.

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After she surrenders the gun, Quin plans to shoot her as an example, but then one of the hostages moves with blinding speed, grabs the girl reporter and takes her to safety.  As he runs, he sheds his disguise to reveal the colorful costume of…Superman!  In a funny bit of detail, he once again is rather annoyed at Lois getting herself into such a situation, telling her “Stay put, Lois!  For once–just…keep out of trouble!”  The Man of Steel then takes out Quig’s men and disables the Magma cannon, but he isn’t quick enough to stop the head terrorist himself from releasing his bomb down the shaft.

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The Man of Tomorrow dives after the explosive, falling a great distance (though the art doesn’t really show that), catching the deadly device, and throwing it back out of the chute.  When he emerges, Superman easily captures Quig, but he finds himself at something of a loss about how to answer Lois’s questions about why he waited so long for his rescue.  What can he tell her without revealing his diminished powers?

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This is a good, solid Superman story, with a lot going for it.  The danger he faces is appropriately cataclysmic, and the magma-hose is a good, believable way to allow the regular human terrorists to pose a bit of a threat to the Kryptonian powerhouse.  The device of his weakened powers is also a good one, forcing the hero to take a different approach than he is used to and ramping up the stakes in the story.  This is not the planet-juggling Superman of the Silver Age, and the tale is more dramatic because the odds are a bit longer for him.  Throughout, Curt Swan’s art is even better than usual.  His depiction of the Sandy Superman, which I didn’t think entirely worked last issue, is really lovely in this one, as the creature’s dusty form drifts away in the arctic winds.  My only real disappointment, other than minor quibbles about Lois’s portrayal, is that I had hoped for a bit more out of the Sand Superman plot, but that isn’t really a fault with this story.  I’ll give it 4 Minutemen for a good, enjoyable Superman adventure that continues to develop O’Neil’s intriguing plot threads.

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“A Name is Born”


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Our backup feature is another edition of ‘The Fabulous World of Krypton,’ and this is really a great short story!  It tells the tale of how Krypton was named.  It begins with two Kryptonian school teachers talking about their classes, with the younger complaining that she can’t get her “level-one students” (presumably like first graders) to sit still for five minutes.  I’m sure any parents or teachers among my readers are shocked by this.

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Her older colleague offers her a story that he claims will keep the class enraptured, and we flash back to the early life of the planet Krypton.  The world is surrounded by a cocoon of strange matter and has no human life upon its surface.  An alien spacecraft makes a landing, but it is observed by a castaway, a different alien whose ship crash-landed on barren planet.

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The two strangers approach one another, both hoping for a peaceful meeting but prepared for hostilities.  The marooned spacer, a xenobiologist, presents the newcomer with a small flower, but unfortunately, it reacts with the strange atmosphere and erupts.  The startled pilot reacts violently, thinking this was an attack.  He draws his weapon and fires, but his ersatz foe, though not a warrior, has a defensive shield that absorbs ray-blasts, allowing the energy to be channeled off safely.

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The fight becomes hand to hand and desperate, but as the newcomer tackles the castaway, his would-be victim spots a deadly peril approaching, as part of the matter surrounding the world rained down upon them.  The biologist, realizing that escape was impossible, chooses to throw the warrior to safety, becoming mired in a clinging, suffocating slime.  There’s a wonderful moment as each of these strangers wonders about the other’s motive, but the newcomer chooses to trust that this gesture was a selfless one, and shoots his former foe, charging the shield and allowing the power to be diverted into the clinging matter.

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Finally, the two stand facing each other in peace, and when they remove their helmets, they discover that they are both humanoid, and that the biologist, is actually a woman!  It’s a great reveal.  They introduce themselves, Kryp, the newcomer, and Tonn, the castaway, and discover that the warrior’s ship has been damaged too, so they are stuck on this planet for a while.  And that is how Krypton got its name, and its first inhabitants.

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This is a really great little story, with some fun action, some nice sci-fi flavor, and a surprisingly effective message about giving folks the benefit of the doubt.  It’s a very effective science fiction morality play, something the genre excels at.  Gray Morrow’s art is just great, with a really unusual style full of details both thoughtful and decorative, like the collapsible stock on Kryp’s weapon, or the stylized creature on his helmet.  I’ve heard of Morrow, but I don’t know that I’ve ever seen his artwork before.  I’ll be on the lookout from now on, though!  This whole story feels like it might have made an appearance in the classic sci-fi collections of the Silver Age, like the Space Museum.  In fact, this reminds me quite a bit of one of those stories, though I can’t quite place it.  Either way, I really enjoyed this Space Age Adam and Eve tale, and I’ll give it 4.5 Minutemen.

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Superman’s Pal, Jimmy Olsen #138


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“The Big Boom!!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inkers: Vince Colletta and Murphy Anderson
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell

We round out this trio of books with another piece of Jack Kirby’s Fourth World, and this is a really good one.  Sadly, it’s under another ugly photo-collage cover.  It’s similar to the cover-copy-happy composition of Mr. Miracle #2, but this one doesn’t benefit from a gripping central image.  Nevertheless, the comic inside makes up for it.  It picks up right where the last issue left off.  The DNA Project staff are scrambling to respond the Monster Factory’s attack in the form of the four-armed terror they unleashed.  The creature is currently tearing its way towards the Project’s nuclear reactor, while Superman and the Newsboy Legion are trapped in a strange egg-like prison.  The Project troops, along with the original Newsboy Legion and the Guardian clone, mount up and head towards the reactor in a surprisingly effective photo-collage double-page spread.

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We also get a lovely full-page splash, one of many in this issue, of the whole gang charging to the rescue, as well as one of the imprisoned protagonists.  Inside the egg, Superman discovers that the alien substance absorbs his strongest blows, but while the monster tunnels ever closer to its goal, the Man of Tomorrow tries to ‘hatch’ the egg by trying to recreate the energy the DNAlien used to create the egg in the first place by generating electricity by…rubbing his hands together at super speed.  It’s a fairly dubious use of the Kryptonian’s powers, but nevertheless, he frees himself and flies after his foe.

We then cut to an odd little scene at the Daily Planet, where Perry White has called in a girl named Terry Dean, supposedly a friend of Jimmy’s, in his search for his young reporter.  She tells the editor about Olsen leaving on a job for Morgan Edge, and this makes White worried.  The scene feels a bit unnecessary, and as far as I can tell, we’ve never seen Terry Dean before, so her introduction is a bit odd as well.

Meanwhile, events continue to accelerate as the Project troops near the site of the action, the Monster Factory flunkies prepare reinforcements for their perfidious progeny, and the malevolent Morgan Edge is warned to escape Metropolis before the inevitable cataclysm.  The soulless CEO casually walks out of the building with a smile, leaving his staff to a quick and certain death.  It’s an effective demonstration of his cold and calculating character.

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Back at the reactor, Superman narrowly manages to intercept the monster, but it is able to damage the machinery despite his efforts.  Suddenly, more monsters pour from a portal, but the Project troops arrive just in time back up the Man of Steel.  Unfortunately, the damaged reactor begins to meltdown, and with the control rods smashed in the fight, there is no way to stop it.

Superman rips the entire structure up and carries the massive device, spewing radiation, and leads the marauding monsters after him, knowing they are drawn towards the power.  He dumps the raging reactor down a vast pit, a test tunnel bored deep into the Earth in preparation for tapping the core for power, a popular topic this month.  The pursuing creatures tumble in after it, like so many multi-armed lemmings, and there is a tremendous explosion that, despite plot of the previous Superman story, doesn’t actually destroy the planet.  That’s lucky!

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The tale ends with Superman and the Guardian returning to Jimmy and the Legion, only to receive a cold shoulder because the kids were kept out of the desperate fight.  Guardian finds their reaction a tad ungrateful, considering that the Action Ace did just save all of their lives, but the kids are having none of it.

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This comic is just a blast, with a rapid-paced, pulse-pounding adventure with great stakes and some fantastic Kirby art.  The King does a good job pacing his plot for the most part to achieve this frenetic rush, but the strange side-trip to the Planet does throw it off just a bit.  In the same way, while the writing on this issue is strong in general, it does have a few minor weaknesses.  Superman seems just a tad off, which has been the case for most of Kirby’s treatments of the character.  In the same vein, the Man of Steel’s random electrical generation, while reasonable in the art, is a tad silly in the explanation.  Unfortunately, the Legion are once again kept out of the plot, so they don’t get a chance to do anything useful or interesting. Still, we get an instructive character moment with Morgan Edge and some great action as Superman and the Project troops take on the monster horde.

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While disposing of the reactor in an underground tunnel strains credulity a bit, seeing as it would probably cause massive earthquakes at the least, it makes comicbook-sense.  Once again, the King seems to be reveling in the freedom to create his own stories without constraints from anyone else, and the proliferation of full-page splashes in this issue, like in New Gods #2, reveals an exuberance and energy that is really exciting, even if it does make the issue a bit breezy.  As you can tell by the glut of images in this commentary, the art was so good I had a hard time making my choices for display!  In the end, this is just a really enjoyable read, like a classic issue of the Fantastic Four, so I’ll give it 4.5 Minutemen.

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And this set of Superman stories brings us up to the final stretch of June 1971.  We’ve only got two comics left to cover!  I hope that you’ve enjoyed this batch, and it did contain a number of really entertaining stories.  I was particularly pleased to read the ‘World of Krypton’ feature, as I’d heard of that odd bit of history, but the actual event was much more engaging than I anticipated from an element of the mythos that I expected to be silly and Silver Age-ish.  We also see a continued growing interest in the occult and the supernatural with the villainous warlock in this month’s Superboy, a trend I expect to see become more pronounced in the years to come.  Before too long we’ll see what the future holds, and I hope you’ll join me for that adventure as we continue our journey Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: June 1971 (Part 2)

DC-Style-Guide-1

Hello comic fans and lovers of literature, and welcome to another edition of Into the Bronze Age!  We’re continuing our march through June of 1971, and it is already proving to be an intriguing month.  This pair of comics isn’t quite as fascinating as the last few, but we do have an enjoyable batch of books to explore.  So, further up and further in!

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 #401
  • Adventure Comics #407
  • Batman #232
  • Detective Comics #412
  • The Flash #207
  • Justice League of America #90
  • Mr. Miracle #2
  • The Phantom Stranger #13
  • Superboy #174 (reprints)
  • Superboy #175
  • Superman #238
  • Superman’s Pal, Jimmy Olsen #138
  • Teen Titans #33
  • World’s Finest #203

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


Detective Comics #412


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“Legacy of Hate”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz
Cover Artist: Neal Adams

“The Head-Splitters!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Don Heck
Letterer: Ben Oda
Editor: Julius Schwartz

Under this pretty excellent cover, beautifully drawn by Neal Adams, we have a very conventional yarn.  The cover composition is exciting, with our hero facing mortal peril in a nicely rendered and atmospheric image that has the added benefit of actually occurring in the comic.  The headline tale is, despite its medieval trappings, a rather hackneyed plot, and though I can’t put my finger on it, I think I have read another Batman story that was extremely similar.

It’s another murder mystery in a castle, and on that front, this story hearkens back to the first Dr. Darrk story, only six issues ago.  Nonetheless, it’s an enjoyable enough read.  It begins with an old mystery device, as Bruce Wayne receives notice that a distant relative, Lord Elwood Wayne, is dying at the ancestral Wayne estate in England, though I’m fairly certain that we’ve never really had any mention of such family ties in Batman’s backstory.  Nonetheless, it’s the standard setup, an ailing relation, the gathering of the distant family from the four corners of the world, related, but unknown to one another, and a spooky locale for setting.  Bruce heads to England to answer the summons and meets Wilhemina Wayne, an orphan from South Africa, Rev. Emelyn Wayne “a missionary among the unenlightened Asian ‘heathen,'” and Jeremy Wayne, an Australian ranch hand.

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To add to the atmosphere, they are picked up in a hearse (the weather being too bad for horse and carriage) and driven to an imposing old castle on a stormy night, there greeted by an equally imposing butler, Asquith, a descendant of the servant of the original inhabitant of the ancient pile.  During the journey, the grim driver tells the gathered Waynes that the place is haunted by the murdered first lord of the estate, Lord Harold.  Once arrived, they meet the aged Lord Wayne and his friend and physician, but the meeting is necessarily brief.

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Detective412-06They are informed that the estate will be split between them, and any accidents will divide it among the survivors.  A perfect setup for intrigue, of course.  That night, Bruce is having a drink with ‘Mina,’ because of course he is, when suddenly she sees a figure in medieval armor on the battlements!  The millionaire comforts the girl and pretends he saw nothing, but he gets into costume, once again endangering his secret identity beyond all bounds (I wonder if the guy from Gotham has anything to do with the hero from the same city showing up here in the middle of nowhere..), and begins an investigation.

The Dark Knight hears a scream as he prowls about and arrives in Mina’s room, only to find himself confronting the armored figure of a strange intruder!  After a skirmish in which that very armor proves very handy against hand-attacks, his opponent escapes.  The Caped Crusade continues his search, wondering which of the gathered family and friends could be masquerading as a phantom.  He hears sounds of a struggle coming from the Aussie’s room and kicks the door in to discover the man, lightly wounded, but alive, having fended off another attack, and the hero sets off again in pursuit.

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Detective412-13After stopping to stage his bed to make it seem like Bruce Wayne is sleeping….while everyone else in the castle is running around like crazy, because that will be foolproof, the Caped Crusader hears another cry from Mina.  Her door was locked, but someone was trying to force it.  Pursuing the culprit into the marsh outside, the Dark Knight suddenly finds himself in desperate straits, stuck in the muck and being charged by a spurious spectral knight with a lance.  The strike seems to go home, and the warrior rides on, crying out that his vengeance can now begin.

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Yet, Batman lives!  He snatched up a tree branch and used it as a shield, though the impact almost knocked him out.  He rushes to the castle armory, thinking that he knows the supposed spirit’s identity.  There he confronts “Lord Harold,” and after a quick battle, the armored figure is unmasked as…Asquith?!  The spooky butler speaks in a strange voice, claiming to be Harold and saying that he was wreaking just vengeance.

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The batty-butler leads the Masked Manhunter to a hidden chamber where the real Harold’s brother had imprisoned him to usurp his title, and then, bizarrely, the sepulchral voice declares that Asquith has failed him, and the servant simply dies…yet the voice briefly continues, promising to continue its quest for revenge!  The story ends with Batman making notes about the case, pointing out that Lord Wayne had died that same night and pondering if this were a case of haunting or madness.

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This is a solid enough murder mystery, but it has too many characters and too little space to be entirely successful.  Batman figures out the culprit on very thin evidence, noting that none of the relatives would have vengeance as a motive, despite the fact that, rationally, neither would Asquith.  The art is nicely atmospheric, and there are several fittingly Gothic moments, especially the showdown in the swamp.  Bob Brown does a good job throughout, rendering some nicely dramatic images and doing some good work on the various supporting characters, giving them personality, despite their lack of development.  Perhaps most notably, he really works to create a well-realized setting, putting a lot of detail into panel backgrounds and giving the old castle a real sense of presence.  In general, there’s more show than there is stay to this story, but it is still an enjoyable enough read.  It is very familiar, but the confirmation of an actual haunting makes it a bit more original than most of this type, though I wish they had left the ending just a tad more ambiguous.  I’ll give this one an average 3 Minutemen.

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“The Head-Splitters”


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Our Batgirl backup certainly can’t be accused of being unoriginal this month!  It has one of the more unique murder weapons I’ve encountered in comics.  The tale begins with a woman awakening screaming, and the next morning the papers carry the headline that a wealthy socialite divorcee was mysteriously killed, her “head cracked like an egg!”  The same morning, breakfast at Commissioner Gordon’s house sees he and his daughter sharing a meal.  The head cop is baffled by the crime, but he reveals that the victim had a thing for wigs, which, according to Babs, is no clue at all because “What now-gal doesn’t dig wigs!”  Yikes, that slang!  Anyway, this gives Jim a clue, but for his daughter’s birthday, not the crime.  He offers to let her pick out a wig, for which he’ll foot the bill.

That day, Babs visits “Vazly,” the most fashionable wig-maker in town, where she and another divorced socialite happen to come in for fittings at the same time.  Ironically, they both pick out the same style, which causes the fiendish fashion-monger some concern.  It seems that he and his assistant are using their wigs to blackmail wealthy young women, fitting the headgear with an ingenious mechanism that can cause it to constrict with devastating power.  If they mix up the wigs and should accidentally target the police commissioner’s daughter, that could spell trouble, but they are careful to arrange them.

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Unfortunately, “Fate steps in,” and a cleaning woman tries on a few of the wigs and mixes up the two in question, and the dangerous one goes to our red-haired heroine.  Following the instructions that came with it, she sleeps in the wig, only to awaken in agony at the touch of a control by Vazly’s assistant.  Babs calls the wig-maker, and he tells her he will happily take it off, if only she’ll cough up $100,000.  In a pain-induced panic, the young librarian scrapes up the meager funds she can and heads to his shop, but when she arrives, the would-be blackmailers discover their mistake.

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They play the whole event off, easily removing the wig and telling the confused Miss Gordon that she must have dreamt the whole thing, yet they plan to kill her once she is safely away from their headquarters.  The fire-tressed female doesn’t play their game, however, having seen a cracked dummy head in the trash and put the pieces together.  She arrives in costume to confront them moments later and lets them know the jig is up.  She clocks Vazly, but his assistant plops a wig on her head and triggers the constriction.  Dun dun DUN!

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This is certainly a new angle, though it rather defies belief.  I have to think that a mechanism that would make a wig constrict with bone-crushing force might just be detectable…but then again, it works in a comic book-y kind of way, so I’m willing to give it a pass.  After all, this is the kind of ridiculous, over-the-top plot that makes comics great.  Vazly looks suitably sinister, and the mix-up with our heroine is a quick way to get her into the mix.  This story does suffer a bit from its lack of space, being only seven pages.  Still, it’s an entertaining read, one that once again matches Batgirl up against a fashion-felon, which might be a bit much, with two tales in a row.  I’ll give this one 3 Minutemen.

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The Flash #207


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“The Evil Sound of Music!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Murphy Anderson
Cover Artist: Neal Adams

“Phantom of the Cafeteria”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Dick Giordano

Well, what do you know?  Kanigher leaves The Flash, and we finally get an issue that is really  enjoyable.  It even features a supervillain, after a fashion, and ahead of schedule!  We actually get a foe worthy of the Flash earlier than I expected, just judging by the covers that awaited us, which makes this issue a pleasant surprise.  Speaking of covers, this one does the story within no favors.  It’s got a nicely creepy looking monster, but it suffers from the Flash’s weird pose and the fact that, even with the cover copy, the scene isn’t exactly clear.  It’s just not a very effective image, not doing the tale it represents justice.

And that tale is actually a fun read.  It begins with the World’s Fastest Man in a hurry, leaving monitor duty on the JLA Satellite to race home and pick his wife up for a rock concert.  Yet, as the Allens prepare, we visit with a sinister looking figure in a darkened room, pouring over ancient books.  This is Sargon the Sorcerer, former Golden Age mystic hero turned current villain…sort of.  It’s a bit complicated.  Apparently he appeared back in issue #186 in his not-so-triumphant return to the DCU, wherein he clashed with the Flash.  It seems that he is out to regain his lost mystic gem, the Ruby of Life, which is the source of most of his powers.  He also wants revenge on the Speedster, who thwarted his last efforts.

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Novick really draws the heck out of Sargon throughout the issue.

Back in the Allen household, we get a cute scene between Barry and Iris, as Mrs. Allen notes that her husband, usually a slowpoke out of costume, can’t stand still when music is playing.  He teases her because, for once, she has made them late with her ruminations.  Apparently the couple are bound for a rock concert, headlined by the oh-so-cleverly named “Washington Starship.”  I wonder who that might reference…!  The lead singers just happen to be named Paul and Grace.  Anyway, Barry and Iris arrive just in time, thanks to a dose of super speed, and it is a super psychedelic show, accompanied by Friedrich’s narration, which is almost touching and insightful but manages to be just a little too pompous and overblown to be successful.

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I wonder if the couples are supposed to be anyone famous….

During the concert, Sargon strikes, using his magic to turn the music into a psychic attack, which panics the crowd and paralyzes the band.  While the unflappable Iris stays behind to cover the unfolding story, the Scarlet Speedster springs into action, using his powers to pull the crazed crowd out of the venue and prevent anyone from being trampled.  Given the then recent history of tragedies at concerts, this scene has a little extra significance, with the hero preventing events from going bad in the ways they had before, a type of cathartic, escapist fiction that is very much part of the purpose of comics.

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Yet, after the concert-goers have escaped, Sargon steps in again, seizing control of the Speedster and sending him to retrieve the Ruby of Life from a special vault in the Flash Museum.  The sinister Sorcerer looks positively evil as he places the jewel upon his brow and revels in his returned power.  While he is distracted, his spell over Flash ends, and the hero and the guitarist, Paul, both find themselves watching helplessly as the malicious music-spawned monsters menace their lady loves.  Each of them strains mightily and overcomes the siren song, but only Flash has the speed to save his girl.

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But they are not the only ones observing this tragedy-in-the-making, and Sargon looks on in horror as his spell spins out of control.  We discover that Grace is actually his niece, and while Flash saves Iris, the magician intercedes to rescue the songstress.  The Sorcerer tries to apologize to the young woman, but she will hear none of it, and he departs in despair.  The tale ends by checking in with each of our characters a little later, with Iris taking care of a slightly ruffled Barry, Paul happily reporting that Grace and their unborn baby have a clean bill of health, and Sargon himself contemplating how he has come to such a state, willing to use his own niece in his quest for power.

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This is a surprisingly good story.  I have grown to rather dread these Flash comics, but this one is a fun and interesting read.  Mike Friedrich doesn’t get as sappy and melodramatic as he sometimes can, though the comic is rather overwritten in his customary style, with the narration during the concert being particularly purple.  Speaking of his writing, this entire issue is a love letter to the music of the era, with the obvious reference to Jefferson Starship setting the tone, but Friedrich gives us a lot more than that.  He also sprinkles song titles throughout the entire issue.  I counted nine different songs, but it’s possible I missed some.  They are:

  • “White Rabbit”
  • “Homeward Bound”
  • “The Sound of Silence”
  • “Come Together”
  • “Penny Lane”
  • “Let It Be”
  • “My Sweet Lord”
  • “Bridge Over Troubled Waters”
  • “Down This Lonesome Road”

We’ve got some Jefferson Airplane, of course, as well as plenty of Beatles and even some Simon and Garfunkel.  What an interesting collection!  This is a fun little set of Easter eggs, but they come at a cost, as Friedrich can’t quite slip all of them in naturally.  Thus, his desire to include these references sometimes results in some rather awkward and tortured sounding dialog.  Still, I found the whole thing charming, and it is an unusually direct glimpse of the impact of the culture on the comics of the day.

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In terms of the plot itself, it was nice to see the Flash actually face a foe that was something of a threat to him, and I found myself fairly fascinated by Sargon.  I’m really curious to know what his story is and what he’s after.  I quite liked that we got only hints about him and that he escaped, not unmarked by his experience, but uncaptured by our hero.  His brief moments of characterization are intriguing, and I look forward to seeing what comes of them.  I also enjoyed the little character moments between Barry and Iris, with her evincing a more classic taste in music and the like.  I wouldn’t really expect ‘ol square Barry to be into the rock scene in 71, but it leads us to a fun tale, so I can buy it.

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Irv Novick does a great job with Sargon and some of the more bizarre, otherworldly elements of the art here, especially the music monsters, but there are a few moments where his work doesn’t quite capture the drama of a scene, like in the climax of the story where the sequence of the two struggling paramours and Sargon’s intervention could probably have used a bit more space to breath.  Still, on the whole, he turns in a nice looking comic with some real personality and emotion to it.  I suppose I’ll give this enjoyable little rock ‘n romp 3.5 Minutemen.

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“The Phantom of the Cafeteria”


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It looks like we’re going to have Kid Flash and Elongated Man trade off for the backup slot in The Flash, which is fine by me.  This month, we get an interesting little Kid Flash tale that has some familiar elements.  It begins with our fleet young friend, Wally West, pondering the dilemma of hiding his super speed in the cafeteria line at school, where he finds himself last, which is worth a chuckle.  Suddenly, food starts disappearing right off of kids’ plates, and there’s not a sign of the culprit!  Someone starts screaming about ghosts, which, in the DCU, is not all that far-fetched, but Wally keeps his head.  He calms down the students, even getting commended by the principal later on, but he continues to wonder about what happened.  When a pretty young lady asks him about their date that night at the “peace rally,” he’s so distracted that he temporarily forgets about it.

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Fortunately, he’s quick with an excuse as well as with his feet, and that night he’s at the rally when more food starts to go missing.  Wondering if the thief might be someone else with super speed, the Fastest Boy Alive gets into costume and races about in search, spotting another speedster and giving chase!  Despite being knocked aside by the blurred figure, Kid Flash isn’t to be discouraged and eventually finds a trail of food wrappers and other trash which lead him to a small, amphibious looking alien, passed out before a cliff-face.

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Thinking quickly, Wally determines that this creature is some type of unknown lifeform with an incredibly fast metabolism that moves at super speed.  It is emaciated and must have been starving, stealing food to survive.  Noticing a recent rock-slide, Kid Flash drills through into a cave system, and just then, the creature comes to and speeds into the cavern.  Theorizing that the being was a youth from a strange subterranean race that came out to explore, only to get trapped by the rock-slide, Wally seals the entrance and cleans up after the unusual but harmless visitor.

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This seven page tale lacks the great pacing and jam-packed content of one of Kanigher’s Robin backups, but it tells a complete if somewhat underdeveloped story.  The setup is a tad familiar as well.  I know The Flash had encountered various super-speedster aliens from time to time in such mysteries, but this version does have the charm of involving Kid Flash and his youthful setting, starting in the school and the like.  We’ve also got a nod towards realism, with the subterranean stranger’s appearance helping to explain its powers.  I’m wondering if Skeates is thinking about trying to do some world-building in these backups the way Kanigher has managed in his Robin tales.  It will be interesting to see if the red-headed Dana makes a return later on.

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It’s also notable that our young hero is seen going to a peace rally in this book, positioning him fairly clearly with the youth anti-war movement.  While his fellow Titan, the Teen Wonder, has been around the outskirts of such events, he’s maintained a certain neutrality.  While such politics were certainly not the focus of this story, it’s fascinating that the rally is featured here incidentally but deliberately.  Anyway, I suppose I’ll give this entertaining mini-mystery 3 Minutemen, as it doesn’t have quite enough substance to warrant more.

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And with the super-speed sortie of Kid Flash behind us, we will write finis to this post.  We had a solid set of books here, nothing groundbreaking or of enduring fame, like last post’s introduction of R’as Al Ghul, but we do have some interesting evidence of growing cultural influence and some efforts at building continuity and creating ongoing plotlines in The Flash.  I hope that you enjoyed my commentaries and that you’ll join me again soon for another step on our journey Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: May 1971 (Part 3)

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Hello and welcome to another edition of Into the Bronze Age!  While I know nothing can live up to the incredible extravaganza that was the Ten-Eyed Man’s return, I think we’ve got an interesting pair of books on tap today, including a fascinating first appearance.  So, check out more of what May 1971 has 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.


Detective Comics #411


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“Into the Den of the Death-Dealers!”
Writer: Dennis O’Neil
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz

“Cut… and run!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Dick Giordano

This month we’ve got an uneven cover.  It’s a bit oddly designed, with some wonky perspective, and the sword of the fellow in purple is misshapen.  The concept is cool, however, and seeing Batman facing ninjas is always exciting.  Inside is an important issue in the the Dark Knight’s history, introducing a significant character and advancing the League of Assassins plot that continues to develop across these books.  Yet, as is so often the case, the significance of this story isn’t immediately apparent.  It will take a little time for the groundwork laid here to bear fruit.

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Our story starts with a nicely dramatic splash page, courtesy of Bob Brown.  We see Batman perched atop the “Statue of Freedom,” which is totally not the Statue of Liberty, with Gotham spread out in the distance.  I enjoyed this little touch of ersatz world building, though the Statue of Liberty is a bit too iconic for this to work.  Their world is not our world, and I prefer it that way.  Within the edifice, the Masked Manhunter has planned to meet an informant with information about the League of Assassins, but those same killers find the fellow first!  The Caped Crusader fights off their followup attack, and we see some more of the ‘martial arts master’ Batman that would become the standard in following years, though the art doesn’t quite sell it.

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DETECTIVE COMICS 411 008Before he dies, the informant manages to give the hero a lead.  With his last breath, he whispers that the nefarious Dr. Darrk will be on the Soom Express (totally not the Orient Express), and soon we watch as Dr. Darrk and a beautiful young woman board the train, followed by a mysterious old lady.  As the train slows for a hill, Darrk and his companion leap off, and once more they are followed by the old woman, who throws off a disguise to reveal the Batman…who somehow hid his pointy-eared cowl under a mask and wig.  It’s still a rather cool moment, despite its silliness. DETECTIVE COMICS 411 007 Yet, Darrk was waiting for him, and his assassins overwhelm the Dark Knight, beating him unconscious with bo-staffs.

When the Masked Manhunter awakens, he discovers that he is the un-masked Manhunter!  The girl, who introduces herself as Talia, daughter of Ra’s Al Ghul (that’s right!), has taken off his mask to treat his injuries.  She declares that Darrk had fallen out with her father, and he had taken her prisoner as part of their feud.  Their conversation is cut short when Darrk leads them to what he intends to be their doom!

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Talia is tied to a stake in the middle of an arena, while Batman is left free, free to face an enraged bull!  The Crusader uses his cape to confuse and distract the animal before leading it into Darrk’s minions.  Then, in an exciting display of resourcefulness and power, he rips Talia’s poll out of the ground and uses it to pole-vault into Darrk, where the villain watched from a balcony.  With the bad Doctor in tow, the Dark Knight heads to meet the train, only to be blinded by a hidden weapon of Darrk’s.  As the assassin master prepares to finish off his foe, Talia shoots him, and the villain falls into the path of the train, meeting a grisly end.  The story ends with Batman comforting the traumatized girl, who was forced to take a life.

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This is a good, solid adventure story, continuing to develop the threat of the League of Assassins.  It seems like a fairly straightforward resolution to that arc, with a suitably dramatic and treacherous ending for the demonic Dr. Darrk, but there is, of course, much more going on here.  O’Neil layers in some pretty good plot hooks for new stories, introducing Talia, casually mentioning her father, and the significance of these things is easy to miss.

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Yet, the seeds of something great are already here.  While the girl claims she cannot recognize Bruce Wayne’s face, she has seen it, which will open up possibilities in the future, and the way she speaks of her father makes it clear that he is a powerful and dangerous man.  There isn’t much chemistry between our hero and this new lady in his life yet, but then again this is only their first meeting, a meeting under adverse conditions.

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I imagine that O’Neil realized that he had something promising with the League of Assassins, but at the same time understood that Darrk, was not nearly an interesting enough head honcho for such an outfit.  With this tale, he disposes of one functional if uninspiring villain and makes the way for a much, much better one.  Next month, we’re going to meet on of the greatest Bat-villains of all time, and one who defines the Bronze Age of Batman!  This story, however, is not quite so impressive as I remember that one being.  It’s an exciting adventure tale, and Brown’s art is strong if not spectacular.  I’ll give it 4 Minutemen.

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P.S.: I realized after the fact that this story was actually loosely adapated into the Batman: The Animated Series episode, “Off Balance.”  Thus, Timm and Co. actually adpated both parts of the introduction of R’as Al Ghul!


“Cut…and Run!”


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Our backup this month is the continuation of last issue’s Batgirl yarn, and it’s a fun one.  The Dynamic Dame was captured by the mod mobsters, the felonious fashionistas who were backing a clothier invested in the skir-craze.  It was…an odd but entertaining plot.  We join the gangster, ‘Serpy,’ as he straps Batgirl into an automated cloth cutter, and abiding by villain union rules, he leaves her to her fate.  Things look grim for the girl detective, but she uses her head, or more specifically, her mouth!  She rotates the pattern plate to stay ahead of the cutting blade, and when it reaches the end, it shuts off.  This is a nicely clever escape, showing her resourcefulness.

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DETECTIVE COMICS 411 027Suddenly, Milt, one of the designers and fashion spies shows up, but he has had a change of heart, not being up for murder, and lets her go.  The Masked Maiden tries to warn the gangster’s target, stylista Mamie Acheson, but the girl doesn’t believe her, so the heroine rushes to catch a plane in hopes of beating the assassins to the punch.  On the Rivera, Serpy and his right-hand thug toss a helpless Ms. Acheson overboard, only to have the fashionplate rescued by Batgirl!

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Then, the Masked Maiden tackles both killers and puts them on ice.  Don Heck does a pretty nice job with most of the action, but there are some rough spots too.  After her rescue, Mamie is feeling the weight of her decision, and after a comment from Batgirl about her beautiful legs (really Babs?), she comes up with a way out of the conundrum.  She shows up on stage in a Batgirl inspired pants-suit, and surely fashion designers the world over started jumping out of windows.

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It’s a cute ending to an off-beat story.  I enjoyed the repentance of the felonious fashion designer, as it makes sense he would balk at murder, whatever lengths he might be willing to go to for his business.  Batgirl’s dynamic rescue is good, but her escape from the deathtrap is my favorite part of the issue.  It’s nice to see her recover from the bumbling bombshell she was last issue.  The setup is still a bit odd, but the result is an enjoyable little story, so I’ll give it 3.5 Minutemen.

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The Flash #206


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“24 Hours of Immortality”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Cover Artist: Neal Adams

“Showdown in Elongated Town”
Writer: Cary Bates
Penciler: Dick Giordano
Inker: Dick Giordano

I’m not entirely sure why, but I really dislike this cover.  For one, the frozen, blank-eyed expression on the girl’s face says less ‘absence of fear’ and more ‘presence of lobotomy.’  It just doesn’t really work for me.  Other than the girl’s plunge, there’s nothing else to it, and the image just doesn’t quite capture her fall, nor the significance thereof.  The same is true of the story within, another product of the unequaled master of the uneven, Bob Kanigher.

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It begins with aerial daredevil Susan Logan and her son flying to the ‘Sky Devils Circus,’ while at the same time Neurosurgeon William Kandel and his wife are racing towards an operation on a famous scientist.  Suddenly, Logan loses control over her plane, and she just happens to crash right into the doctor’s car.  The son and wife are killed in the crack-up, but as the two heart-broken humans are left lamenting their lost loved ones, two strange, glowing figures appear out of the ether.  They claim to be “aliens countless light-years advanced over” Earth, which doesn’t entirely make sense, and in their weird robes, they look more like bug-eyed spirits than advanced aliens.  Nonetheless, they are apparently studying Earth, so in the interest of gathering data, they restore the two lost loved ones back to life in exchange for their relatives surrendering their lives in 24 hours.  Until that time, the aliens declare that each of their future victims will be immortal.

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Each pair rushes off to finish their business and spend their remaining time together, and each runs into trouble on the way.  The doctor is caught in the crossfire between the Generic Gang and the Flash during a car chase, only to find that the rounds passed right through him.  The surgeon begs the Monarch of Motion to help him get to his appointment, and then the hero chips in as his assistant to make the multi-hour procedure go faster and give the man more time to spend with his wife.

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Afterwards, the pilot, Susan Logan, finds the location of the aerial circus aflame.  The Flash is able to put the blaze out, but she still manages to get into trouble and nearly crash for a second time.  I’ve got to say, at this point, I’m not sure this woman should be flying.  We also get a really weird and random diatribe about forestry and forest fires, as the Flash has a page-long harangue against people whose carelessness starts fires, including a pointed visual reference to dead animals.  I sympathize, having grown up in the ‘Smokey the Bear’ era, but this is just absolutely shoe-horned into this issue.

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Get it?  GET IT?!

Thanks to the Fastest Man Alive, Logan is still able to perform in the show, but she is on the verge of being beaten by the favorite, so she puts her immortality to the test, diving all the way to the ground instead of opening her chute.  This seems like something of a cheat to me, but she’s doing it to provide for her soon to be orphaned son, so I guess we’re supposed to say it’s okay.

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Finally, the two on borrowed time are taken back to their fateful appointment by the Flash, as he has decided not to let them give up their lives without a fight.  He pleads with the two aliens in some rather painfully badly sentimental dialog, the usual ‘we have emotions and minds!’ routine.  In response, the robed ones pretty much say, ‘eh, we’ll kill you too.’  They try a few different weapons, with the Flash escaping from each one, and then they literally disintegrate him.  And that’s the end of the Flash.  This is the book’s last issue! Next month we’ll put the Adventures of Kid Flash in this slot…

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Ohh wait, no.  Instead, Barry pulls a Doctor Manhattan, and literally reconstructs his body, molecule by molecule, with limbs, mind, that have already been disintegrated.  Yet, while the insanely powerful, godlike Dr. Manhattan took months to do so, Flash does it in seconds.  Because that’s a thing that he can do.  Because that makes a lick of sense with this powers.  At this point, the aliens essentially just give up with the murder and mouth some meaningless platitudes about how mankind is clearly more noble than they thought, possessing higher characteristics like selfless love.  Except, they already saw that when A) the first two willingly offered their lives for their loved ones and again, B) when the Flash did the same for two strangers before they tried to melt him.  It’s really stupid in context.  Clearly Kanigher is hitting the conventional notes without bothering to tell a story that gets there naturally.

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‘Farewell and a good life!  Sorry about trying to murder you!’

So the end result here is a weird attempt at moralizing in multiple ways that bungles its payoff.  The aliens are really random and don’t solidify as a concept, and the two different pairs of marked people mean that you don’t spend enough time with either one to really get invested in their story.  Susan Logan just seems downright incompetent, and the doctor and his wife are given no real time to display any personality.  Barry gets literally one panel of introspection with Iris as he tries to decide what to do, and the reintegration resolution is so ridiculous, that I had to read it twice to make sure I got it.  I’ll give this half-hearted tale a weak 2Minutemen.  It’s been done before, and done much better.  Even the poorly developed Phantom Stranger tale with the needlessly Egyptian aliens (or needlessly alien Egyptians, depending on your point of view) was more dramatically successful.

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“Showdown in Elongated Town!”


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Yet again, the backup feature saves the day!  This time, we get a really exciting event stuffed into the back pages of the Flash, the return of the Stretchable Sleuth, the Ductile Detective, the Rubberized Roustabout, the Elongated Man!  Now, I’ve got a solid affection for this hard-luck hero, though I’ve read few of his stories.  He’s just such a likeable character, and I love the ‘Nick and Nora’ vibe that he and his wife embody.  It’s a charming concept, and it really sets him apart from the competition.  I suppose this once again reveals my love of the underdogs.

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This particular tale reintroduces the Elongated Man to the DC Universe and the pages of Flash in strange but memorable fashion.  He the Stretchable Sleuth suddenly finds himself in a bizarre, fun-house version of a western town, hauling a wagon like a packhorse.  Suddenly, his mystery-scenting noes starts twitching, and Ralph knows that something odd is afoot.  A distorted gunfighter appears, and bizarrely, he fires a solar-powered six-shooter at the hero.  With everything strangely distorted, the Ductile Detective has a hard time operating, and his efforts to capture his antagonist only net him a dummy!

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Just then, he is beset by a stampede and a massive rattlesnake.  Fleeing upwards, Ralph discovers a loudspeaker, revealing that these threats aren’t real.  He makes his way inside one of the buildings, dodging more solar blasts, and, in a panel that I find a bit creepy, he pops a pair of contact lenses out of his eyes!  Elongated Man has deduced that he’s been setup, and someone planned to cripple him by distorting his vision.  Snatching up an old lever-action rifle, Ralph stalks into the street to confront the only man who could accomplish all of this, and he calls him out…the Mirror Master!

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As the villain fires his mirror gun, the Stretchable Sleuth crams himself into the gun barrel, then springs out, surprising his foe and capturing him!  It’s a nice resolution, an unexpected attack that makes a certain amount of sense as a way to take out the much more powerful opponent.  The tale ends with the Elongated Man figuring out the mystery of his predicament and putting the pieces together.  The Mirror Master hypnotized him and drew him to this ghost town in order to train himself for a clash with the Flash.  To handicap the hero, the Reflective Rogue used special contacts to distort his vision.  Apparently, ‘ol Mirror Master was a big western fan, and the trappings of the story were his way of living out a classic showdown fantasy.

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This is a fun story and a decent reintroduction of the Elongated Man.  He captures a much more powerful villain, taking advantage of the fact that he was underestimated, which is pretty well in character.  I like the way he puts things together, and it is all relatively believable in context for the Ductile Detective.  It’s cool to see Dick Giordano handling the art chores as well, and he does a fine job, capturing the distorted, bizarre landscape fairly well, and also doing a good job with Ralph’s stretching powers.  I’ll give this enjoyable little backup tale 3.5 Minutemen.  There’s nothing really wrong with it other than the slightly awkward device of the contacts.  It seems like the master of mirrors could probably have come up with a simpler, more easily controlled way of doing the same thing.

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That finishes up our books for this post, and all-in-all, a nice pair of comics they were!  We’ve got some exciting events in the offing her, with the famous next stages of the League of Assassins story arc just on the horizon and the return of the Elongated Man to the pages of Flash offering some relief from the mediocrity of the main tales in that book.  I am really looking forward to a change in pace for the Flash magazine.  These are routinely among the weakest comics I read in each batch.  These weird random stories have outstayed their welcome.  I would really like to see a return to classic super-heroics.  We’re still three issues away from the return of supervillains to an actual Flash story, and even then it is looks like it will be only a temporary revival.  Whatever awaits us in the Fastest Man Alive’s adventures, we have two exciting new comics awaiting us next time.  So, please join me again soon for another league in our Journey Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: April 1971 (Part 4)

DC-Style-Guide-1

Welcome Internet travelers, to my examination of the highs, the lows, the greats, the not so greats, and everything in between of DC Comics in the Bronze Age!  Today we’ve got a widely diverse pair of books with a quartet of quirky stories to quicken your pulses!  Check them out below!

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


Roll Call


(You can see everything published this month HERE)

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

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


The Phantom Stranger #12


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“Marry Me – Marry Death!”
Writer: Robert Kanigher
Penciler: Jim Aparo
Inker: Jim Aparo
Letterer: Jim Aparo
Editor: Joe Orlando
Cover Artist: Neal Adams

“A Time to Die”
Writer: Jack Oleck
Penciler: Tony DeZuniga
Inker: Tony DeZuniga
Editor: Joe Orlando

We’ve got another beautiful, dramatic, and striking cover courtesy of Neal Adams this month.  It’s a nice, spooky image, and it’s well suited to the headline tale within.  Indeed, this month our Phantom Stranger story is rather different than what we’ve encountered of late.  Instead of focusing on the mystical heroics of the Stranger himself, this comic flips the script, and we see the story from quite a different perspective.

In many ways, this is a classic horror story, and it begins shortly after the wedding of Jason Phillips to his new bride, Wanda.  He brings the blushing beauty to his mansion, where he suddenly spots a mysterious figure, the Phantom Stranger, but the next moment there is no-one there.  Strange indeed!  Recovering, he introduces his new wife and their guests to his old wife, or rather, her coffin!

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Well, this seems perfectly normal and healthy…

He explains to the shocked well-wishers that he met and romanced the older and very wealthy Irina when he was a ski instructor.  He discovered that she took nitro pills for a weak heart, and despite the fact that she felt she was too old and weak for him, he insisted on marrying her.  A few years later, she passed away, but not before making him swear to keep her with him, always.

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There’s a very strange bit where she collected ancient Egyptian artifacts and learned about their embalming practices, insisting that they be used on her, but that doesn’t really feature in the story (something of an unfired Chekhov’s Gun…or at least an un-awakened Kanigher’s Mummy.)  Irina also left a clause in her will that all of her money would go to charity unless Jason kept her body with him always, which is pretty darn weird.  Throughout the tale, Jason paints himself as the perfect grieving husband, but there is something strange about the whole story.  This ominous note is strengthened when Jason once again sees the Stranger and begins to scream at him, only to have the figure vanish once more.

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That night, the re-married millionaire awakens in the night to hear a creaking sound and investigates to see the cloaked shape of the Stranger standing by the the coffin as it is slowly opening.  A voice tells him that he knows why they are here, but yet again, things are not as they seem, and when Wanda comes to investigate her husband’s shouts, the coffin is still locked.

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Suddenly, Jason sees Irina outside in a flash of lightning, along with the Supernatural Sleuth, who repeats his message.  The maddened millionaire strikes him, sending the cloaked form flying off of the balcony, but once again, Wanda sees nothing.  The next day as they are boating on a lake, the Stranger emerges from the waters.  Still, Wanda sees nothing.  She pleads with her husband to get rid of the coffin, but he refuses, citing his vow, yet even during their intimate moment of conversation, he sees Irina.

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Finally, pushed to the breaking point, he confronts the Phantom Stranger over his first wife’s coffin and attacks him with an axe, but the mysterious one forces him to think back over what really happened to his wife.  We learn that Phillips tried to kill her, putting her in situations where her heart would give out, and when it finally did, he destroyed her pills and callously sat by and watched her die.

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Jason thinks that the Stranger is just a blackmailer and attacks, but as his wild swings carry him outside, he runs towards a pair of advancing lights, only to be struck by a car and killed.  Fittingly, the car had come to get his wife’s coffin, though strangely, the name on the work order is Irina, not Wanda.

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This is a great little horror yarn, and though that isn’t really my favorite genre, Kanigher turned out a very entertaining tale here, continuing his inconsistency.  It’s either feast of famine with this guy!  He handled the building tension and mounting clues quite well.  There are just a few incongruous elements, like the Egyptian bit and the detail at the end with the conflated names.  I’m not really sure what the purpose of that was.  Still, the total effect is quite strong.  Needless to say, Aparo does a masterful job with this book.  His work is wonderfully moody and atmospheric.  Every panel is draped in shadow or lit with the bright light of romance, and all of the characters are beautifully rendered.  As much as I love his Aquaman work, let’s face it, he was even more perfect for the Phantom Stranger than for the Sea King.  All together, I’ll give this chilling chronicle 4.5 Minutemen.

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“A Time to Die”


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We have a solo Dr. Thirteen backup this month, and it’s a rather nice change of pace.  I like the interplay between the good Doctor and the Phantom Stranger, but a little goes a long way.  It is good to give each of them room to grow.  This particular outing is a respectable Dr. Thirteen mystery set in England, on the misty moors.  The Doc and his wife arrive just in time to see a man drop dead at the stroke of midnight.  ‘Ol Terry is his usual charming self, talking down to his wife and immediately making friends with the natives.  When the townspeople start talking about “the ghost of the Black Friar,” the Dr. responds by saying “You men are acting like frightened fools.”  Astonishingly, this does not endear him to them, and they tell this rude American to butt out in no uncertain terms as they carry the body to the town doctor.

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Incidentally, that is who summoned Dr. Thirteen in the first place.  When they visit this fellow, Dr. Hall, he tells them that he’s a man of science, yet he has spent much time investigating the ruins of the old abbey and believes that there is something evil there.  He tells them the tale of one of the abbey’s former inhabitants who turned to the black arts until he was convicted of witchcraft and burned in the 16th century.  Before he died, he swore a curse on the town.  Dr. Hall reveals that, since he is an old man, he’ll shortly be replaced by a new young doctor, but before he retired, he wanted to see that the town was protected.

That night, Dr. Thirteen investigates, only to see the figure of the Black Friar but be unable to catch him when he vanished.  Summoning the townspeople, they scoff, telling him that another man just died on the other side of town and the Friar couldn’t be in two places at once…if he weren’t a ghost!  With Dr. Hall’s help, the Ghost Breaker manages to convince the townspeople to help his investigation, but the next night, when they approach the abbey, a disembodied voice declares that, unless they run the strangers out of town, the ghost will take a terrible vengeance no them.  The townsfolk tell Thirteen to hit the road, Jack, and don’t come back no more!

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Yet, Dr. Thirteen is nothing if not persistent, so he sneaks back into town after sending his wife to safety, and searches a house and the abbey ruins.  Soon, he confronts the townspeople just at midnight and entreats them to follow him.  Heading to the graveyard where he first encountered the Friar, they once more hear the voice, but the Ghost Breaker leaps forward and searches a tombstone for a hidden switch, revealing a secret passage and a robbed figure!  The figure is unmasked to reveal….Doctor Hall!?

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That’s right, apparently Hall was just a tad bitter about being forced into retirement, so he used his scientific knowledge to construct a sonic weapon (fancy!), which he hooked up to the bell tower.  Every night at midnight it would send out a sonic pulse, and if anyone was close enough and susceptible enough, it would kill them.  Thirteen was suspicious of the old fellow, and when he searched his house, he found enough evidence to let him trap the doctor the the help of a micro transmitter that he used to track the fake fiend to his hiding place.  That wraps things up rather neatly, if making it a tad Scooby Doo.

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This is a decent little backup strip for Dr. Thirteen, if not one of his best.  Hall’s scheme is a bit too outlandish and the resolution is rushed, packed into one page, but that’s to be expected when you’ve only got seven to work with in the first place.  Both of the creators are new to me, but they turned in a perfectly serviceable story.  We’ll see if they show up in future DC Comics.  Either way, this yarn earns 3 Minutemen, a solid if unremarkable story.

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This issue also had a really excellent missive in the letter column, a thoughtful and insightful take on what makes Dr. Thirteen tick which is worth a read.

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Superboy #173


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“The Super-Clark of Smallville!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Dick Giordano

“Trust Me or Kill Me!”
Writer: Cary Bates
Penciler: George Tuska
Inker: George Tuska

Well, would you look at that!  It’s the totally original ‘hero acting out of character’ cover type!  The cover is probably enough to make you want to know what’s going on, and it’s decently illustrated, but it’s not all that interesting, really.  One does wonder what exactly Clark is doing in that dorky outfit, though.  Unsurprisingly with Leo Dorfman calling the tune, our headline tale is rather Silver Age-ish and goofy, as you’d expect from this cover.

The gimmicky tale begins in Professor Lang’s lab, where the good doctor has what he claims is a jar of ambrosia, the food of the gods, from ancient Greece.  He also happens to claim that ambrosia was what gave the gods their powers, which makes me wonder if this guy got his degree out of a Cracker Jack’s box, as any school kid with an interest in mythology would know better.  They got their powers by being, you know, gods.  In some versions of the myths, ambrosia did have a role in their immortality, but that’s really not the same thing at all.  Yes, it’s a comic book, but it’s a comic book in a setting where the Greek gods actually do exist, so details like this matter a bit.

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Well, one way or the other, Dr. Cracker Jack decides to test some of the powered residue within the jar, but when he tries to, it explodes!  I hope they haven’t given this guy tenure!  The explosion wrecks the lab, but, of course, Clark is uninjured.  He rushes to help Professor Lang, but Lana spots him hefting a bookshelf off the quack.  At first she thinks this confirms her suspicions about him being Superboy, but seeing that he is holding the test tube and has traces of ambrosia on his face, she assumes that he ate the ambrosia, and thus gained the powers of the gods!  With no real choice, supposedly, the Boy of Steel fakes the discovery of new powers, like Hermes’ flight, as if he were a novice.

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In a purely rational and not at all wacky and bizarre response to this discovery, Lana’s first instinct is that Clark must show off to all of the bullies at school by going out for the track team.  She even makes a costume for him, for some reason.  This bit really makes no sense at all, in context.  I guess because he’s ‘super’ he needs a costume?  But he isn’t becoming a hero, just going out for sports.  Oookay, Lana.  Whatever you say.

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You’ll be the coolest kid in school…and you’ll wear a dorky costume while you do it!  It’s foolproof!

Well, “Super-Clark” (sigh) goes to the track field and shows off his strength and agility.  There is actually a great opportunity for some characterization here, for Clark to revel in the ability to use his powers in public and to enjoy Lana’s attentions.  Yet, Dorfman almost completely ignores that angle to focus on gimmicky situations for Clark’s ‘new’ powers.  My favorite is definitely when Clark rescues a bathysphere that got in trouble….in Smallville…Kansas.  Sure!  Doesn’t your small farming town have bathyspheres on every street corner?

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superboy 173 0008Needless to say, Pa Kent is rather shocked when an excited crowd shows up yelling about how his son has superpowers, but the new Smallville Spectacle explains things, pointing out that he’s happy he can help his father with his store.  Apparently at this point, Pa Kent isn’t a farmer, instead owning a general store, which seems far less fitting, iconic, or archetypal for the character.  After another series of super feats, Clark starts to get tired of the constant requests for aid and begins to realize the benefits of a secret identity.

Later on, a young, super-bald Lex Luthor comes back to town to get his revenge on the people who spurned him.  He is thrilled when he sees the townspeople tearing down their Superboy statue, but he becomes less excited when he sees them replace it with a statue of (sigh) Super Clark.  Man, Smallville residents are more fickle than Atlanteans!  Lex is more constant, at least in his hatred, and using a new invention, a “power nullifer” which does just what the name implies, he shoots Superboy out of the sky once the young hero is back in costume.

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The Boy of Steel crashes in a swamp and finds his powers gone.  He rushes to the nearby ruined lab of Professor Lang, hoping to find some ambrosia on the off chance it will really give him powers.  He finds the a note that was in the jar with the ambrosia and, conveniently, can read ancient Greek, which, you know, anybody can just pick up.  He eats the note, hoping it absorbed some of the food of the gods and finds himself actually possessing the powers of the gods.

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Using the Zeus’s shape-shifting power and thunderbolts, the ‘Phantom Vision” of Hades, and flight of Hermes, he manages to defeat Luthor’s various gadgets and drive off his former-friend-turned-foe.  The story ends with the godly powers fading and Superboy’s own powers returning.  When he tells Lana that his career as ‘Super Clark’ is over, she doesn’t exactly take the news gracefully.

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superboy 173 0022Well, this story wasn’t terrible, but it wasn’t exactly fantastic either.  Dorfman wastes the chance to do some actual character work with Clark, botches his mythology, and throws in plenty of goofiness as well.  The yarn is entertaining enough, and the section where Superboy gains the godly powers is an interesting change of pace.  Yet, that is over in two pages, so we don’t really get a lot of opportunity to see the difference between those and his usual abilities.  This story has some potential to be neat, but it ends up being fairly forgettable.  I’ll give it 2.5 Minutemen, with the inexplicable ‘Super Clark’ costume costing it some points.

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“Trust Me or Kill Me!”


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Our Legion backup this month is once again the highlight of the book.  It’s a fairly conventional identity mystery, the likes of which the Legion writers seem to love, but there are some neat details to it.  The tale begins with the stalwart Cosmic Boy left alone in the Legion headquarters, as the rest of the team has gone off to get vaccinated against a new virus sweeping the planet, a vaccine he himself had received years ago.  That’s a reasonably decent excuse to get the rest of the team out of the way for this story, and in light of the recent vaccination madness here in the U.S., I can’t help but smile.

Well, Cosmic Boy’s sojourn is interrupted when, all of a sudden, his double in a mirror smashes through the glass and attacks him!  Each claims to be the original, and they find themselves evenly matched in combat, knowing each other’s moves.  We also learn that Cosmic Boy knows a martial art named Ku-Jui, which he learned on his homeworld, a fun little detail and bit of world-building.  They decide to call in help in order to figure out which of them is real, and they settle on Superboy, who they summon from the past.  The Boy of Steel speeds through the Time Barrier (such a wonderfully comic book-ish concept), and joins the duplicated duo in the future.

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Tuska really knocks the face-work on this story out of the park.

Once he arrives, he is confronted by a massive image of the Legion’s most deadly foe, Mordru!  The evil wizard informs the young Action Ace that this is all part of one of his schemes.  Mordru has created a duplicate of Cosmic Boy, and if the hero cannot discover him, the double will secretly destroy the Legionnaires one by one.  I know very little about this character, but I have to say, I like this little glimpse of him. George  Tuska does a great job of making Mordru’s image seem intimidating and ominous, while also giving him some good old fashioned villainous glee.  His plan is really quite devious.  It has the longshot possibility of destroying the Legion, but even if it fails, it promises to subject the team to terrible emotional strain as they face the possibility of destroying one of their friends in order to save themselves

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Superboy tries to solve the mystery by quizzing the two Cosmic Boys, but each of them is able to answer his questions about their history.  Realizing that the Legionnaires are on their way back , the Boy of Steel tries one last, desperate gambit.  He flies off and returns with two massive iron boulders, hurtling them at both claimants to the Cosmic Boy title, saying that the real master of magnetism will be able to stop his rock.

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Yet, when one of them fails to halt the hurtling stone, Superboy rushes to his rescue.  The stunned youth wonders why, since he failed, but Clark explains that the rocks were actually plastic, and he counted on the fake Legionnaire using magic to simulate Cosmic Boys powers, rather than duplicating the powers themselves.  Thus, they mystery is solved, and the story ends with Mordru swearing that the traditional vow of ‘this isn’t over’ and Superboy headed back to his own time.

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This little tale has a clever resolution in Superboy’s plan.  It’s a good way to solve the mystery, and it does make a certain amount of sense.  There isn’t a whole lot to it beyond that, but we get some nice background on Cosmic Boy, and he gets a standard ‘you have to kill us both, Spock’ moment, though it is immediately countered by Superboy.  Mordru’s very brief appearance is fun, and I look forward to seeing a full story with him as the villain.  George Tuska’s art is bright and cheerful, and he really succeeds in making the protagonists look youthful, something not all comic artists can really pull off.  His clean, expressive art is a nice fit for these characters.  I certainly wouldn’t mind seeing him stay on this feature.  I’ll give this little backup 3.5 Minutemen, as it makes for a fun read and has no real flaws other than its brevity.

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And once again, we find ourselves at the end of a post.  These stories present a widely varied whole, and they certainly illustrate how diverse an era we’re working with.  In just this pair of books, we go from the creepy horror story of a haunted killer to the goofy antics of a gimmick driven Superboy farce.  As silly as the latter story was, it’s an interesting and positive thing that both types of comic are being published by DC, a variety of tone and theme not seen after this era until very recently.

The Phantom Stranger tale is particularly notable for the overt use of horror elements and for the cold-blooded murder that actually happens on panel.  It represents a darker type of story, one that had mostly passed out of mainstream comics with the dawning of the Silver Age and the rise of the Comics Code.  The return of such storytelling marks the continuing shift across the genre to more mature and varied comics.  Well, I hope that y’all enjoyed this read, and that y’all will join me again soon for the next stop on our journey, Into the Bronze Age!  Until then, keep the Heroic Ideal alive!