Into the Bronze Age: July 1971 (Part 4)

DC-Style-Guide-2.jpg
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


Superboy_Vol_1_176

“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.

superboy176 0002-0003

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.

superboy176 0005

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!

superboy176 0009

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.

superboy176 0014

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.

superboy176 0018

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.

minute3


“Invisible Invader”


 superboy176 0021

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.

superboy176 0022

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.

superboy176 0024

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.

superboy176 0028

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.

superboy176 0029

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.

minute3.5


Superman #240


Superman_v.1_240

“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.

superman 240 0003

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.

superman 240 0005 - Copy

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.

superman 240 0006

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.

superman 240 0013superman 240 0014

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.

superman 240 0015

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!

superman 240 0020

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.

superman 240 0021 - Copy

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.

superman 240 0021

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.

minute4


“The Man Who Cheated Time”


superman 240 0023

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.

superman 240 0024

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.

superman 240 0026

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.

superman 240 0029

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.

superman 240 0031

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.

minute4

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: 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


Superboy_Vol_1_175

“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.

superboy175 0001

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.

superboy175 0002-0003

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.

superboy175 0011

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!

superboy175 0014

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.

superboy175 0021

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.

superboy175 0022

superboy175 0024

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.

minute2.5

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


Superman_v.1_238

“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!)

superman 238 0004

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.

superman 238 0005

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.

superman 238 0008

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.

superman 238 0010

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!’

superman 238 0013

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.

superman 238 0014

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.

superman 238 0016

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?

superman 238 0020

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.

minute4


“A Name is Born”


superman 238 0024

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.

superman 238 0026

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.

superman 238 0027

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.

superman 238 0029

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.

superman 238 0031

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.

superman 238 0032

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.

minute4.5


Superman’s Pal, Jimmy Olsen #138


Jimmy_Olsen_138

“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.

jimmyolsen138-02-03

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.

jimmyolsen138-21

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!

jimmyolsen138-28

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.

jimmyolsen138-29

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.

jimmyolsen138-30

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.

minute4.5

 


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 1)

DC-Style-Guide-1

Welcome, readers, to the Greylands and to the beginning of another month’s journey Into the Bronze Age!  We recently finished May, 1971, and with this post we start our voyage into June of that year.  We’re off to a really interesting start, with some intriguing Superman stories and the first appearance of a classic Batman villain which I have been eagerly awaiting since O’Neil began to plant the first seeds of his arrival several issues ago.  That’s right, this month is witness to the coming of the Demon’s Head, R’as Al Ghul!  That makes this a red-letter post.  Let’s see if the character lives up to his reputation in this first appearance!

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


This month in history:

  • The Ed Sullivan Show aired its final episode, ending an era of entertainment
  • Soyuz 11 takes 3 cosmonauts to Salyut 1 space station, but crew found dead on return
  • Willie Mays hits 22nd and last extra inning home run
  • North Vietnam demands U.S. end aid to the South
  • US ends ban on China trade
  • The New York Times begin publishing excerpts from the Pentagon Papers, classified documents on the long history of the U.S. in Vietnam
  • An Orange Order march causes a riot in Londonderry in North Ireland
  • Various groups boycott the opening of the North Ireland Parliament
  • International Court of Justice asks South Africa to pull out of Namibia
  • Supreme Court overturns draft evasion conviction for Muhammad Ali
  • Rolling Stones Mick Jagger and Keith Richards sentenced on drug charges
  • Notable films: Le Mans and McCabe and Mrs. Miller

The ending of the Ed Sullivan Show seems to me to mark the ending of a certain element of innocence in American entertainment.  Can you imagine a TV host today that had so little screen presence?  Well, aside from Jimmy Fallon, but clearly that talentless personality black hole made a deal with the devil.  It’s the only way to explain his career.  At any rate, that event shares this month with a new tragedy in the Space Race, as several cosmonauts die during a mission.  Of course, tragedies are in no short supply on Earth itself, and Ireland continues to bleed, while tensions continue to rise.  It’s a shame that the turmoil on the planet was mirrored, in a fashion, in space.  On a lighter note, the ‘sex, drugs, and rock ‘n roll’ reputation of the genre is further cemented by the antics of the Stones.  I imagine this isn’t the last time such a thing would happen.  It’s an interesting month, all told.

The top song this month and into the next is Carole King’s “It’s Too Late,” which I can honestly say I don’t think I’ve ever heard.  That’s unusual.  It’s rather melancholy song about the end of a relationship, which seems somehow fitting for this month.


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.


Action Comics #401


Action_Comics_401

“Invaders Go Home”
Writer: Leo Dorfman
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff

“The Boy Who Begged to Die!”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff

It seems last month’s Lois Lane issue was not a fluke, but rather presaged something in the zeitgeist.  We start off this month with another comic story depicting the plight of Native Americans, and penned by Leo Dorfman of all people.  I have to say, I wasn’t expecting this.  The comic has a provocative cover, showing the Man of Steel defeated and helpless before a band of tribesmen. Interestingly enough, this image is not a cheat, but of course, it doesn’t tell the whole tale.

action-401-02-01

The story begins with Clark Kent using his ‘mobile news room’ to cover the anniversary of of statehood for an unnamed region in the southwest where a train is carrying tourists to a celebration.  Suddenly Indians appear, armed with bows and arrows, braves on motorbikes!  Mr. Mild Mannered thinks its part of the show until they start firing arrows at the cars and he sees a fire on a bridge ahead.

action-401-05-02-03

Shifting into Superman, he carries the locomotive to safety, only to discover that the flames were just a harmless slogan, part of some type of public stunt on behalf of the local tribespeople.  The motorized raiders take off, but the Man of Steel is able to trail them easily enough, smashing into the cliff in which they’re hiding and confronting them.  Yet, he finds that their leader is a man named Don Hawks, now going by Red Hawk, who was a leading astrophysicist.  The young man has come home to help his people, and he takes the Man of Tomorrow on a tour of their plight today, showing him the pitiful state of their tribe.  The fiery leader explains that all of the surrounding region used to be theirs, but the white settlers had stolen it all from them.

action-401-07-05

In a scene evocative of Kanigher’s great racial story, we then visit an improvised Indian classroom where the children, and Superman, are given an education on proud heritage of the people to counteract the negative stereotypes to which they’ve been exposed.  Interestingly, the beautiful teacher, Moon Flower (sounds more hippie than Hopi), teaches her students about the technological achievements of native populations like agriculture and the Mayan calendar, but she also mentions their own mythical superman, Montezuma.  Now, I figured this was just Dorfman talking out of his hat, making up ‘Indian superstitions,’ but I was pleasantly surprised to discover that there is a legend surrounding Montezuma II.  He apparently became the focus for many southerly tribes’ legends about the ‘King in the Mountain’ archetype.  Most cultures have such a legend, regarding a famous king who will return at an appointed hour to save or to avenge, like King Arthur for Britain or Frederick I in Germany.  Apparently Dorfman actually did a bit of research for this story.  Color me impressed.

action-401-08-06

Anyway, after his education and tour, the Man of Steel is, naturally, much more sympathetic to the native people’s troubles.  Finally, Red Hawk takes the hero to “Montezuma’s Castle,” a massive plateau that is sacred to his people but has been taken over as a rocket testing site for a major company (oh-so-cleverly bearing the acronym G.R.A.B.).  The Metropolis Marvel wants to help, but despite his efforts to mediate, the president of the company, Frank Haldane, refuses to budge, insisting that their weather studies have shown that this is the perfect location for their projects.

action-401-11-08

Just then, Red Hawk’s uncle, Old Snake, the medicine man of the tribe, appears and promises to drive the white men away with magic, using mystic sand paintings.  The impatient young man will have none of his uncle’s superstitions, however, and when Superman flies away laughing, he is deeply shamed by what seems like contempt for his people’s ignorance.  Yet, it seems Old Snake is as clever as subtle as his namesake, and his painting of lightning brings a massive storm.  Only the Man of Steel’s timely arrival saves the base.  The hero repairs the damage, earning the ire of Red Hawk, who resents this apparent betrayal, though Moon Flower is more sympathetic, seeing that his is only doing his duty.

action-401-13-09

Next, Old Snake apparently summons a tornado, but once again the Man of Tomorrow intervenes to prevent damage.  It is then that we learn that he and the medicine man have been in cahoots, with the Kryptonian actually creating the disasters in order to drive the rocket company away.  Of course, he also feels obligated to fix what he breaks, but he’s hoping that they will wear the stubborn Haldane down.  Their last gambit, creating an earthquake, might have been successful, but Old Snake is, after all, quite an old snake, and he dies of a heart attack during the excitement.  The GRAB folks are relieved, but Red Hawk unexpected declares that he has learned his uncle’s secrets and will carry on his work.  He invites Superman to come to their camp that night in order to show him.

action-401-14-10

When the Action Ace arrives, he is confronted by another sand painting in the form of his shield and a strange red jewel.  Red Hawk declares that he has used his magic to sap the hero’s powers and his men jump the astonished Kryptonian who suddenly finds himself unable to resist.  They truss him up, and the story ends with the native leader declaring that they will trade Superman for their land!

action-401-17-13

There is a lot going on in this comic.  On the one hand, Dorfman is engaging in the traditional, ‘all Indians are the same’ trope in some ways, as with the train attack, evoking as it does the classic cowboys and Indians stories that were about Plains tribes.  Still, since some of those elements were meant to be part of a publicity stunt, it isn’t as bad as it might be.  On the other hand, Dorfman is using a pastiche tribe, the Navarros, as opposed to a real people group, and thus he avoids misrepresenting a real tribe.  He also includes traits that are indicative of southwestern tribes, like the sandpainting.  But he blends those with mythology that has more to do with Mexican and Central American peoples, with the Montezuma legends.  It’s a bit of a mess, but it is clear that his heart is in the right place, and the result is certainly less sloppy than Kanigher’s recent effort.

action-401-18-14

I like Superman’s wry self-assurance here.

Dorfman gives us a positive overview of native peoples, stressing their development and the fact that they weren’t just ‘savages.’  He also sympathetically portrays their modern plight and their extremely legitimate grievances with the folks who stole their land.  Notably, Superman is unable to simply resolve the conflict.  His powers, which he willingly uses to aid the righteous underdog here, at the expense of the rich and powerful, are still not sufficient to solve the problem.  This, as fantastical as his efforts are, results in a more mature, effective story.

action-401-19-15

Quite a striking image, the native leader standing triumphantly over the symbol of the white status quo.

It’s a solid tale on its own merits, featuring common and enjoyable Superman plot devices, but given the social agenda that it promotes and the attempt, however uneven, at accuracy and respect, it is more than the sum of its parts.  Swan’s art is great, as usual, but he really does a great job with some of the unusual parts of the tale, like the poverty and despair evident in the Navarro village, and, to his great credit, he generally depicts the tribesmen wearing at least some modern clothing, which immediately sets this comic apart from the last Indian yarn.  All told, I’ll give it 4 Minutemen, as it is a moderately provocative, at least slightly challenging story, especially for 1971.  I’m quite surprised it came from ‘dopey Dorfman,’ who usually tells pretty silly stories.

minute4


“The Boy Who Begged to Die”


action-401-22-01

The backup tale for this issue is also quite provocative.  It presents our hero with an intriguing ethical quandary, which is the type of story device that I always enjoy.  It begins with the crash of a small meteorite in the center of a small town called Masonville.  Superman, flying over, happens to see the commotion and comes to investigate.  He waves the crowd back and does the natural thing for him, examining the hunk of space junk with his x-ray vision, but this turns out to be a fatal mistake!  The radiation from his vision (which contradicts at least one explanation for how those powers work, I’m sure) triggers a reaction in the rock, turning it into a drastically unstable bomb.  He can’t move without triggering a massive explosion, so he orders an evacuation of the town.

action-401-23-02

The people flee, trusting in the Man of Steel, and soon they are outside a mile perimeter, and not a moment too soon, because the hero realizes that the reaction is increasing, and thus the yield of the explosion will increase as well.  Just then, a young man with a broken leg limps slowly up the Metropolis Marvel, wondering where everyone is.  After a quick explanation, the boy, who was in the basement of the orphanage and was forgotten in the hurried evacuation, realizes that, hobbled as he is, he could never escape from the blast in time.  What’s more, every moment Superman delays in detonating the meteorite–turned-bomb, the larger the radius will be and the more danger to the townsfolk.

action-401-24-03

action-401-26-04 - CopyDisplaying incredible courage, the young man insists that Superman do what he must, choose the greater good over his single life, and detonate the bomb.  The Action Ace is paralyzed by indecision.  He can’t bring himself to willingly kill this boy, yet he knows that if he doesn’t, thousands more could die.  This is a great moral puzzle for the Man of Steel, but his motivations are a bit off.  Instead of focusing just on the boy’s life, he thinks about his vow to stop hero-ing if he takes a life and the consequences of that, which is a little immature reasoning.

action-401-26-04

Nonetheless, the situation is one of great tension, and the youth decides to take matters into his own hands, taking responsibility for his death upon himself as he tries to set the rock off by hitting it.  Yet, his efforts are too little (which does rather make me think that Superman could perhaps have flown it away, but that’s neither here nor there).  Finally, in an effort to force the Kryptonian’s hand, the young man takes his cape to create a noose.  Just then, Superman drops the meteorite, creating a powerful explosion that just barely misses destroying the huddled townsfolk.

action-401-27-05

After the debris clears, we discover that, as he always does, Superman found a third way.  Inspired by seeing the boy carrying his invulnerable cape, the Man of Tomorrow used his super breath to blow the cape around the youth, then detonated the bomb, trusting in the Kryptonian fabric to protect the young man.  It works, and the boy survives, though he is badly injured.  Superman rushes him to the hospital, and we get a happy ending.

action-401-29-06

This is a pretty great story for only seven pages.  It puts Superman in a genuinely challenging situation, one which his powers cannot outright solve, which is always a good source of dramatic tension for the incredibly powerful character.  I really enjoyed the fact that the Man of Steel was unwilling to sacrifice even one life, even to save thousands.  That’s the core of the character right there.  There are only really three flaws.

action-401-30-07

The kid is a bit too willing, even anxious to die.  I can certainly see a virtuous and courageous young man coming to that decision, but it should have brought with it at least a little turmoil.  This youth seemed positively chipper about annihilation.  In the same vein, Superman’s anguished reaction misses the emotional core of the moment, focusing on his future career rather than the guilt of taking a life.  Finally, the protective powers of the cape are really a bit ridiculous if they can survive the explosion we’re shown here.  No matter how invulnerable the cape is, the kid inside would be jelly!  Of course, Bates only had seven pages to work with, and he fit a lot in.  So, we’ve got a tale with impressive aspirations and a great concept, though it is a bit immature in execution.  It’s still a good read, so I’ll give it 3.5 Minutemen.

minute3.5


Adventure Comics #407


Adventure_Comics_407

“Suspicion Confirmed”
Writer: Mike Sekowsky
Penciler: Mike Sekowsky
Inker: Henry Scarpelli
Editor: Mike Sekowsky

While this month’s Superman stories present us with engaging and challenging moral dilemmas, this week’s Supergirl tale attempts to follow suit…with rather less success.  This issue of Adventure is quite a convoluted journey.  Unfortunately, it’s continuing the rather pointless plotline from the last issue, with ‘Nasty’ Luthor still trying to find concrete proof of Supergirl’s secret identity, as if she is a cop instead of a supervillain.  Last I checked, due process just doesn’t mean that much to megalomaniacs bent on world domination.  The issue does have a fairly nice cover, the standard dramatic confrontation angle, with a hidden (though obvious) figure challenging our heroine with knowledge of her secret.  Though Linda’s figure is a tad awkward, it’s otherwise a nice looking cover, with the unusual angle of looking out from the closet.

The tale inside begins where the last left off, with Linda Danvers in the hospital following her undercover heroics in the burning building.  With her super powers returning and her wounds healing, the girl knows she must escape before she is examined, and the arrival of a critically injured police officer provides her with the opportunity she needs.  Notably, the officer is black, which is a little detail that you wouldn’t have seen that long ago.  There’s also a funny little scene where Linda, clad only in a stolen sheet, hails a cab, and the unflappable cabbie doesn’t even bat an eye.

adventure comics 407-03

Back at the office, Linda is greeted as a hero, but Nasty’s suspicions continue.  Yet, celebrations are short-lived, as there is a new story in the offing.  A man named Renard has come to them with a mystery he wants their help to solve.  He’s recently bought a reputedly haunted theater, and it has been plagued by strange occurrences, so he wants the news crew to bring their cameras down and find the culprit…which really seems less like a new crew’s job than a private detective’s job…or you know, the Ghostbusters!  “Who you gonna’ call?”  Random reporters, apparently.

adventure comics 407-04

Sekowsky does give the fellow an interesting face…though he doesn’t have Geoff’s dynamite fashion sense.

Johnny, Nasty, and Linda head to the theater that night and set up different camera posts to cover the place with high-tech film gear in the hopes of snaring the would-be specter.  As the night rolls on, the silence of the place is split by a scream, as Nasty observes Johnny being carted off by a grisly-looking phantom.  Of course, the villainess is just waiting for such an opportunity to catch Supergirl in the act.  Just like her cousin, the Maid of Might is facing a terrible choice, intervene and reveal her secret or do nothing and leave her friend to an unknown fate.  So, she does what any hero worth their salt would do and finds a third way…ohh, wait…no she doesn’t.  She just sits there and watches her friend get abducted, possibly sacrificing his life to protect her secret.

adventure comics 407-07

This is a huge problem.  The character rationalizes her choice, thinking about how much she would lose if she were exposed, and slightly more appropriately, how it would endanger her family, but she’s still utterly failing in her responsibilities as a hero.  These are realistic concerns, but there’s no emotional weight behind her struggle.  If she had good reason to believe that Johnny wouldn’t be harmed, that would be one thing, but she has no such guarantee, and her inaction could easily end in tragedy.  In fact, when the police arrive and search the place, they find nothing.  And then…she still doesn’t intervene.  Instead, she goes to Kandor for a fashion show.  Picking up her new, indestructible costumes, the Girl of Steel leaves her friend to his fate while she plays dress-up.  It’s not her finest moment.

adventure comics 407-09

While there she sees the Professor, who is at work on creating an antidote for his anti-superpowers pill.  As she returns, she has the utterly silly thought that her new costume, which looks almost exactly like her OLD costume, will somehow give her an edge when she confronts her foes because it will confuse them.  Because apparently they aren’t capable of extrapolating minor changes.  She must think that getting a haircut really messes people up.

adventure comics 407-10

My friend may be getting turned into clothing by a grisly monster as we speak, but yay! Fashion!

Back on Earth, her boss, Geoff, is fed up with the police’s lack of progress, so he decides to head a team going back to the theater…with more cameras.  Because that worked so well last time.  They do precisely the same thing, and, astonishingly, it works about as well the second time around.  This time, it is Nasty who is snatched, so Supergirl actually gets into action, but she misses the phantom.  In a particularly stupid detail, the police, seeing footage of the event, decide that the girl dressed almost exactly like Supergirl, who has a giant ‘S’ on her chest, must be a stranger in league with the monster.

adventure comics 407-15

Geoff, feeling somehow responsible for sending two people to an unknown fate, takes a gun and goes down to the theater, which, had he done earlier, probably would have solved the problem.  Yet, Linda calls the police on him, defying his orders, and intervenes as Supergirl, another course of action that could have resolved this whole situation much earlier.

adventure comics 407-16

Our heroine, ladies and gentlemen…

Using her conveniently working X-Ray vision, she locates a hidden passage and follows it down, just in time for her powers to very conveniently conk out again.  In the tunnels under the theater, she finds the two captured reporters as prisoners of a surprisingly well-spoken phantom, who reveals his boss…Starfire!

adventure comics 407-23

The femme fatale seems not to have died in her plunge from the castle window after all…on which I’m definitely going to have to call shenanigans.  We didn’t see a body in that sequence, which I attributed to the era, but we did see what seemed to be a lifeless hand sticking out of the water in the last panel, which seemed pretty darn clear.  According to the villainess, she just swam under water and hid until the authorities left.  Pretty shoddy job on the part of the police.  ‘No body?  Ehh, she’s probably dead.  Let’s go get dinner!’

adventure 405-30

The page in question

Covering the captives with a pistol, the spurious specter has Supergirl between a rock and a hard place, and the villains capture her, dropping her into a tank of acid.  Fortunately, the Maid of Might is still wearing her invulnerable uniform, so she flips her cape over her head, feigns agony, and endures the immersion until her bonds burn through.  Then she leaps out, breaking Starfire’s hand (!) to stop her drawing a gun, and capturing the villains with a flying tackle.  The story ends with Supergirl taking her prisoners to the police station and unmasking the phantom as Mr. Renard.  Finally, we see the gang joking about going to a show, while Nasty still plots to pin Supergirl down.

adventure comics 407-25

It’s all very Scooby Doo, isn’t it?  That last scene especially is just a bit ridiculous and cartoonish.  The story is entertaining enough, though the book continues to suffer from Sekowsy’s dramatically uneven artwork.  There are some genuinely nice layouts, interesting angles, and nice panels…and then there are the usual bunch of downright ugly pages.  The bigger problems are Supergirl’s complete failure as a hero and the fact that the center of the book just feels like so much running around, with three different trips to the theater and the unnecessary side-trip to Kandor.  Starfire’s return and convoluted plot seem beneath her as well.  This is quite a ridiculous setup.

adventure comics 407-29 - Copy

“And we would have gotten away with it if it weren’t for you meddling Kyrptonains!”

She has her henchman pretend to haunt his theater in the hopes of attracting Supergirl’s attention?  I can’t help but think there must have been a simpler way to accomplish that.  The slippery master-villain also suffered a very ignominious defeat.  She plagued the Girl of Steel for multiple issues at a time previously, proving a suitable nemesis for our heroine.  And here, she gets taken down with fairly little fan-fare, just dumped in the local police station, and then forgotten about.  It’s a waste of a character that had a certain amount of villainous credibility built up.  In the end, I’ll give this silly story 2 Minutemen, though I’m inclined to give it less because of Supergirl’s unheroic performance.  It is particularly egregious in light of the much better told Superman story dealing with the same kind of dilemma that it shares space with this month.

minute2


Batman #232


Batman_232

“Daughter of the Demon”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

It’s finally here!  The debut of R’as Al Ghul, one of the greatest Batman villains created after the Golden Age, and arguably the most significant to the character in recent years, following his revitalization in Batman Begins.  I have been eagerly awaiting this issue, remembering it fondly from my previous read-through of the Bat-books, and, perhaps most significantly, from the wonderful adaptation from that best of Bat-worlds, Batman: The Animated Series.  The episode “The Demon’s Quest,” is an extremely faithful translation of this story, so much so that I was really struck by that when I first read the comic, having started my Bat-experience with the cartoon.  The episode in question is an excellent one, but that is no surprise considering the source.  Timm and Co. had an affinity for elevating their material, capturing the potential in every story and character and presenting them in all of their archetypal and dramatic power (though the recent release of Batman and Harley Quinn indicates that this is sadly no longer the case).  Yet, their task was an easy one in this case.

I loved R’as Al Ghul already from his appearances in B:TAS, and I was excited when I encountered him in this book and in his subsequent appearances.  I have been particularly looking forward to returning to his first appearance here, both to see if it lived up to my memory and to experience it in its original context among the DCU.  I’m very pleased to say that I was definitely not disappointed.

I supposed I’d better begin with the iconic cover, which is dramatic and nicely symbolic.  There are a few problems with it, but the biggest is the fact that it gives away the twist of the entire issue!  The thrust of the book’s mystery is the identity and agenda of the enigmatic Al Ghul…only that mystery is solved, in part, before you ever open it, as the villain is clearly orchestrating whatever is happening to Robin.  The other issue is the slightly distracting cover copy and the odd coloring of the ghostly Al Ghul.  I like his spectral image, but I think there is a little something missing from the execution.

Nonetheless, the tale within does not disappoint.  It begins with the Teen Wonder stealthily returning to his room one night at Hudson University, only to be ambushed within by a pair of gunman who shoot him down!  Now, having seen the cartoon episode first, I didn’t really appreciate how big a moment this, or that which comes later, really was.  I was just watching the familiar patterns of a well-known plot, but in context, I now realize that this is a really shocking event, with shadowy figures awaiting, not Robin, but Dick Grayson, in his home!  From the first page, the stakes are set as being extremely high, and we are given to understand that this is definitely not your normal adventure.

Batman232-01

A short time later, Bruce Wayne receives a most distressing envelope bearing a picture of his unconscious ward and a simple note, “Dear Batman, we have Robin!  Save him if you can!”  Once again, I read right past this the first time, but here is a note, sent to Bruce, but addressed to Batman.  The message is clear, and it is only made clearer by what will happen later.  First, Bruce swings into action, heading to Wayne Manor in order to use his mothballed crime lab to examine the note.  Now, this raises a bit of a question, as why would he not have the same type of facilities in his Penthouse headquarters, but it seems clear that O’Neil is taking a bit of a mini-tour of the Batman mythos in this book.

Batman232-02

The truly shocking moment comes when, upon reaching the Batcave, the Dark Knight is surprised to find that he has visitors!  An intense looking man in a cloak with a looming servant/bodyguard greet him, calling him by his real name!  This is R’as Al Ghul, who explains that he discovered the Dark Detective’s identity by deduction, reasoning he would need to be wealthy and meet certain criteria.  Bruce unmasks and accepts all of this with a truly surprising lack of reaction.  It seems quite out of character, and the mysterious man’s explanations seem far too simplistic, but these issues, while not given entirely adequate explanation by O’Neil in this issue, can be reconciled by what we learn by its end.

Batman232-04

Batman232-05The Caped Crusader does demand to know what the intruders want, though, and Al Ghul reveals that his daughter has been taken as well, and he wants Batman’s help in rescuing her.  The hero recognizes Talia, the girl he recently rescued from Dr. Darrk and, realizing that they have a common cause, the great detective gets to work.  A microscopic examination of the note reveals residue of an herb used by a far eastern cult of killers who have their headquarters in Calcutta, so the trio take off for the orient!  As they leave, Ubu, Al Ghul’s servant, makes a big deal of allowing his master to go first, and the Dark Knight quietly takes the man’s measure.

Batman232-06

On the flight, we see a Batman that has been developing in the last few years but has not, I think, been seen in such clarity before this point.  He sits in stoic, brooding silence, replying to his companion’s questions about his composure that he must control his emotions because he has a job to do.  The character’s portrayal throughout this issue is of the driven, collected, self-possessed Dark Knight Detective that came to define the best version of the concept, and this scene is a striking departure from the grinning, joking Batman that we’ve seen even recently in the rest of the DCU (Bob Haney doesn’t count, of course).  During the trip, we peer into the Masked Manhunter’s reverie and see him remembering his origin, that terrible night when a boy’s innocence died along with his parents and something hard and pure was born in its place.  We get a capsule version of the familiar origin story, complete with his adoption of Dick, with a focus on the self-sacrifice and dedication that his destiny demanded, further establishing this issue as a new beginning.

Batman232-08

In Calcutta, an old beggar is accosted by some street toughs, only to reveal himself as Batman, terrifying the low-lifes and forcing information out of them about the “Brotherhood of the Demon.”  Finding his way to their supposed headquarters, the Dark Knight enters first, only to be pounced upon by a leopard!  In a great sequence, the hero uses his strength and agility to grapple with the great cat and break its neck.  The danger passed, the detective notes that the animal was a trained guard, though the only thing in the room is a desk with a map of the Himalayan Mountains.  He claims there is a faint scratch tracing a route, and R’as offers to finance a mountain expedition.

Batman232-11

Later, on Mount Nanda Devi, the trio continue their search, following a clear trail, and Neal Adams includes what I have to think is Deadman’s face in the mountainside.  I wonder if this is near Nanda Parbat!  To continue their search, the travelers must scale the mountain, and Batman leads the way, though R’as takes a moment to admire the beauty of their surroundings, admitting to a love of desolate places that is positively Romantic, a nice character moment.  Suddenly, a shot rings out, and the mystery man seems to be hit.  Batman launches a desperate swing from the cliff-face to elude the gunman, and when the attacker follows, the hero springs from the snow in which he had secreted himself to take the assassin out.

Batman232-15

Interestingly, the Caped Crusader’s knows something we don’t, and he approaches the hidden camp of his enemies brazenly, walking boldly through their armed sentries and telling them that he knows they won’t fire.  As he strides into an inner chamber, he sees Robin and, ignoring the guards, secretly slips his partner a knife.  Just then, a masked figure enters, but the Dark Knight has had enough and declares that he knows the whole score.  From the very beginning, he knew that the entire quest was all a show, recognizing that R’as Al Ghul’s convenient appearance was all-too transparent, and his suspicions were confirmed when Ubu, always solicitous of his master’s honor, let the hero walk ahead of him when danger awaited.  Batman also fooled them with the map, lying about the scratch, but they took him to this mountain nonetheless.

Batman232-21Having vamped long enough, the Masked Manhunter asks the Teen Wonder if he’s ready, and they clean house, taking out the gathered assassins in a nice sequence that only suffers from having no backgrounds.  Then, the Dark Knight snatches the mask from the robbed figure to reveal Ubu, who decides to try his luck.  But Batman isn’t impressed by the man’s size or strength, and he flattens the hulking bodyguard in another great sequence.  Finally, R’as and Talia Al Ghul are revealed, and the Dark Detective confronts them, demanding an explanation for the dangerous game that the enigmatic man has been playing.  Al Ghul responds simply that his daughter loves the hero and, being inclined to retire, he wanted to see if Batman were worthy of being his successor and….son in law!

Batman232-22

What an ending!  The look of complete surprise on Batman’s face in the final panel had to be mirrored in that of many a fan as they read this book.  Of course, I knew it was coming, but trying to put myself in their shoes, I really felt the impact of this twist.  Readers must have been on the edge of their seats waiting for the next issue!  Reading this book in context really emphasizes how important and innovative it was.  This issue is the culmination, or at least a culmination, of all of the reworking and renovating that O’Neil had been doing in his Batman stories, and this is, in many ways, a new beginning, a line drawn in the four-colored sand, declaring that ‘what comes next is to be something new, yet classic,’ something that returns to the core of the character and positions him in a world worthy of him.

Batman232-23

This is the Batman I love.  This is the Batman that was translated so wonderfully into the Animated Series.  This is the Batman that realizes the character’s potential and takes advantage of the archetypal power of the concept.  He is dark, driven, intimidating, hyper-capable but believable, marked by the sadness of his origin, yet capable of enjoying his adventures, especially when joined by his adoptive son.  He is serious, but not joyless, and that’s an important distinction, often lost these days.  It isn’t perfect, not yet.  O’Neil is still a little clumsy with some of his dialog, but it is close, the character is close.

Batman232-25

I am also very impressed with R’as Al Ghul in this first appearance.  He is mostly just busy being mysterious, but there is a dignity and a certain Romantic air about him that is appealing.  Already you can see the Byronic anti-heroic quality that will define the character (though he will usually lack the self-critical element of that archetype).  Throughout there are hints that there is more to this enigmatic figure than meets the eye, like the ability of the older man to keep up with the powerful Caped Crusader during his quest and his calm self-assurance in every situation.

This issue is beloved for a reason.  It is a great declaration of a new (and old) vision for the Dark Knight, and it presents an exciting, world-trotting adventure that both honors and challenges many of the important elements of the Batman mythos, reuniting the Dynamic Duo in the end and introducing an intriguing new villain with a very unusual agenda.  Adams art is beautiful throughout, of course, but he too is coming into his own here.  His Batman is powerful yet agile, dynamic yet mysterious, full of untapped depths yet in complete control.  The art is alternately moody, intense, exotic, and exciting.  O’Neil, for his part, turns in some of his best writing here, focusing on character and story and really creating something special.  I’ll happily give this landmark issue 4.5 Minutemen.  It isn’t perfect, but it is darn close.

minute4.5

P.S.: The letter’s page of this issue included a short note about the Futurians, the villainous secret society of several issues back, about which I had wondered.  It turns out that the name was a reference to a group of science fiction fans from the 30s, many of whom would go on to be major influences in the genre.  How neat!


And that’s it for this post, though I don’t know what else y’all could ask for!  We’ve got a great selection of stories in this batch, even with the Supergirl clunker.  This is definitely an exciting time in comics, and change is in the air!  DC is growing, and there are exciting things on the horizon.  On that note, I hope you’ll join me again soon for the next installment of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: April 1971 (Part 5)

DC-Style-Guide-1

Look!  Up in the sky!  It’s a bird!  It’s a plane!  No!  It’s….Into the Bronze Age!  And I’ve got quite a suite of stories for y’all today, mostly starring Superman!  We’ve got everything from emotional epics to spooky specters to menacing monsters, and with Jack Kirby thrown in to make it extra special!  The features below vary in quality, but they were all at least interesting reads, so see what awaits you as we travel further Into the Bronze Age!

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman’s Girlfriend, Lois Lane #109


Lois_Lane_109

“I’ll Never Fall in Love Again!”
Writer: Cary Bates
Penciler: Werner Roth
Inker: Vince Colletta
Cover Artist: Dick Giordano
Editor: E. Nelson Bridwell

“The Mask of Death!”
Writer: Robert Kanigher
Penciler: Ross Andru
Inker: Mike Esposito

Look at this cover.  Dick Giordano gets to ply his pencil and does a fine job (especially on Supes’ stunned expression), though the whole is a bit on the boring side.  The real significance of the design, however, is how it just screams drama.  I was all set for a silly, soap opera-ish story, but what I found was surprising in quality and content.  It’s over the top at moments, but not nearly to the extent I expected.

The tale begins with Lois receiving a note at the Daily Planet that is straight out of The Eternal Sunshine of the Spotless Mind.  It invites those with painful memories to come to the ‘Denison Clinic,’ where a ‘laser surgery’ will allow them to leave with “a trouble-free mind.”  Having someone cut into your brain with a laser?  What could go wrong!

ll109_04 - Copy

Now, I expected for Lois to uncritically to just go right on in and volunteer for this insane-sounding procedure, but Bates impressed me by having the girl reporter just go to investigate this place, hoping for a story.  Once there, the elderly Dr. Denison suddenly traps her inquisitive guest in a chair with a “magnetic force” (is Stan Lee writing this?), and begins to harangue her.

ll109_04

ll109_05 - CopyApparently this woman was once a professor at Hudson University, where she became a mentor to Lana Lang.  Learning of her love for Superman and her heartbreak when the Man of Steel started chasing Lois, Denison decided that she must do something to protect her young protegee.

Interestingly, she herself has a similar story, as the man she loved became an actor and eventually married a starlet, a woman whom Denison has already “punished.”  Clearly, this lady’s got issues!

ll109_05

She subjects Lois to a procedure that she claims will give her an “emotional lobotomy,” and destroy her capacity for love.  The girl reporter passes out, only to awaken to see Superman and the police have come to her rescue.  The cops were looking for Denison because she stole her equipment, which, incidentally, has been fitted with a self-destruct device to keep anyone from learning how to undo her handiwork.

ll109_06

ll109_07

Roth does great work with Lois’s ‘hazy’ vision.

Lois is shaken to realize that she can feel nothing for the Man of Steel, even when he carries her home and is forced to perform some dazzling heroics by destroying rogue meteors (radioactive meteors, of course).  When he brings her back to her apartment, the nervous newshawk snaps, screaming at the Metropolis Marvel to get out and that she doesn’t want “a costumed freak” meddling in her life.  The Action Ace takes this with remarkable patience, leaving graciously and reasoning that she’s just still reeling from her close call.

ll109_08

The next day, Lois researches Denison’s previous victim and discovers that the actress had been institutionalized!  At work, Clark keeps an eye on her and begins to notice that something is off with his lady love.  Meanwhile, Lana Lang has heard about what has happened and has gone to Dr. Denison in jail to plead with her to reverse her procedure, telling her former teacher that she has moved on.

ll109_10

ll109_14 - Copy

ll109_14

That night, Lois and Superman go out on the town, which is a little weird, really, especially when they go to a disco!  Yet, after a passionless kiss ends the night, the Man of Steel realizes decides to check up on the reporter, realizing something is still off.  He spies on her diary entry, which isn’t as creepy as it would normally be in this instance.  Lois confesses to her journal that she is just continuing to date Superman because she enjoys the attention, despite the fact that she feels nothing for him.  In a surprising moment, the Man of Tomorrow smashes the spire of a building in anger over this discovery, though he still has the good manners to fix it immediately afterwards.  It’s a believable moment of weakness, though it’s a pretty huge lapse, when you think about just how powerful he is.  That’s why Superman will later have nightmares about just such a lose of control.

Finally, Lana convinces Dr. Denison to tell them how to restore Lois, but it seems that this can only happen when Lois decides she wants to be able to love once more.  In the following days, Lois stays relentless, cold, and unfeeling, which honestly just might make her a better reporter.  Nonetheless, when she sees a child fall into the path of an oncoming car, she instinctively leaps to her rescue, and with a little unseen assist from Clark, she saves the girl.  The deed triggers, just for a moment, a flicker of emotion, and loveless lovely decides she wants to remember what it feels like to be human.

ll109_16

Superman flies her out into the country where they meet a minstrel with a magical harp that supposedly can cure her.  Lois is skeptical but listens, and is eventually lulled to sleep.  After she drifts off, the minstrel is revealed to be Roland Kirk, the actor and former lover of the bitter Dr. Denison, who played a part to hypnotize Lois in the guise of a believable fiction.  It turns out that the original procedure was really a form of hypnosis itself, and the cure required a counter-spell of sorts strong enough to break the mental block.  When Lois awakens, she is back to normal, and the two sweethearts are reunited.  Lana, for her part, decides to seek her fortunes elsewhere, heading to a job in Europe.

ll109_20

This was a curious and unusual little story.  The concept is over the top in standard comic fashion, yet, it works reasonably well.  The emotional core of this tale is surprisingly sincere and effective.  Essentially, what Dr. Denison takes from Lois is not love, per se, or at least, not specifically romantic love, or eros, but what we used to call ‘charity.’  What she robs her of is empathy and the capacity for selfless love that comes with it, the capacity that links us with God.  It is through the ability to love, not acquisitively, but selflessly, ‘charitably,’ that we access the best of human life, the joy that echoes of heaven, and the coldness and emptiness of life without the ability to experience that emotion is really quite a chilling prospect.

ll109_21

Bates doesn’t realize the full potential of his setup, but neither does he do too bad of a job.  He clearly does understand the significance of charity, and it is to his credit that he doesn’t just limit Lois’s loss to romantic love.  Dr. Denison’s bitter reasoning for targeting Lois is believable (in comic terms), and Lois’s moment of revelation is fairly striking.  Throughout, Werner Roth continues to turn out beautiful art, and his wonderfully detailed faces help to deliver the emotional impact of the story.  Throughout the comic, what could be silly and simplistic is actually treated with some level of thoughtfulness.  The last scene with the random minstrel set up is a bit odd, but I suppose that, in the DC Universe, a dude with a magic instrument is really one of the more believable possibilities for such a situation, especially if you travel in the same kinds of crazy circles as Lois Lane.  So, all told, I think I’ll surprise myself by giving this odd little emotional drama 4 Minutemen.

minute4


“The Mask of Death”


ll109_22

We continue the ongoing adventures of Rose and Thorn in this backup feature, and today’s adventure is certainly different!  Instead of cops and robbers, this issue plays ghouls and ghosts!  It begins in the normal way, with our favorite vicious vixen trashing some 100 goons.  She jumps a truckfull of hijackers and tears through them, crashing the vehicle.  Once more, Danny Stone is left to pick up the pieces, but this time we are joining the Nymph of Night at the end of her sojourn.

ll109_24

When she returns to her home base, she discovers a weeping specter in a mask in the secret hallway!  What vision is this?  The figure transforms into a beautiful young woman who says she is the ghost of Selena Mason, an aspiring actress from years ago, and she proceeds to tell her story.

ll109_26

In some senses, it’s a familiar tale.  A beautiful young woman who would be a star falls in with a controlling man that helps her career, at a cost.  In this case, the controlling fellow is not a director or the like, but a costumer, which is odd.  In fact, he owns the very costume shop that lies adjacent to Rose’s home, forming her base.  Still, he’s every inch the sleeze, and Selena sees him consorting with gangsters, using the Thorn’s secret passage to smuggle them in and out of his shop.

ll109_29

The tailor, Albert Talbot, thinks he possesses Selena, and when the young starlet falls in love with her co-star, the maddened man throws acid in her face in a classic ‘if I can’t have you, no one will’ move.  It’s a brutal act, and the acid-splashed actress grabs a mask to cover her marred visage, running into the secret passage, where she died from her wounds.  Dark!  The ghost begs the Vixen of Vengeance to live up to her sobriquet so that her restless spirit can find peace, but before the Baleful Beauty can respond, she realizes that the sun is coming up, so she rushes to turn back into Rose and falls asleep.

ll109_30

This is an interesting change of pace.  There’s no reason why pretty much any character in the DCU couldn’t encounter the supernatural, as ghosts and ghoulies are pretty well established as part of this setting, but it does rather come out of nowhere here.  It is neat to see an explanation for the super convenient abandoned costume shop and secret passage, though.  The spirit’s story is suitably tragic, and it is certainly something that is right up Thorn’s alley, a woman wronged.  Once again, Kanigher manages to split his story effectively, delivering enough to intrigue and entertain, but not so much that it really hurts for space.  I think, in many ways, the compressed backups in Lois Lane are pulling out some of his better work.  On the whole, it’s a good read, so I’ll give it 3.5 Minutemen.  I’m curious to see where it will go next issue.

minute3.5

P.S.: The letter column for this issue, dealing with the surprising (and surprisingly touching) issue #106, is really noteworthy.  It’s full of praise for that story, including several letters from readers who are themselves part of a minority.  There’s one particularly arresting letter from a 15 year old black boy.  What must it have been like to be a minority comic reader in this era and suddenly see a story filled with black faces and focused on the subject of race amidst a medium that was almost 100% white?  This is pretty cool, and though stories focusing on race seem to be popping out of the woodwork in 1971 (Captain America and the Falcon shared a story arc focused on the theme the same year), the issue is still a special one.  The editor also helpfully informed us that the comic in question was inspired by the movie, Black Like Me, which sounds like a pretty powerful look at race relations in the Civil Rights era South.

ll109_32


Superman’s Pal, Jimmy Olsen #137


Jimmy_Olsen_137

“The Four-Armed Terror!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

For our second comic of the day, we’ve got more Jack Kirby goodness!  We return to Jimmy Olsen’s antics, and the King continues to deliver on the imaginative and wildly creative work he’s been doing on this book.  In fact, it seems that, with much of his setup work done over the last few issues, there is more time for him to play with what he’s created, and pretty much every facet of the strange Wild Area gets a check-in with this tale.  We begin by discovering what was in the enigmatic egg in the previous issue.  It’s a nicely hideous monster that looks a bit like Etrigan the Demon’s uglier cousin.  Etrigan is still a year away from his debut, but I have to imagine that Kirby liked this design, the yellow skin and the red eyes, and decided to do more with it.  Either way, this strange four-armed creature smashes through the forest of the Wild Area, driven by a mysterious hunger.

jimmyolsen137-01

It’s headlong hurry brings it into contact with the remnants of the Outsiders biker gang, who futilely try to fight it.  The monster shrugs off their weapons and wrecks their bikes.  Meanwhile, back in the Mountain of Judgement Jimmy Olsen is seated behind the controls of one of the most Kirby of Kirbytech devices I’ve ever seen.  It turns out to be a fancy instrument that converts “radio-signals from the stars and convert[s] them into mental musical images.”

jimmyolsen137-04

It’s the kind of far-out concept that can almost be grasped but stretches the imagination in the attempt, which is pretty cool.  This is an invention of the ‘Hairies,’ who are gathered with the Newsboy Legion for a performance.  The scene is only marred by Flippa-Dippa’s existence and incessant narcissism: “It’s like a movie musical-and everybody’s in it!  Includin’ me, Flippa-Dippa!”  Urg…it’s bad enough to shoe-horn yourself into every conversation, but it’s even worse when you do so in third person!

jimmyolsen137-05

What in the world is wrong with Superman’s hand?!

What follows, sadly, is not Flippa-Dippa’s grisly demise, but another beautiful set of Kirby-collages.  I’ve had very mixed feelings about this device in the past, but I have to say, I think it works very well in this instance, successfully capturing something abstract and unimaginable, and in this instance, because the images are not supposed to be phsyically real, the contrast between the character art and background isn’t problematic.  It’s a psychedelic scene, and another example of Kirby’s continued innovation.

 

Anyway, the sonic sojourn is interrupted by a sudden jarring tremor, and the crew learn that the base is under attack from an unknown source!  Superman rushes off to investigate, but he orders the Legion to stay behind, which they don’t take too well.  There’s a fun full-page scene where the Newsboys elect Jimmy their leader and decide to follow the Man of Steel in the hopes of adventure and a good story.  It’s just their heads gathered together in a huddle, and it’s a fun image, full of personality.  Meanwhile, our four-armed friend from the beginning is tearing his way through the earth in search of sustenance.  We discover that he’s after nuclear energy, which he seeks in the main power plant of the Wild Area.  Kirby’s narration is actually rather evocative and helps to crank up the tension.  I would say his writing is getting better, but I seem to recall some rough patches in the future.  We’ll see, I suppose.

jimmyolsen137-13

His efforts release a wave of atomic energy that rocks the entire wild world, wrecking the Habitat from a few issues back.  In a curious little touch, Kirby gives us a glimpse of the brutish Yango, one of the bikers, who surprisingly steps up selflessly during the crisis and directs the evacuation.  I wonder if we’ll see him again at some point in time and if we’re supposed to take his change of heart as inspired by our heroes.

jimmyolsen137-18

Either way, we quickly move back to Superman as the kids try to follow him in the Whiz Wagon, but the Action Ace has raced the Flash, and the Legion just can’t keep up with him!  The Metropolis Marvel finds the wreckage marking the monster’s passage, and soon confronts the creature.   Yet, even the Man of Tomorrow finds himself challenged by his atomic antagonist’s nuclear strength!  Superman takes a beating, though he manages to throw the beast off of him in time for the Legion to arrive.  Their efforts prove useless, despite a weapon the Hairies gave Jimmy, and the four-armed fiend uses his newly absorbed energy to trap the team in a cocoon of strange energy.

jimmyolsen137-21

The immediate threat dealt with, he continues to make his way towards the central atomic pile, while sinister eyes look on.  The guardians of the Evil Factory, Mokkari and Simyan who have unleashed this mutant D.N.Alien on our heroes admire their handiwork.  Their plan is for the monster to destroy the reactor, causing a nuclear explosion that will destroy everything in the area.  The last image of the book is of our two Apokaliptian antagonists looking on as a horde of other monstrous minions hatch from their eggs!

jimmyolsen137-24

jimmyolsen137-28Interestingly, we get a map of the whole place, and it doesn’t quite make sense.  We see the layout of everything, but we learn that the Project, Zoomway, Wild Area and the rest are all in a massive cavern under Metropolis…which doesn’t work at all with the first issue where the Legion traveled a long way overland to reach the place.  Kirby was constantly changing things as new ideas struck him, and this certainly seems like an example of that tendency.

This was certainly a fun issue, and the bizarre, imaginative musical journey at its start was a notable feature.  I admire Kirby’s attempt to give the adventure story more purpose than just fighting.  He’s bringing the same sense of exploration, of wide-eyed wonder at what might be, to this book that he brought to the classic Fantastic Four.  That’s important.  Such efforts are not to be discounted because adventure is about more than just punching bad guys; it’s about meeting marvels and seeing things you’ve never seen before.  There is value in wonder for wonder’s sake.  I think that’s something that Kirby understood. 

jimmyolsen137-29

That’s a heck of a cliffhanger…

The central conflict of the tale, the monster’s rampage, is suitably gripping, and the stakes are plenty high as an atomic explosion would destroy, not just the Wild Area, but Metropolis as well!  There are also some (perhaps unintentional) interesting thematic elements in the concept of a man-made monster powered by atomic energy threatening to destroy humanity.  There’s some good irony inherent in that setup.  In general, other than Flippa-Dippa’s grating presence, this is a great comic.  Of course Kirby’s art is great, and that three-page musical journey is particularly cool.  It’s a fun read, and the feature creature posses a believable threat to Superman.  That being said, the Man of Steel’s presence in the book really leaves the Legion starved for space.  It’s a shame that the King wasn’t allowed to tell the story he really wanted with them, but he certainly made the best of it!  I’ll give this inventive comic 4.5 Minutemen.

minute4.5


And with that dramatic conclusion, I also end this post.  It’s really astonishing how much variety DC had back then, with earth-shattering, otherworldly plots in one book and emotion-driven drama (of a sort) in another.  It’s a testament to the versatility of the medium that such disparate stories can be told i it.  Well, I’m racing to get actual work done this summer, but I’m still trying to carve time out for this feature.  Even if it takes me a little while, I hope you will all join me again for another step 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


Phantom_Stranger_Vol_2_12

“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!

the phantom stranger (1969) 12 - 02

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.

the phantom stranger (1969) 12 - 03

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.

the phantom stranger (1969) 12 - 04

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.

the phantom stranger (1969) 12 - 08

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.

the phantom stranger (1969) 12 - 09

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.

the phantom stranger (1969) 12 - 14

the phantom stranger (1969) 12 - 15

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.

the phantom stranger (1969) 12 - 19

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.

minute4.5


“A Time to Die”


the phantom stranger (1969) 12 - 21

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.

the phantom stranger (1969) 12 - 24

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!

the phantom stranger (1969) 12 - 27

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!?

the phantom stranger (1969) 12 - 28

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.

the phantom stranger (1969) 12 - 29

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.

minute3

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.

the phantom stranger (1969) 12 - 20

 


Superboy #173


Superboy_Vol_1_173

“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.

superboy 173 0003

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.

superboy 173 0004-0005

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.

superboy 173 0006

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?

superboy 173 0007

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.

superboy 173 0015

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.

superboy 173 0020

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.

superboy 173 0021

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.

minute2.5


“Trust Me or Kill Me!”


superboy 173 0023

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.

superboy 173 0024

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

superboy 173 0027

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.

superboy 173 0030

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.

superboy 173 0031

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.

minute3.5


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!

 

 

 

Into the Bronze Age: February 1971 (Part 5)

DC-Style-Guide-1

Hello Internet travelers!  It’s been radio silence here on the Greylands for the last week.  Lady Grey and I traveled to Iceland over spring break, and we were busy taking the advice of Granger from Fahrenheit 451, who said “Stuff your eyes with wonder […] live as if you’d drop dead in ten seconds. See the world. It’s more fantastic than any dream made or paid for in factories.”  We spent some time out there in this gloriously beautiful world, reveling in the unsurpassed glory of creation, and we had a great time.

We visited waterfalls, hiked on glaciers, and even snorkeled in a glacial river between two tectonic plates (and that was intense, let me tell you!).  It was a really wonderful and necessary break, and sadly now we have to come back to the real world with all of its endless problems.  At least there are bright and hopeful comics to keep us company!  Today, I’ve got a pair of titles and a trio of stories.  I hope y’all enjoy my commentary as we travel farther Into the Bronze Age!

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #397
  • Adventure Comics #402
  • Aquaman #55
  • Batman #229
  • Detective Comics #408
  • The Flash #203
  • Justice League of America #87 (AND Avengers #85-6)
  • The Phantom Stranger #11
  • Superman’s Girlfriend, Lois Lane #108
  • Superman #234
  • Teen Titans #31
  • World’s Finest #200

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


Phantom Stranger #11


Phantom_Stranger_Vol_2_11“Walk Not in the Desert’s Sun…”
Writer: Gerry Conway
Penciler: Jim Aparo
Inker: Jim Aparo
Letterer: Jim Aparo

Underneath this suitably creepy cover, we’ve got about two-thirds of a really awesome comic that takes a hard left turn right at the climax.  The resultant story is a bit odd, but it still ends up being an interesting read with surprisingly sophisticated handling of some rather unexpected themes.  Gerry Conway makes his return to scripting DC books, and he is already displaying impressive maturity and skill.  The growing seriousness of the Bronze Age is definitely on display in this issue as well.

It begins with the Phantom Stranger narrating a string of strange phenomena in the night sky over the western hemisphere, as people all over the world look up and see a sinister triangular shape of purple hanging framed against the stars.  Three nights later, the police in New York try to talk a desperate woman down from the Brooklyn Bridge.  She has just killed a man, and she screams that she will be her own master from now on.  As she rants, she slips off over the side and plunges into the fog, only to vanish before hitting the water.  Aparo gives us a wonderfully atmospheric two-page spread of the incident that adds to the mystery.  The police are baffled, and the sudden appearance and cryptic warning by the Phantom Stranger doesn’t do much to comfort them.

the phantom stranger (1969) 11 - 02 & 03

Meanwhile, apparently the Weathermen have taken their bat-guano insanity inter-planetary, as a pair of dropouts have somehow managed to hijack an Apollo spacecraft and are planning to crash it into Washington D.C. in protest of the space program’s ‘waste’ of resources.  Really?  That’s what you’ve got a problem with?  Not the war in Vietnam, the race problems, or police brutality?  I’m glad you boys have your priorities right.  Despite the pleas of mission control, it seems like this inexplicably capable pair of nutjobs is going to make good on their threats, but the capsule suddenly goes off course and splashes harmlessly into the Atlantic, empty!

the phantom stranger (1969) 11 - 04

the phantom stranger (1969) 11 - 05The Stranger has noticed all of these events, and after spotting a story about a glowing pyramid suddenly showing up in the Sudan, he decides to investigate.  How does he get there?  Why, by flying commercial, just like everyone else.  It’s a weird sight to see the Stranger just walking through the airport.  Does he even have a passport?  Or money?  Either way, on the flight, he meets a young woman named Lynn Berg (Lindbergh reference?) who wants to talk to him because she gets nervous on flights.  The Stranger’s slightly odd response is perfect, as he says “Feel free to speak.”  Not the most warm and welcoming, is the Phantom Stranger.

the phantom stranger (1969) 11 - 06

You have to wonder if he uses his powers to skip the lines…

They arrive in Israel, and in a move that really surprised me, Lynn begins to talk about the current troubles in the Middle East, philosophizing about the conflict and war in general, wondering if there can ever be a right or wrong in such conflicts.  Just as the Stranger begins to share his own critique of warfare, Lynn’s brother arrives to pick her up, only to run right into a terrorist attack.  The Stranger foresees it moments before it occurs but too late to prevent it.  A pair of (presumably) Palestinians throw grenades, which kill Lynn’s brother, shouting “for my dead father!”

the phantom stranger (1969) 11 - 11

In response, the young woman, consumed by grief and rage, chases after the pair, attacking them, wrestling a knife away from one of them and actually killing him with it!  The Stranger sort of ineffectually calls after her and watches helplessly (which doesn’t really make a ton of sense), as the dead terrorist drops the grenade he’d been holding, causing an explosion and apparently vaporizing Lynn.  This is an incredibly effective scene.  Just as the traveling companions are talking about war and the cycle of vengeance, that very cycle plays out before our eyes.  In revenge for some unknown act that cost them their father, two men kill an innocent.  In response, the dead man’s sister is herself blinded by vengeance and kills one of them, dooming all three.  It’s a powerful and surprisingly subtle demonstration of the endless nature of revenge.  The effect is rather arresting.

the phantom stranger (1969) 11 - 12

But, this is a comic, and we’ve got other, stranger fish to fry, so the scene shifts to that mysterious glowing pyramid our enigmatic hero read about.  Inside, a masked figure in Egyptian regalia holds forth to a gathered crowd, explaining his evil plan, and evil it is.  In attendance are all of those people warped by hatred and selfishness who were snatched away from their deaths, including the girl from the bridge and the two pseudo-astronauts.  Evil-tut explains that he is the ‘Messiah of Evil,’ and has drawn all of them together in order to build ‘an army of evil’!  Strangely, Lynn Berg is in a cell there as well, drawn thither because her heart was filled with hate at the moment of her death.  Suddenly, the Stranger is there in her prison, and he comforts the girl.

the phantom stranger (1969) 11 - 14

the phantom stranger (1969) 11 - 16 - Copy

Just then, guards burst in, and when the Spectral Sleuth tries to fight them, he encounters a powerful force-field.  What’s more, they knock him out with just a touch, which also seems odd.  The Stranger is brought before the fiendish pharaoh, who reveals himself to be…Tannarak!  That’s right, the promising villain from the last  issue returns, and in grand fashion!  Apparently, at the moment of his death beneath the falling statue, he was snatched away by powerful beings who called themselves the ‘Gods of Hate,’ who chose him as their champion, as the Messiah of Evil and charged him to build an army of the like-minded with which to seize power.

the phantom stranger (1969) 11 - 16

The Stranger shouts that such an agenda would “upset the very balance of the universe” and invokes the concepts of chaos and order, declaring “this must not be!”  He strikes down the guards, somehow now able to do so, despite the fact that a few pages before he couldn’t’ even touch them, and then charges Tannarak.  Yet, the sorcerer is not to be taken so easily, and he zaps the hero with a beam that turns his own hate and anger against him.  The mysterious one realizes that his rage is self-defeating, so he calms his mind and strikes out, not in anger and not for revenge, but for justice, and delivers a great blow.

the phantom stranger (1969) 11 - 22the phantom stranger (1969) 11 - 24

Yet, he and Lynn are still badly outnumbered, so they flee, and here is where things get weird.  Well…weirder, in context.  They race into a chamber filled with advanced machines, alien machines!  They trigger a defense mechanism and are bombarded by terrible rays, but each selflessly tries to shield the other.

the phantom stranger (1969) 11 - 27

the phantom stranger (1969) 11 - 28

The apparently mechanical sentries of the machines note that they had thought Earth the perfect place to build an empire of evil, as they had found the planet’s inhabitants purely selfish beings, but this act of sacrifice makes them reconsider.  They decide that they must seek what they want elsewhere and decide to destroy their base, the pyramid, because their mission is a failure.  When the rays shut off, the Stranger and the girl flee, leaving Tannarak and his minions to face a cataclysmic explosion!  In a really surprisingly grim touch, Lynn is driven mad by the experience.  As the Stranger says, her “mind has escaped whither they cannot follow.”

the phantom stranger (1969) 11 - 29 - Copy

Wow.  Okay.  Where to even begin with a story like this?  It has some really fantastic elements, and the scene with the terrorist attack is unquestionably quite strong and touching.  There’s probably no clearer symbol of the endless cycle of vengeance in the modern imagination than the conflicts in the Holy Land, and that scene was handled with surprising maturity and subtlety.  I love seeing Tannarak return as well.  I think he’s got a ton of potential, and his being chosen as a champion of evil makes perfect sense.  After all, he was a completely selfish being, putting his own continued existence above every other concern, and what is evil but the ascension of selfishness, the triumph of will?  At the same time, that’s why the trappings of his ‘army of evil’ were slightly disappointing to me, as I’d have liked to see just a slightly more sophisticated treatment of their morality.  Evil very rarely owns the fact that it is evil; instead, it is much more common for that type of utter selfishness to hold itself up as the greatest good, as it so often does in our own society.

the phantom stranger (1969) 11 - 29

Of course, then there’s the alien element which just comes out of left field.  Why not just have Tannarak’s backers be mysterious and sinister beings?  Making them some kind of aliens just doesn’t fit with the rest of the story, and it certainly doesn’t fit with the Egyptian motif without some type of explanation.  Tannarak was raised in Egypt, so we could have just hand-waved the pharaoh act if left to his own devices.  Add to this the different moments that just don’t quite make sense, like the invulnerable guards suddenly becoming conveniently vulnerable and the Stranger’s unexplained commercial flight, and you’ve got a very uneven story.  All of those rough edges could have been smoothed over with a bit of thought (perhaps the Stranger took a dive in the first fight, and perhaps he was on the flight to keep an eye on Lynn), but we don’t get any such attention in the comic.  In the end, it’s a story with a ton of potential, but the final result is just a bit too clumsy.  I’ll give it 3.5 Minutemen on the strength of its treatment of its themes, but it loses plenty because of its oddities.

minute3.5


Superman’s Girlfriend, Lois Lane #108


Superman's_Girlfriend,_Lois_Lane_Vol_1_108“The Spectre Suitor”
Writer: Cary Bates
Penciler: Werner Roth
Inker: Vince Colletta
Letterer: John Costanza
Editor: E. Nelson Bridwell

“Mourn for the Thorn!”
Writer: Robert Kanigher
Penciler: Ross Andru
Inker: Mike Esposito
Editor: E. Nelson Bridwell

We’ve got a super gimmicky cover, once again focused on a troubled wedding for the Man of Steel and the glamorous girl reporter, which seems something of a tradition for this book.  While the story inside isn’t quite as gimmicky as its wrapping, it is more than a little weird.

lois_lane_108_03The strange tale opens at the home of Sir Noel Tate, a wealthy man who Lois is interviewing.  However, when we join them, they have put the question and answer session on hold in order to investigate sounds coming from the old fellow’s souvenir room.  They interrupt a trio of thieves in the process of robbing the join who knock Tate out and begin to threaten Lois.  The plucky girl reporter holds her own for a while, but just as one of the thieves is about to skewer her, mysterious things start to go wrong for him and his confederates.  They’re attacked by an unseen assailant and driven away.  When Tate comes to, he tells Lois that she’s in danger…from a ghost relative of his!  Interestingly, Lois scoffs at the idea of ghosts, as if that’s even slightly less believable than half of the ridiculous stuff she encounters on a daily basis.

lois_lane_108_04

Back at the Daily Planet, Sir Noel’s efforts to warn the journalist are intercepted by an invisible presence.  It apparently possesses Jimmy to lure Lois out of her office, then poses as her on the phone to Tate.  Next, for some reason, it draws Lois into the slums of the city, where she observes an interesting scene.  A desperate young man holds a slum-lord at gunpoint, and despite the fat-cat’s pleas for mercy, the gunman insists that he’s preyed on his tenants too long and too viciously to be spared.  It’s a scene somewhat reminiscent of the infamous Green Lantern/Green Arrow #76.

lois_lane_108_06

What makes this moment fascinating is the social commentary present in it.  There’s nothing really sympathetic about the slum-lord, despite the fact that he’s got the law on his side in this encounter, and it is implied that men like him are the reason for the deplorable conditions in the slums.  Before the would-be murderer can finish his grim deed, his landlord has a heart attack and dies, courtesy of the mysterious ghostly suitor, who is himself moved by the plight of this area.  Cryptically, he mentions how it reminds him of London’s East End from 83 years ago.

lois_lane_108_07

Meanwhile, Superman arrives for a romantic dinner with Lois, and we get one of the strangest scenes in the book.  After the couple shares a kiss, the ghostly stalker realizes that he’s got some pretty powerful competition.  So, he uses the power of plot to conjure a vision of Kal-El’s mother, Lara, in Lois’s eyes.  The vision is super vague, but it’s presents the Kryptonian woman in horror at the approach of something, and this creeps the Man of Steel out.  When Lois starts laughing uncontrollably, he freaks out and almost hits her!  Horrified at his reaction, Superman flies away in disgust.  The whole scene is just odd.  It doesn’t really make sense, at least in part because the ghost’s powers are so vaguely defined that we’re not sure what is his doing and what is reaction (or overreaction).  The end result is just rather disjointed and seems like a clumsy excuse to get the Metropolis Marvel out of the picture.

lois_lane_108_10

 

That night, Lois has a nightmare about her wedding with Superman being interrupted by her spectral suitor, only to awake and find a letter from his ghostly hand that declares he’s going to bring her to his spirit world soon.  Despite her best efforts, the ghost prevents the desperate reporter from revealing her plight by stealing her voice and freezing her hands, and the next night, he summons her to Sir Noel’s estate, where she steals the knight’s nefarious ancestor’s dirk.  A frightened Tate calls Clark Kent in search of Superman, but before the hero can arrive, Lois is transported back through time to London’s East End in the 19th Century, through the ill-defined power of the ghost and his dagger.

lois_lane_108_16

She arrives and is confronted by a mysterious figure emerging from the mist, but just as he’s about to stab her, he declares that she’s “not like the others.”  Lois realizes that her spectral suitor is none other than the ghost of Jack the Ripper!  Just then, Superman arrives, having scoured time to find her (and I like the detail that he didn’t know exactly when to look), and takes her home, where Sir Noel fills in the blanks.  Apparently, his ancestor was driven mad by the deplorable conditions of London and set out to punish the women who represented those conditions, the prostitutes who walked the streets, which seems pretty monstrously unfair.  The ghost sent Lois back so that his living self could kill her, but the Ripper realized that she was an innocent and couldn’t bring himself to do it.  Confused yet?  Fortunately, the dirk was destroyed when Lois was sent back in time, so the spirit is now banished for good.

lois_lane_108_17

This is just a weird, wandering tale.  It has some effectively creepy elements, and there is some definite menace as poor Lois is hounded by her invisible, unstoppable stalker.  The fact that a story featuring Superman manages to conjure up that sense of helplessness is actually fairly impressive, but the plot is just too random and too rushed to be entirely effective.  Even Werner Roth’s usually beautiful art isn’t quite up to the standards we’ve gotten used to in the last few issues.  There are several spots where his figures seem awkward and stiff, especially his Superman.  I’ll give this one 2.5 Minutemen.  It isn’t bad per se, just a little off.

minute2.5


“Mourn for the Thorn”


lois_lane_108_21

Unfortunately, this issue’s Rose and Thorn backup isn’t much better.  The usually impressive series suffers from some really goofy elements and an altogether rushed plot in this outing.  It begins, strangely enough, with the strip’s protagonist dead!  Lois and Superman look on as the valiant Thorn lies dead in her golden coffin, apparently finally having fallen prey to the 100.  We then get a flashback that tells us how the Nymph of Night met her fate.  She cornered #24 on her hit parade and took him out in an alley, only to…die…somehow…because of car exhaust?  It’s an exceedingly silly scene.

lois_lane_108_23

Thorn is standing in an alley when the killer’s partner backs his car towards her.  Does he run her down?  Pin her against the wall?  No, don’t be silly.  He stops next to her and poisons her with carbon monoxide.  Now, I know that emissions standards were worse in the 70s, but I’m still thinking that simply running your car in an alley didn’t create the equivalent or mustard gas or anything.  It’s such a ludicrously impractical way to kill someone and so unnecessarily complicated that it takes you right out of the tale.

After the Thorn is killed, the 100 apparently take her body back to their funeral parlor front, not bothering with the authorities or anything, and nobody notices that there’s a murdered woman just sitting in the front window.  Later, a woman with the “Friends of the Friendless” comes to claim the body.  She’s a member of the 100 who is playing a part, despite the fact that the funeral parlor’s owner is their leader, which doesn’t make much sense.  The whole sequence feels unnecessary, as the killers could have just taken her body and done whatever they wanted with it, skipping this whole dog and pony show.

lois_lane_108_26

The criminals bring the boxed Baleful Beauty to a sinister looking old house called ‘The Mansion of Mourning,’ which is an admittedly cool name.  It’s a front for the 100 as well, providing a hideout for their wanted members.  As they prepare to plant the Thorn in a grave, her perfidious pallbearers drop the casket, and rain splashes on her face.  Suddenly, the Vixen of Vengeance revives!  She rises from the grave in a pretty fantastic panel that, if the story had more space, would have made a great splash page.  Apparently, the vigilante took some medicine to fake her death when she realized she was trapped, and she claims she always wears nose filters which prevented her from asphyxiating.  Ooookay.

lois_lane_108_28

Well, the Thorn makes swift work of the gathered hoods in a nice full-page action sequence and then drops another set of numbers on her newest catch.  Returning home, she awakens as Rose, who finds herself weeping at the news of the vigilante’s death, despite the fact that she doesn’t know her.

lois_lane_108_29

This story has some great elements.  In fact, the big reveal of the Thorn’s return from the grave and the last moment with Rose’s unexplained connection to her alter ego are both quite good.  Yet, the story overall is a bit on the weak side.  It’s clear that Kanigher is really struggling with his page count in this one.  While he’s done a great job at creating condensed, simplified plots that worked remarkably well in only 8 pages, this issue’s effort is just too convoluted.  The silly method of the heroine’s “death” combined with the unnecessary complications involving her burial and the funeral parlor break too much with verisimilitude without explanation or excuse and they take away from an interesting story idea.  The resulting yarn is worth only a substandard 2 Minutemen.

minute2


I hope you enjoyed my coverage of these two comics.  We’re almost done with February, just three more comics to go!  In the next post, we’ll see what Denny O’Neil’s got in store for his Superman revamp, which I’m excited about.  I hope you’ll join me again soon for my coverage of that and more!  Until then, keep the heroic spirit alive!

Into the Bronze Age: November 1970 (Part 5)

DC-Style-Guide-2.jpg
Welcome to the Greylands!

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 #394
  • Adventure Comics #399
  • Batman #226 (the debut of the awe-inspiring Ten-Eyed Man!)
  • Brave and Bold #92
  • Detective Comics #405
  • The Flash #201
  • G.I. Combat #144
  • Justice League of America #84
  • Superman’s Girlfriend, Lois Lane #106
  • Superman #231
  • World’s Finest #197 (reprints, won’t be covered)
  • World’s Finest #198

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


Superman #231


superman_v-1_231“The Wheel of Super-Fortune!”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Dan Adkins

This one is pretty nuts, ladies and gents.  It’s the second part of last month’s crazy-pants story, and it ups the insane ante to new heights.  It’s a weird, wild combination of random elements that make a very Silver Age-ish story, continuing the trend of the Man of Steel’s books feeling dated.  This particular issue combines magic and mad science, plus a bald Superman and lots of melodrama with Lois.  Feast your eyes on this odd offering.

superman-231-0004

It begins with a recap of last issue, as Super-Lex takes Lois to the Fortress of Solitude, where he just happens to have a giant crystal that can somehow replay the past.  He shows her Clark Kent’s ridiculous villainous origins, but Lois is way too obsessed to listen to any of his ‘logic’ or ‘reason.’  She’s in love with the formerly comatose crook, and nothing can change that!  We’re not quite dealing with the capable and self-possessed Lois we were just talking about in the last post.  In the flashback, we see that Clark may have been given ‘evil genes,’ but he apparently wasn’t given brains, as he plans to set himself up as a ‘big-time gang boss’ with the proceeds from one little gas station robbery.  Is…is that how it works?  Somehow, I doubt it.

Meanwhile, in his deceased mad scientist/benefactor’s secret lab, Clark discovers a criminal teletype, which tells him about some mystic named Grandovic that can predict the future for criminals, which sounds promising to him. The neophyte ne’er-do-well takes one of the bad doctor’s unlikely inventions and robs a bank, nearly killing Lois in the process, as she’s too smitten to get out of the way of the giant rolling tank!

superman-231-0008

Fortunately, Super-Baldy is there to save the day, and we get a bizarrely hilarious scene where Lois furiously attacks the hero because he’s preventing her from leaping to her death and he knocks her out with one finger.  Of course, while he’s dealing with the irrational reporter, Clark gets away, having left behind a bomb to cover his escape.

superman-231-0009

The villainous Kent uses his ill-gotten gains to garner an audience with Grandovic, a randomly floating mystic-type in Tibet.  After giving him a diamond worth 2 million bucks, the visionary answers his burning question, how can he defeat Superman.  Grandovic fills Clark in on all of Lex’s history, and points out that he loves Lois, so he can be attacked through her.  In response, Kent proves how evil he is by poisoning the swami, who in turn prophecies his assailant’s death through the means of a steering wheel.  Clark thinks he’ll just avoid cars and be fine, but apparently he never studied his mythology.

superman-231-0014

Back in Metropolis, Lex secretly protects Lois from a falling piece of masonry, though she notices that Superman must have intervened in some fashion and begins to reassess her view of him.  Before anything else can come of that, Lex is attacked in his apartment by a cool looking robot, which unfortunately only lasts two pages before the hero literally chops it in two with his hand.  Inside is a taped message that directs the Man of Tomorrow to a rendezvous with Clark, wherein the criminal reveals that he’s given Lois a drug that he can use to kill her with the push of a button.  He tells his nemesis that unless the big baldy backs off, he’ll kill his girl.

superman-231-0017

After a mix-up with a super-robot, Clark makes good on his threat, but he only stuns Lois, rather than kill her.  She immediately throws herself at him when she awakens, but he’s got no time for her.  He’s got a wildly impractical war-machine to drive!  He takes a new vehicle out to level Metropolis, and when Super-Lex doesn’t back off, he does just that, amazed that the Metropolis Marvel would allow this to happen.  As the hero destroys his vehicle, Clark declares that all the thousands of deaths he just caused are on Lex’s head, but the Man of Steel was one ludicrous step ahead of him.

superman-231-0022

It turns out that Lex built an entire, FULL-SCALE replica of Krypton at some point in the past and filled it with androids.  He just evacuated the entirety of Metropolis overnight and filled it with his kryptonian androids, so no-one died!  Wow.  That’s a big development to toss out in a single line of dialog.  Of course, it doesn’t account for the billions of dollars worth of property damage, but oh well.  I wonder if Zack Snyder read this comic.  I suppose not, since there’s no sex and death.

superman-231-0023

Well, silly plot devices and terrible directors aside, Clark pulls a different kind of device out of his pocket.  It’s a ray that steals Superman’s powers and transfers them to a nearby object, specifically, a steering wheel.  Clark very helpfully explains the entire situation to Lex as opposed to, you know, just grabbing the artifact himself while the hero is reeling.  In the struggle that follows, Super-Lex gets the brass super-ring and Clark dies…because….the story is almost over?  There’s really no good explanation.  His ‘evil genes’ basically fry his brain, and this magically fixes everything, including Lois’s obsession.  I’m not going to try to explain this last page.  Just read it and marvel at the craziness as Bates suddenly realizes he’s run out of space and has to wrap everything up.

superman-231-0025

This is a pretty goofy story.  It’s all over the place, with the random criminal guru, the tons and tons of mad-style science, the Lois subplot, and ridiculous ending gambit by Super-Lex.  Interestingly enough, this issue also reprints a Superman story from 1956, and that one is positively grounded and restrained compared to this one, which is instructive in context.  There’s not really much to recommend this comic.  I’ll give this goofy tale 2 Minutemen.  It’s entertaining, but nutso.

minute2


World’s Finest #198


worlds_finest_comics_198“Race to Save the Universe!”
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella
Editors: Julius Schwartz and E. Nelson Bridwell

“Joanie Swift, Queen of Speed!”
Penciler: Paul Norris
Inker: Paul Norris
Editors: Whitney Ellsworth, Jack Schiff, Julius Schwartz, and E. Nelson Bridwell

Well in contrast to that last Superman story, this issue of World’s Finest is just plain fun!  It’s full of big, bombastic action, cosmic concepts, and a universe-spanning setting that would be perfectly at home in Grant Morrison‘s JLA.  Considering the fact that Morrison penned some of the best League adventures of all time (not perfect, but undeniably great), that’s a very good thing.  This comic is just a rip-roaring adventure from start to finish, and while it’s packed full of crazy events and ideas, they all work together and make sense in the mad, wonder-packed world of the DC Universe.

worlds_finest_1970_198_03-04

worlds_finest_1970_198_05

It opens with a bang, as Jimmy Olsen steps out of bed and right through time itself!  He plummets through a strange hole in the time continuum (gotta’ love comics science!) and right into the middle of a Roman chariot race, circa 15 B.C.!  Not only that, a Roman charioteer charges through a similar portal and finds himself in ‘modern’ day Metropolis.  Of course, the Man of Steel is confused at first, thinking that this guy in the Roman getup is just some nut.  After all, given the insanity of his daily routine, that’s as likely as anything else.  In a fun and funny little moment, Superman just lets the Centurion break his sword on the ‘ol abs-of-steel so he can see for himself how pointless it is to fight.  Just as the Metropolis Marvel is about to take this time-tossed Roman to the funny-farm, he’s interrupted by one of the Guardians of the Universe!

The Guardian, with their usual tact, orders the Man of Tomorrow to get to Oa, today, and we get one of the only bits of this story that irked me.  Superman flies straight to their world, with his Roman in tow, and somehow the guy doesn’t die a messy and unpleasant death in the vacuum of space.  The text tells us that he takes a ‘space-warp,’ but one would imagine such a phenomenon as being…you know…in space.  Still, it’s a minor point, and I absolutely love the poor, rattled Roman’s befuddled thought bubbles as he tries to make sense of what in the heck is happening to him!  “Surely I have passed beyond the mortal realm!” he thinks as Superman flies him through space, and “Have I passed unto Olympus?” is his wondering thought when he sees the strange science of the Guardians.  If I have one criticism of this comic, it’s that I would have loved to see more of this guy!

worlds_finest_1970_198_06

Well, speaking of the Blue Man Group, no, not that one, once he arrives, they fill our hero in on the situation that spurred his summons.  Apparently beings called the ‘Anachronids,’ bizarre forms of life that move faster than the speed of light, have moved into inhabited space.  These creatures move so fast, in fact, that their very passage is playing merry havoc with space/time, causing random rifts to open between today and yesterday, the likes of which spawned Superman’s Latin companion.  The Guardians have need of the Man of Steel’s incredible speed and endurance, as they must stabilize the time-stream by employing a counter-balancing speed-force to that of the Anachronids.  Of course!  That kind of wonderful techno-babble totally works in the DCU.  The trouble is, Superman by himself is not going to produce enough power, so the Guardians send him to recruit the Flash and give the Scarlet Speedster a medallion that will grant him endurance and the ability to run in space.  Together, the titanic twosome must race for the galaxy or risk time itself unraveling in the face of the universe-shattering speed of the Anachronids!

Got all that?  Good, because we’re only on page six!  Well, once Superman picks up his partner in speed, the Flash offers a friendly idea, noting that they have raced in the past, but they have never had a definitive outcome.  He suggests that they make their universe-saving jaunt a competition, which would hopefully drive both of them to give their utmost.  This, and several other moments, show a particular strength of O’Neil’s writing in this issue.

worlds_finest_1970_198_08

The casual, jolly attitude they take to their world-saving, the free-spirited love for adventure that both heroes evince, is a great deal of fun.  I just can’t help but compare this to the endlessly grim and serious comics of the modern era, where even characters who should have a real sense of wonder and adventure about them still manage to be relentlessly serious and joyless as often as not.

worlds_finest_1970_198_11

So, it is with good spirits that our heroes set out on their race, passing the Moon in a moment and tearing through the cosmos on an incredible journey.  In a fun little detail, Batman officiates the start of the contest.  Meanwhile, we check back in with poor Jimmy in Rome, and his high school Latin fails him miserably as he finds himself sentenced to death as a wizard!  Back in space, Superman and the Flash are ambushed by the incredibly speedy Anachronids, who begin firing at them with energy weapons.  The Man of Steel manages to protects his partner, but their antagonists turn their deadly attentions to a nearby star, causing it to go super nova in a matter of moments.  It’s a lovely page, and it really sells the scope of the challenge facing our heroes.

worlds_finest_1970_198_12

The turbo-twosome have to outrun the exploding star (how’s that for wide-screen action?), but they are almost caught by the solar fire until they dive through a rift in space, perhaps caused by the Anachronids’ passage.  They fall into a bizarre, barren landscape, getting separated in their descent.  Superman finds himself under a strange, center-less sun that oscillates between red and yellow, and during the sanguine state, he’s clobbered by a trio of…shall I say ‘phantom’ assailants?  We just see their ghostly outlines, but sharp-witted DC fans will likely recognize some of the Phantom Zone villains.  What is going on?!

worlds_finest_1970_198_13

worlds_finest_1970_198_14

The trio attempts to feed the unconscious Man of Steel to a horrible, Lovecraftian monster, and the sun’s split personality renders him mostly helpless.  Fortunately, the Flash has been searching for him, and he launches a cleverly deduced attack against the big green ugly.  He sees that it has no eyes, and, in a bit of a stretch, he thinks that it may have a radar sense that he can confuse.  He does so by whipping up a dust storm.  The Speedster guesses that the antenna near the creature’s mouth are probably important, so with a dust storm and an attack to its sensitive tendrils, he frees his partner, who, with a return of yellow sunlight, decks the beast into a mountain.  It’s a great action sequence, and while the Flash’s idea about a radar sense doesn’t really get set up properly, I’m willing to let it go because the rest of the encounter makes pretty good sense.  Eyes or radar, it’s reasonable to think that a dust storm might be a good distraction.

worlds_finest_1970_198_17

The monster escaped, the heroes take to their heels once more, racing straight through the heart of the bizarre star, hoping that their path to freedom lies within.  Superman points out that space and time is distorted around stars, so they count on this being their doorway back into the normal universe.  That mostly works in a comic kind of way, so I’m not going to kick, especially because it just looks awesome.

worlds_finest_1970_198_19

Free, the racers once again encounter their eerie antagonists, and they endeavor to capture one.  When they manage to slow the speeding being down, they discover that it is actually a robot!  What’s more, the machine disintegrates shortly thereafter, apparently not designed to exist at anything below the speed of light.  With more questions than answers, the heroes once more take up their race, tearing off through space, and for the final page of the book, we check back in with poor Jimmy, who is facing a firing squad of Roman archers.  The story ends with their arrows in the air!

worlds_finest_1970_198_21

worlds_finest_1970_198_22This is just a fun, exhilarating issue.  This is the type of Bronze Age story that I really love.  It’s got vast, cosmic scope, big ideas, and bigger action.  The cheerful, grand heroism of this tale is precisely what makes comics great.  The mystery set up in this comic is intriguing, and I can’t wait to see where it goes next issue.  It helps that Dick Dillin is really firing on all cylinders for this book, turning out some great art and some really dynamic, well-rendered action.  The stiffness from some of his JLA issues is gone and what is left is imaginative and lovely.  I really like the camaraderie and friendship displayed between the two heroes, even if they aren’t given a ton of development.  Their spirit of adventure comes through, and in an epic tale like this, that’s enough.  They also each got a moment to shine, as the narrative was nicely balanced between their exploits, and the Jimmy subplot provided an enjoyable dose of comic relief.  I particularly enjoy the universe spanning nature of this yarn, bringing in several different elements of the DC mythos, from the Guardians to our spectral villains.  I’ll give this cosmic adventure 4.5 Minutemen, a great score!

minute4.5

There’s an enjoyable reprint of a Johnny Quick story as a backup to this issue.


Final Thoughts for the Month:


This was really a rather fascinating month.  It really drove home to me how much things at DC had changed in just one year’s time.  Over the course of the last year, we’ve watched as DC comic books go from the racial homogeneity of the Silver Age to a set of titles that, at least in the supporting casts of their stories, tend to feature more than a few minority faces.  It really seems like there has been an increasing attention to racial issues.  Obviously, this month we saw a particularly excellent story on race, but it seems to me that the company as a whole has taken an effort to present a more realistically diverse portrayal of the world in the pages of their books.  I’m not positive, but it does seem to be so, and that is a pretty cool development to watch happening.

This month also gave us both the highs and the lows of creativity, with two different new concepts being introduced, both of which would endure for a time, though to very different fates.  While the Ten-Eyed man was a goofy concept that was too silly even for comic books, the League of Assassins showed promise from the very beginning, worthy antagonists for the Dark Knight, employing many of the same methods and skills that he himself uses.  They are an interesting threat lurking out there in the DC Universe, and readers must have looked forward to their return.  At the same time, one can’t quite imagine anyone clamoring for the return of the Ten-Eyed Man.  Despite that, he will once again grace the pages of Batman in just five issues.

Perhaps most intriguing of all, this month showed us another side of Robert Kanigher.  I’ve certainly not been kind to this fellow, and yet in this month alone saw several solid stories penned by this maligned writer and one exceptional tale.  How strange to see Kanigher take an inning after the messy, silly stories he’s told previously.  I’m very curious about whether this is a turning point or a high water mark.

Well, that will do it for November, 1970!  It was a pretty good month, all told, but I’m excited to head into the final month of this first year.  Hopefully I can move through 1971 a little more quickly.  Otherwise, this process is going to take forever and a day!  Until next time, keep the heroic ideal alive!


The Head-Blow Headcount:

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

arrowheadglhead

Once again, it’s been a quiet month, with no new additions to the wall of shame.  I bet December will hold new noggin’ knockin’ wonders for us, though!