Into the Bronze Age: September 1971 (Part 5)

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Welcome to another edition of Into the Bronze Age!  Come on in and enjoy some 4-colored adventures in a brighter, better world than ours.  I don’t know about you, but I can certainly use such a pleasant diversion.  We’ve got a very interesting pair of books to cover in this post, including the end of Denny O’Neil’s unusual but intriguing tenure on Superman.  Let’s get started!

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman #242


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“The Ultimate Battle!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Julius Schwartz
Cover Artist: Neal Adams

“The Girl Who Didn’t Believe in Superman!”
Writer: Bill Finger
Penciler: Wayne Boring
Inker: Stan Kaye

“The World’s Mightiest Weakling!”
Writer: Otto Binder
Penciler: Carmine Infantino
Inker: Bernard Sachs

And here we are at last, the conclusion of Denny O’Neil’s attempt to update Superman.  This is the grand finale of the saga of the Sand Superman, and I have been looking forward to the read.  We start with a solid but not quite earth-shattering cover, which is a bit ironic given what it depicts.  It’s a dramatic piece, but the two fighting figures, carefully matched in their combat, look a bit awkward.  It looks more like they’re standing in mid-air than engaged in a frenetic flying fist-fight.  The blazing city below them is a nice touch, but the flat coloring renders it less powerful than it could have been.

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The story within is a similarly mixed bag.  It opens where the last issue left off, with the defeated Man of Steel grasped in the grip of the ghoulish “war demon,” which has been animated by another Quarrmite spirit.  The fight is taking place in a junkyard, and a pair of bums cheer the monster on, even going so far as to vent their frustrations on the formerly invulnerable hero. Seeing the Metropolis Marvel bleed, they realize that he is now a mere mortal and proceed to beat him savagely.  With Superman defeated, the two hobos, “Stewpot” and “Gemmi,” then take charge of the clueless creature, who is new to their world and has a childish innocence.  The vicious vagrants decide to use the demon to satisfy their own desires for chaos and destruction.

Conveniently, Jimmy Olsen happens to be at the junkyard on an assignment (one wonders what he did to tick Perry off), and the young reporter finds his fallen friend.  The injured hero is rushed to the hospital, where they discover his brain injury from last issue and begin a delicate operation while I-Ching, Diana Prince, and Jimmy Olsen waited with baited breath.

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Meanwhile, the demon, sporting his bum brain-trust on his shoulders, smashes through a museum and confronts the police.  Just then, the Sand Superman arrives, and he crashes into the monster with massive force!  After a quick battle, the creature proves too much for him, and the dusty duplicate flees, wondering what prompted him to intercede, despite his protestations that he cares nothing for humanity.  This is an intriguing moment, but it sadly doesn’t get much development.

The demon’s rampage continues, with him smashing through a police barricade, but as he becomes accustomed to his power and begins to enjoy the chaos he’s causing, he also grows tired of the bums who are bossing him around.  Finally, he decides to employ his lessons in destruction on his masters themselves, and he kills them, on panel!  Their deaths (in shadow, but visible nonetheless, which is quite unusual), are accompanied by a quote from Ecclesiastes, interestingly enough.  And with that, the villainous vagabonds leave the story, making their inclusion feel rather pointless.

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With his masters mashed, the monster heads after his original foe, smashing his way into Superman’s hospital and easily brushing aside Diana Prince’s puny efforts to oppose him.  This is not Wonder Woman’s best performance, as Jimmy puts up just about as much of a fight as she does.  When the creature reaches the Fallen Man of Steel, it finds him fully recovered, but the two are evenly matched, at least until the sudden and unexpected arrival of…the Sand Superman!  The Man of Grit smashes through the ceiling, and in a nice touch the Action Ace wonders for a moment whose side his double is on.  His question is answered a moment later, as his alluvial alternate crashes into the demon, and the pair of powerhouses push their foe towards the park, where the portal to Quarrm still rests.

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The spirit is sucked back into its formless realm, and the crisis seems to have passed…until the duplicitous dusty duplicate declares that he is determined to be Superman, and therefore the original must die!  The real Metropolis Marvel protests that they can coexist, but the Alluvial Ace declares that the hero is too proud of his own uniqueness to share his world with another, which is an interesting angle.  The two are squaring off for a final showdown, where their oppositely charged atoms will trigger an explosion that will destroy one of them when I-Ching suddenly shows up and offers to cancel their charges out and let them fight normally.

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After his mystic gesture is finished, the two super-foes begin a titanic combat that takes them through the very core of the Earth.  In a nice sequence, Superman lures his doppelganger into a trap and clocks him into orbit, but after he pursues his enemy into space, the pair look down to see the world consumed by a cataclysm triggered by their Earth-shattering brawl!  They gaze upon a world scoured of life, and Superman breaks down, only to be brought back to reality by I-Ching.

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The vision was just a mystical trick, to dissuade the two titans from beginning their cataclysmic combat.  The Sandy Superman is so moved that returns to Quarrm willingly, observing that there can only be one Man of Steel.  The mystic offers to transfer the double’s powers back to the original Superman, but he refuses, saying that he has power enough, and after seeing what it could do, he wants no more, which is an interesting character moment.

And on that somewhat bittersweet note, Denny O’Neil’s Sand Superman saga comes to a close.  As with the run as a whole, this final story is very uneven.  There is a lot here that is really excellent, but there are a number of incongruous elements as well, along with a general sense of missed opportunities.  Really, that’s the biggest problem with this issue and O’Neil’s tenure on the book at large.  The mythology of this story feels ad-hoc and unfinished, a random grab-bag of elements that don’t have a unifying theme and lack the power of, say, the world-building going on in Kirby’s Fourth World books.

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What’s here isn’t bad, but it just feels like it should be more than it is.  The war demon is the best example from this last arc, with its odd appearance and random nature.  His two hobo masters, who contribute almost nothing to the story during their brief tenure, are also signs of this trend.  They corrupt the simple spirit with their thirst for violence, though we had already seen the creature being plenty violent during the previous issue.  These two bums are given no development, no motivation for their evil attitudes, and thus their deaths have no power other than shock value.  This is even more of a shame because there’s plenty of potential for something worthwhile here, perhaps in the style of Frankenstein, with an innocent ruined by the evil of those around it.  Or, through these two bums, O’Neil could have explored how the morally weak react to the man of virtue, which is implicit in their hatred of the Metropolis Marvel but gets zero development.

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Then there’s the incongruous presence of the enigmatic and ill-defined I-Ching, who always felt out of place to me.  I can’t help feeling like the time spent with Diana Prince and I-Ching in these issues is wasted, and it’s time that could have been more profitably spent with Superman or his doppelganger.  As is, the Sandy Superman’s sudden sea-change is not entirely earned, though that is the element that has kept me hooked throughout this arc, the most intriguing piece of O’Neil’s plot.  That is probably the biggest disappointment.  The somewhat promising premise of Quarrm is also left unexplored and unexplained, fading out of the book with the finale of this story.

superman 242 p_017Still, there are some really excellent elements to this story.  The vision of a super-powered brawl destroying the Earth is really striking, and it reminds me of an Action Comics issue from a while back which evinced a similar realization of what such powers could do if not restrained.  This is an intriguing and thought-provoking premise, and one not seen that often in this era.  The fact that this dream then prompts Superman to willingly limit his power is a really fascinating twist.  I’m very curious if we’ll see that actually play out in the DCU at large or if it will be forgotten once O’Neil leaves.  I hope it will be the former!  The evidence of the Sand Superman’s internal conflict is also really interesting, though we don’t get to see much of it.  I’m not entirely sure what to make of O’Neil’s character work with the Man of Steel himself in this issue.  The idea that the hero so enjoys being The Last Son of Krypton that he’d be unwilling to share the limelight is an interesting one.  I don’t think that’s a good read of the character, but it could have led us to the Action Ace doing a little soul searching, which might have been promising if given a bit more space.  I think the fact that he doesn’t actually get the chance to reject that claim is a big weakness of the comic.

The classic “Swanderson” art is quite good throughout this issue.  Even though the war demon’s design is on the goofy side, they still make it look dynamic and frightening in action part of the time.  The depiction of the central super-fight is also nicely effective, as is their work on its cataclysmic consequences.  There are a number of great, dramatic moments beautifully depicted throughout the issue, especially the timely arrival of the Sand Superman.  The art is so good, in fact, that I wish the art team had been given a bit more powerful of a story to illustrate.  In the end, this is a flawed comic full of interesting ideas, an effective microcosm of the equally flawed but fascinating run that spawned it.  It’s an enjoyable read, but it really should be more than that, seeing as it serves as the end of a 10 issue plot.  I’ll give it 3 Minutemen, as its strengths and weaknesses effectively break even, bringing Denny O’Neil’s landmark run on Superman to a less than earth-shattering conclusion.

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Superman’s Girlfriend, Lois Lane #114


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“The Foe of 100 Faces”
Writer: Robert Kanigher
Penciler: Werner Roth
Inker: Vince Colletta
Cover Artist: Dick Giordano

The two feminine features of Lois Lane share a single story in this issue, and it is another surprisingly moving tale about race and equality.  Unfortunately, a solid comic is saddled with a pretty weak cover.  While Giordano’s Lois looks great, his Thorn is a bit misshapen, and the composition itself is not terribly captivating, full of yellow sky and not much else.  Notably, the ‘girl’ comic’s cover focuses on a non-existent love triangle instead of the much more interesting grist of the actual plot.

lois_lane_114_02The tale within starts in the office of Perry White, where he shows the lovely Lois Lane a copy of The Black Beacon, published in the city’s ‘Little Africa’ neighborhood, which was written by an anonymous columnist.  The pair admire the unknown author’s work, especially his stance against the nefarious 100, and Perry sends the girl reporter out to recruit the mystery man for the Planet (which really seems a bit outside of her job description: what kind of paper is Perry running?).  Interestingly, Morgan Edge shows up and backs White’s decision, thinking to himself that the 100 are competition to his own outfit, Intergang.  That’s a nice little bit of continuity, with Kanigher touching on what’s happening in other DC books.

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lois_lane_114_03Meanwhile, the Thorn’s alter-ego, Rose subconsciously eavesdrops on her boss, Vince Adams, as he meets with two 100 torpedoes and assigns them to get rid of the protestors blocking the construction of a new high-rise that the gang wants to use as a front.  While the innocent young Rose is unaware of these schemes, her vigilante identity takes note, perhaps implying a growth in the strength of that personality.

That evening, Lois approaches the small office of The Black Beacon, and inside she finds a familiar face.  That’s right, Dave Stevens, from the book’s excellent and groundbreaking first issue on race, is the anonymous author, and he’s obviously been changed by his encounter with the girl reporter.  While his assistant, Tina, is very cold and dismissive of Lois, Dave responds by saying that Lois is a “blood relation” of his, after a fashion, since her blood saved his life.  He tells the story of the journalist’s journey as a black woman, but Tina remains unconvinced.

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Yet, when Dave starts to bring Lois to the embattled Metropolis State building site to show her how he works, the 100 killers try to run them down, only to be stopped in dramatic fashion by the Thorn, who hits them like a whirlwind in a nice sequence.  Interestingly, Dave is a bit angry that a woman has fought his battle for him, but Lois points out that, just like minorities want to be treated equally, so do women, and he acknowledges her point with a smile.

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Once they reach the site of the protest, the young activist explains that the community is objecting to the building of the skyscraper because the city is pursuing it instead of addressing the needs of its people.  They demand affordable housing, schools, and infrastructure instead of another office building.  This fairly complex issue is massively simplified, but that’s to be expected in a comic like this, and the presentation is still effective.  Once again, a black woman objects to Lois’s presence, and once again, the reporter, herself changed by her previous experience, responds with patience and a plea for unity, which is well met.  It’s a bit cheesy, but it’s still heartwarming to see the characters bridging their gaps and the message is good.

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Yet, while the protestors are learning to look past surface differences, the idle construction workers are roused by 100 flunkies into attacking the marchers.  This is done with a surprisingly light touch.  The workers are a pretty diverse group themselves, including American Indians, and they don’t believe the rabble rouser’s speech at first, instead being willing to respond to the non-violence of the protest in kind.  It’s only after more 100 plants among the marchers start shooting and attacking the workers, backed by plants among the construction men as well, that a riot starts.  Kanigher avoids demonizing either group and, though not through realistic means, still manages to show how otherwise decent people can get swept up in violence and bigotry.

Lois gets knocked out (should I count supporting characters on the Headcount?), and Dave Stevens fights like a lion to protect her.  Tina tries to come to his aid, but they are both struck down as well.  Suddenly, the Thorn strikes, and she throws out explosive smoke bombs among the troublemakers.  The Baleful Beauty wades into them in another nice sequence, but she takes a hit as well, and it is only Superman’s timely arrival that saves the quartet.  The Man of Steel manages to use his super breath to disperses the crowd without hurting them.  The hero tries to talk with the Thorn, offering to sponsor her for League membership (!), but the Nymph of Night slips away, replying that she is a loner.

Lois begs the Metropolis Marvel to help the protesters, and he comes up with a solution.  He redesigns the building to use vertical space as well as horizontal and helps construct a new tower, which will serve both groups.  This makes everyone but the 100 happy.  Lois herself gets wistful, wishing she could have the type of relationship with Superman that Dave and Tina share.  Speaking of the two lovebirds, in the next few days, Lois visits them as they teach neighborhood children about black history, and the readers are treated to a cool double paged spread about the subject, and even I learned a bit (I had no idea that Dumas had African ancestry)!

Unfortunately, the peace does not last, and the 100 stages muggings and other disturbances at the new housing development to discredit the black citizens who moved in.  Lois goes to investigate, only to witness an explosion and see the fire department greeted by gunfire and thrown trash.  Dave helps her search for the culprits, but they vanish.  This scene has some fascinating racial overtones, with Perry White pointing out that the organization that has arisen to oppose the new housing development “America Awake,” is using the incidents as proof that “blacks create their own slums wherever they go,” an idea that I’ve unfortunately heard expressed much more recently than 1971.

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lois_lane_114_22That evening, as the black community celebrates their new home, someone throws a firebomb at a table full of children (would that this were more unrealistic), and Lois risks her life, scooping up the explosive and throwing it into the street, suffering severe burns in the process.  At the same time, she sees the Thorn sneaking around and follows her into the newly finished skyscraper.  There, the gallant girl reporter is captured as the Vixen of Vengeance attacks the 100 crew operating as the mysterious “America Awake.”  Dave Stevens comes charging to the rescue again, and with the aid of a smokescreen created by the Thorn’s thrown boot (seriously), she and the adventurous author clean up the crooks in yet another nice action sequence.  After the fight, while Lois’s burned hands are bandaged at a nearby hospital, Tina embraces the girl she had previously rejected, impressed by her willingness to sacrifice her own life for children of color.  Finally, the issue ends with Dave Stevens taking the job at the Planet so that his voice can reach a national audience.

This is another good, surprisingly sensitive and thoughtful story on race by Robert Kanigher.  He continues to amaze me with the varied quality of his work.  While this one is not as subtle and moving as his first try at the topic, that is, after all, a high mark to hit for a comic from the early 70s.  Nonetheless, there is a good story here about breaking through the walls that our perceptions of race build between us.  There is a focus on the plight of the urban poor that carries some weight and a good adventure story to boot, which is impressive because, as we’ve seen, writers can have a hard time balancing their plots and their messages. *cough*O’Neil*cough*

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Kanigher packs a ton into this issue, perhaps a bit too much, actually.  The story races from the initial protest to the attempts to discredit the black community to the capture of the barely introduced “America Awake” front.  I think we could have had a more compelling and intriguing story, plot-wise, if Kanigher had broken this into two issues and built a bit more tension and suspense with the second half of the plot.  The idea of the 100 playing on people’s biases by staging embarrassing incidents and what that says about our culture has some fascinating potential, and building up an actual mystery around what was happening could have been really rewarding.

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Nevertheless, what Kanigher does give us works pretty well, even if it does move at such a quick pace that the “America Awake” organization feels like an afterthought.  Of course, this comic provides a massively simplified take on the problems of the inner city, with the citizens being entirely innocent and the only negative influence coming from outside.  Obviously, that issue is a great deal more complicated, and attempts to address urban poverty have been fraught with many challenges.  Yet, Kanigher’s story, simplistic though it may be, serves a worthwhile purpose by challenging the popular perception of the urban poor, especially those in black communities, and does the same kind of narrative work as his stories about Native Americans, showing members of these groups as individuals, normal human beings with the same fears, problems, emotions, and desires as anyone else.

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This is, as I’ve mentioned before, a very worthy undertaking and part of the power of literature, which can build in us the capacity for compassion, the ability to see the world through someone else’s eyes.  The racial tensions of the 1970s certainly made stories like this necessary, but the events of the last few years have shown how much such stories are still needed.  In this era of polarization and tribalism, we could all use a reminder that the fellow on the other side of the isle is human, even if we disagree with him.  This is even more important when that fellow happens not to look like us, as it is far too easy to demonize the Other.  When even people who want the same things are constantly dividing themselves into different camps, it’s nice to read a comic where a daring dame like Lois breaks through such barriers.  It’s also really great to see the friendship that exists between her and Dave, which I imagine was a little shocking in 1971.  I love that there is nothing romantic between them, that they’re just two friends and equals.  That’s a dynamic you don’t see that much in comics of this era.  Honestly, their interactions are some of my favorite parts of the issue.

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lois_lane_114_15 - Copy (2)On the art front, Werner Roth turns in some more beautiful work, filling his faces with personality and emotion but also managing to create some really dynamic fight scenes.  Yet, there are a few places where we end up with some awkward and ugly panels, where his figure work breaks down a bit, like the apparently drunk flying Superman to the left, here.  Still, on the whole, Roth continues to do a wonderful job on this book, really serving to capture the emotions of his cast.  I think that I’ll give this fun and thought-provoking comic a strong 4.5 Minutemen.  It’s a little rough in spots, with some heavy-handedness and its subject is radically simplified, but it is still an unusually good read and has a sweetness and earnestness that make such excesses a bit more forgivable than others we’ve seen.  I never expected to enjoy Lois Lane nearly this much!

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Well!  What a pair of issues!  This is a really significant set of stories, and they definitely illustrate how comics are evolving in this era.  We should have some fascinating trends to examine in the Final Thoughts for this month!  I hope you will join me again soon when we shall do just that!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: September 1971 (Part 2)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Batman #234


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

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

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

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

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

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

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

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

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

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

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“The Outcast Society”


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

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

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

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The Brave and the Bold #97


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Detective Comics #415


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

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

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

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

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

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

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

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

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

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

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

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

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

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“Death Shares the Spotlight”


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

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

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

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

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

Into the Bronze Age: August 1971 (Part 5)

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Hello Internet travelers, and welcome to another edition of Into the Bronze Age!  Strange sights await you in this post, my dear readers, like Lois Lane being jealous of a tree, a Titan becoming a teenage witch, or time-traveling 70s thugs!  It’s an unusual batch of books we have on the docket.  So, let’s check out some classic comics!

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #403
  • Adventure Comics #409
  • Batman #233 (Reprints)
  • Batman #234
  • Detective Comics #414
  • The Flash #208
  • Green Lantern/Green Arrow #85 (the infamous drug issue)
  • Justice League of America #91
  • Mr. Miracle #3
  • The Phantom Stranger #14
  • Superman #241
  • Superman’s Girlfriend, Lois Lane #112
  • Teen Titans #34
  • World’s Finest #204

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


Superman’s Girlfriend, Lois Lane #112


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“A Tree Grows in Metropolis!”
Writer: Cary Bates
Penciler: Werner Roth
Inker: Vince Colletta
Cover Artist: Dick Giordano

“Rock and Rose”
Writer: Robert Kanigher
Penciler: Dick Giordano
Inker: Dick Giordano

This is a bit of a weird one, folks.  It has a solid enough cover, even if it is pretty gimmicky.  Interestingly and unusually enough, the cover proves to be a pretty honest representation of what’s inside.  We join the story with Superman scouting a dying planet, abandoned by an advanced race when they outgrew the world.  The vegetation seems to dying now that the inhabitants are gone.  Bizarrely, the Man of Steel has a vision of Lois wrapped in foliage, only to discover that it is actually a strange alien tree that has somehow survived.  Deciding to save the plant, he brings it home…and then plants it in Metropolis Park.  Planting an alien lifeform in the middle of a densely populated city?  What could possibly go wrong?

Oddly, the men of the city are fascinated with this extraterrestrial arboreal artifact, but the women are repulsed.  Reporting on the story, Lois finds herself uncomfortable around it, and her unease proves well-founded when, after their date that night, Superman detours to the park, where he stands entranced in front of the plant.  Suddenly, the tree “speaks” telepathically, introducing itself as Rzalin and declaring its love for the Man of Tomorrow.  Inexplicably, the Kryptonian hero becomes enslaved to its will and begins to carry out its commands, creating a moat of lava around the being to protect it (which would cool relatively quickly, but oh well).  When Lois objects, Superman actually knocks her out with a nerve pinch!

The Metropolis Marvel begins to bring the tree materials from around the galaxy, carrying out some type of plan.  The graceful girl reporter tries to intervene, poll vaulting (!) over the moat and confronting the alien.  It is then that Rzalin reveals its plan, whereby it will convert its Kryptonian captive into another tree by an elixir made from the materials he is collecting, and together they will release spores that will convert all of humanity into more of their kind.  Yet, the enterprising Lois came prepared, and she tries first to poison, then to burn, the tree.  Unfortunately, Superman stops her and takes her home again.

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Not to be daunted, the resourceful reporter thinks that she can destroy Rzalin with white kryptonite, which is deadly to all plants (which I didn’t know).  Fortunately, there is a sample at the Superman Museum, but before she can put her plan into action, she’s attacked by her own houseplant!  Apparently the heinous herb can control earthly plants.  Lois launches into a deadly race to the museum, but she is attacked by trees, flowers, and even gigantic pollen!

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Eventually, Rzalin brings her to the Park to watch its triumph, as Superman drinks the elixir and changes into another perfidious plant.  Just as Lois gives into despair, we suddenly see her and Superman looking at the tree, apparently perfectly fine.  The alien being dies, and the pair posit that it must have fed on mental energy, but the minds of earthlings weren’t strong enough to support it.  Lois supposes that, since their minds were feeding it, they must have been in its fantasy…which doesn’t really follow.  The end…I guess?

That’s right, it was all just a dream.  For some reason.  This is an odd choice for a twist, as the story that came before wasn’t really about the tree, which is supposed to be the dreamer (and thus perspective character) in this scenario.  It’s incongruous and rather unsatisfying.  There are some positive elements to this story, though.  I enjoyed watching Lois play hero and take an active role in the plot.  She is determined, capable, and resourceful, and it suits her nicely.

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I’d rather have seen this played straight, with her able to rescue the Man of Steel.  Roth’s art is good as usual, but he seems to struggle with some of the more fantastic elements once again.  He really does a fantastic job on Lois’s expressions, however.  As is, the yarn feels…unnecessary.  So, this is a forgettable and awkward little tale that I’ll give 2 Minutemen.

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“Rock and Rose”


Our Rose and Thorn backup this month, in contrast, is another solid adventure.  We begin right where the last one left off, with Rose and her would-be executioner fleeing from the 100 gunmen sent to finish the job.  The youthful assassin-in-training, Leo, confesses to the Thorn that his masters had kidnapped his mother and were holding her in their casino barge as insurance…which seems to rather sharply contradict his portrayal last issue.  Leo seemed to need no extra motivation to go after the heroine in that story.

The pair face a running fight against the 100 goons, who all conveniently take the time to mouth partial threats before getting decked.  You’d think they’d learn to shoot first and brag later.  Finally the fleeing duo dive into the water and dodge gunfire beneath the waves.  When they emerge, a police boat happens by, responding to the gunfire, and it turns out that Detective Stone is aboard.  Thorn saves a drowning Leo and gives him to the police, but when the Detective touches her hand, there is a moment of almost-recognition for both of them.  This prompts the Vixen of Vengeance to swim away on her own.  Fascinatingly, we discover that, not only is Rose ignorant of the Thorn’s activities, the vigilante doesn’t quite understand her other half either.

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The next day, Rose turns down a date with her boss, Mr. Adams, who is secretly the head of the 100, to go to a concert in the park (watch out for the alien tree!) with Detective Stone.  With this useful piece of information, Adams orders a hit on Stone, but when the gunsels come to call, the Nymph of Night suddenly surges to the surface and takes control, easily disarming the two thugs.  Rose shakily exclaims that she thought she had forgotten all of the karate and judo her father had taught her, and before the killers can recover, they are swarmed by dirty hippies (what a horribly humiliating defeat).

Slipping away in the chaos, Rose turns into the Thorn once more and heads to the barge where the 100 are holding Leo’s mother.  Once aboard, the Wild Wraith is captured and, with Leo and his mother held at gunpoint, forced to surrender her utility bel…err, “Thorn Belt.”  Suddenly, all of the flash bangs and bombs in the belt go off, stunning her foes, and the Baleful Beauty bashes into them, taking out the killers and rescuing their prisoners.  Apparently, much like Batman (who she is totally not ripping off), the Thorn’s belt can’t be removed without setting off all of the ordinance, unless you press a hidden button.  Clever!  As the tale ends, she tells Leo to thank her by going straight.

This is another really, solidly good adventure in Kanigher’s run on this feature.  Once again he packs a ton into just a few pages, giving us a fun dose of action, but also advancing the overall plot and squeezing in a bit of characterization.  I find it very interesting that the Thorn was able to manifest during a moment of stress in the daytime (which is actually a more accurate portrayal of split personality, to my understanding).  The vigilante’s moment of contact with Stone was also intriguing, and I’m curious what (if anything) will come of it.

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The only real flaw is the sudden addition of Leo’s mother to the plot, which Kanigher absolutely didn’t setup properly in the previous tale, which makes that element feel like it comes out of left field.  On the art front, while I miss Gray Morrow’s really neat and unique style from the previous issue, Dick Giordano does a wonderful job here.  He draws an absolutely lovely Thorn, with a lot of nice detail, especially on her flowing hair, which whips around in combat and is always dramatically framing her face.  His action sequences look lovely, and though there are some rough spots, the whole is of a high quality.  I’ll give this brief but exciting backup 3.5 Minutemen.

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Teen Titans #34


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“The Demon of Dog Island”
Writer: Bob Haney
Penciler: George Tuska
Inker: Nick Cardy
Letterer: John Costanza
Editor: Murray Boltinoff
Cover Artist: Nick Cardy

So far, we have seen, to put it gently, a pretty uneven run on Teen Titans, with a lot of half-baked ideas and no clear direction.  That doesn’t necessarily end here, but this issue did manage to surprise the heck out of me and rise above the material that came before.  I expected another gimmicky, poorly thought-out and poorly executed adventure from the (admittedly fun) cover, but there is a lot more here than you might expect.  This cover, with the dramatic image of Wonder Girl menacing her friends and with the foreboding house looming in the background, is beautifully rendered by Nick Cardy, and it sets a suitably creepy stage.

Inside, the eerie mood is not wasted, as we join the action with a cloaked figure fleeing from a pack of savage dogs on a barren island.  She is then attacked by a hulking fellow named Jed Jukes.  During the struggle, we see that the figure is none other than Donna Troy, Wonder Girl, who easily throws the threatening thug aside.  Jukes is raving about witches and how the house she enters is cursed.  The house in question is a massive old mansion of sinister aspect, but it is inhabited by a kindly old woman in a wheelchair.  We discover that Donna is staying with this lady, Miss Wickersham, taking care of her.  How she knows her is never explained.

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After reading a ghost story of sorts to her elderly charge, Wonder Girl finds herself feeling odd and heads to bed, but the action of the night is not finished yet, as a little later the rest  of the Titans make their way to the house.  Lilith has had a vision of their teammate in trouble, and teen heroes have come to the rescue.  Suddenly, the psychic sees a cloaked figure, but when the others look, there is nothing there.  Then, Speedy is unexpectedly clotheslined from the car, and the group is beset by the Jukes brothers, who once again are carrying on about witches and warlocks.  The team makes short work of them in a rather nice panel, with even Lilith pulling her weight.  Recovering the Boy Bowman, the Titans make their way to the mansion, where they find Donna, seemingly safe and sound.  Yet, despite her protestations that she went straight to bed, Lilith observes mud on her friend’s boots.

The next morning, the Titans are all charmed by Miss Wickersham and spend the day enjoying the beach, though Dick and Lilith both remain suspicious.  Their suspicions prove well-founded after night falls.  The muddled mystic sees Donna sneak out of her room, and when she goes to follow her friend, someone clocks her from behind!  (Adding a new face to the Head-Blow Headcount!)  The team awakes to a cry and finds Miss Wickersham’s poor cat strangled!  I was really surprised to see this in a comic of this era….and just in general.  Hurting animals is always a very dicey thing in storytelling.

The innocent kitty’s death proves there is something untoward going on, which is further confirmed by the scene playing out on the beach, where the sleepwalking Donna has wandered.  The Jukes have surrounded her, and Jed prepares to set his vicious dogs on the defenseless girl, only for his dog whistle to suddenly sprout branches.  The killer canines turn on their masters then, and only the timely arrival of the Titans saves the ruffians.  Meanwhile, Lilith, looking for Wonder Girl, stumbles upon a strange scene on a cliffside.  She sees a man in 17th Century garb conversing with a cloaked figure.  The man declares that he has returned for his companion, but she declares that she is stronger and always was, causing him to dissipates in a ghostly mist.

Back in the mansion, Lilith finds her friend still sleeping, but she also discovers something more sinister, the small noose used to strangle the cat!  This final piece enables the psychic to put the puzzle together.  She declares that Donna has been…possessed!  The mystic explains that such possessions are passed from one victim to another through secret rites, and the new vessel, as they are being made ready, will commit a ritual murder, which explains poor puss’s fate.

The Titans set out to solve the mystery, checking in on the wounded Jed Jukes, who they brought home after the dog attack, only to find him hanging upside down in the cellar!  Lilith, going off on her own again (you’d think she’d have learned by now), checks in on Miss Wickersham (and, let’s face it, in a story involving witches, the old lady with the cat is a prime suspect), only to be garroted by the awakened ancient after making an important discovery!

 

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Look at the magnificently malefic aspect Tuska gave the old woman.

 

Her teammates are attacked by a possessed Wonder Girl, who uses mystical powers to torment them.  Just as all seems hopeless, the mysterious figure from the cliff returns, grappling with the old woman and saving Lilith.  He declares that, this time, he is the stronger, because her time is running out.  He tells his aged antagonist that he won’t give up, because he loved her once, and he is waiting for her innocence to return, before fading away once more.  Intriguing!  At the same time, Robin manages to shatter a window, and the weak dawn light temporarily breaks the spell and brings Donna back to herself.

The day breaks, and Miss Wickersham lies near death, but Lilith has solved the mystery.  She is able to read the crone’s mind and sees that she is really over 300 years old and was once a girl named Magda Drachwyck, who loved a man named Gregori in a small European country.  Unfortunately, there were dark powers abroad in that era, and just before her wedding day, she was possessed by a cult of “Demonids” (really?), murdering her beloved as the evil took hold of her.  Eventually she was forced to flee to this island, and the spell-wrapped house has kept her alive for centuries.  By day, she was a sweet old lady, by night, a vicious witch.  Gregori, for his part, has haunted his former love ever since, waiting for the day that she will die, when the evil will be purged from her soul and they will be reunited.

With the facts of the case revealed, the heroes hope they can solve it, but it seems that, once a possession begins, it cannot be broken unless a token taken from the victim is recovered.  If the original host dies, it will be too late!  Desperately, the kids split up and search the house, but their efforts are for naught.  Finally, Robin discovers one of the stars from Wonder Girl’s uniform in Miss Wickersham’s locket, and Speedy fires it into the sea, breaking the spell.  As the sunsets (and apparently, witches always die at sunset, as everyone knows), the old lady dies, but her freed spirit is greeted by her love, Gregori, and the two are reunited in eternity.

What an unusual story, but what a good one!  Here we see one of those rare instances where Zaney Haney’s overactive imagination is reigned in enough to focus on a single plot and develop a story fully.  It’s comics like this where we see how good a writer Haney could actually be, with his gift for unique characters and unusual situations married to a competently plotted script.  In fact, this is one of the better mysteries we’ve encountered so far, and certainly one of the better supernatural adventures, with a very effective eerie feel, and an enigma that is properly setup before its reveal.  The tale still moves a little too fast at times, and some of the specifics of Haney’s witch-lore are a bit goofy or fuzzy (Demonids?), as are some elements of the setting (how exactly does Wonder Girl know this random old woman?) but he successfully creates an engaging plot out of the broad strokes, even delivering some surprisingly compelling moments along the way.

The ghostly Gregori’s hopeless, dogged persistence in the face of his former love’s loathsome actions is touching, and their final reunion is quite moving because of that, especially considering how little time we spend with them.  In fact, that final scene has a good deal of power for a comic like this.  Lilith is probably the most useful and likeable here of any story we’ve seen so far, actually justifying her place on the team and not being unnecessarily cryptic.  In terms of the art, Tuska does a solid job throughout, although he really (presumably with Cardy’s help on the inks) blows me away in a few key scenes, delivering wonderful emotional and character work on faces, like Gregori’s on the cliffside and Miss Wickersham’s as she garrotes Lilith.  This is simply a surprisingly good read, and as such, I’ll give it 4 Minutemen.


World’s Finest #204


“Journey to the End of Hope!”
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

We’ve got yet another odd one to cap off this post’s comics.  This issue is a strange mixture of thoughtful, creative elements with a plot that doesn’t really take advantage of them.  It has a relatively interesting cover, with the beautifully rendered central figures, courtesy of Neal Adams, plainly setting up the problem of the piece.  It’s unusual and it’s also honest enough, and, notably, it was probably a very proactive visual in 1971.  I can’t imagine there were many comics showing guns being pointed at protesting kids around that time.  This is a statement on the times that must have been more shocking in that era than it is today.  The tale within does turn on just this issue, after a fashion, and it begins at just such a protest, with Superman flying over a college campus, observing the tense standoff between students and guards.  At the moment, the sides seem to be behaving themselves, so the Action Ace heads to the office, where Perry White hands him an assignment, a human interest piece wherein the reporter will get a date through a computer dating service.  Strangely, after Clark has his marching orders, the editor wonders why he did this, noting that he hates computers.  Odd!

At the same time, in nearby Greenwich Village (what is it with O’Neil and forcing Superman into New York?), the former Wonder Woman, Diana Prince, gets a similar assignment from her mentor, I-Ching.  In a curious foreshadowing of the modern day, Clark and Diana find that the computers have matched them together.  In a rather nice scene, they chat about how they do make a certain amount of sense together, but their talk is interrupted by a trio of toughs.  These unwitting thus try to mug them, only to get their clocks cleaned by Diana.  It’s fun seeing Clark sit back and let his date do the heavy lifting.

World's Finest 204-06Smarting from their defeat, the punks decide that they must have revenge, and one of them draws a gun.  Unaware they’re being chased, the couple stop by a radio studio, which is supposed to be the first part of their date (which seems like a weird choice), but when they open the elevator doors, they find, not the office they expected, but a bleak, blasted landscape!  Suddenly, the not so wondrous woman is unable to breathe, and the Man of Steel realizes that there is very little oxygen in the atmosphere.  At super speed, he finds a pocket of air underground and carries his date to safety.  Building her a shelter, the Kryptonain, who doesn’t need air, sets out to see what is going on here.

World's Finest 204-11Finding a bizarre, golden tower, the only sign of life on this desolate world, he charges in, smashing past defenses, only to find himself face to circuit with a robot, built into the structure itself.  The machine explains that this is the future of the Earth, 2171, one hundred years in his future.  Apparently, an event in Superman’s time lead to the destruction he has observed in this future.  Notably, the android explains that this is just a possible future, and one which might be prevented if the catalyst event is altered.  Realizing this, the mechanical man developed time travel capacity (how convenient!), allowing it to bring forward agents that could affect such change.  To that end, it was the machine that manipulated events in the past to bring the two heroes together, which just seems unnecessarily complicated.  It then shows Superman a clip of the defining moment, a college protest which turns into a riot, during which someone will be killed, someone who, otherwise, would prevent this future.

Just then, on the robot’s monitors, the Man of Steel observes that pack of punks from earlier, who have stumbled through the same time-slip as the heroes and who are now rushing towards Diana’s shelter.  Inside, they menace the martial-arts mistress, until the Metropolis Marvel arrives and defeats them with ludicrous ease.  One can only assume that criminals in the DC Universe are just amazingly stupid after these idiots attack the invulnerable, super strong demigod with their bare hands.  After the thugs are disabled, Superman and Diana share a moment that threatens to turn romantic.  Just before it does, Clark breaks away.  It’s an interesting little scene, and I rather wonder if it ever gets followed up during this era.

World's Finest 204-22 - CopyAfter rescuing the former Wonder Woman, the Man of Tomorrow heads back to the robot’s citadel, only to find it running out of energy.  Gathering the other three unwilling time travelers, Superman desperately races to get back through the time rift before it closes, just barely making it.  Grabbing Diana, he races off once again to reach the site of the destined riot, and the two split up to try and calm things down.  Their efforts are for naught, though, as one of the hot-headed students throws a Molotov cocktail, blowing up a car, and the guards open fire.  In the aftermath, Diana finds a kid safe and sound who matches the description of the future-bot, only for Superman to discover a dead guard who also could be the one.  Desperately, the heroine asks her partner which one is their target, only for him to respond hopelessly that they’ll never know until it’s too late!

That’s quite an ending!  It’s a bold move from a writer known for bold moves, with the situation left unresolved and a reasonably subtle delivery (for O’Neil) of his message.  There are some fascinating ideas at play here, as well as a really interesting reaction to contemporary events, but the plot really needed another pass to tighten the story up.  It’s unnecessarily convoluted, and we spend way too much time with the random thugs who want to shoot Wonder Woman.  They add nothing to the plot or to the development of the story’s themes.  I think this would have worked much better if the heroes had been summoned to the future more directly (if the machine can manipulate people’s minds to arrange a date, it could have done the same thing to just get those two to show up in the same place) and then spent more time on campus for the final crisis.

As is, the resolution is really rushed, and the dramatic, weighty declarations of doom delivered by the future-bot are undercut by the random arrival of the three thieves.  On the positive side, it’s really fascinating to see the more sophisticated treatment of time travel that this comic employs, with the concept of possible futures and alternate time-lines.  That’s a relatively later development of the genre, and one not often found in lighter fare.  I’m sure O’Neil wasn’t the first to use this device, but I don’t think it was particularly wide-spread by ’71, making his use of it here innovative and impressive.  O’Neil also does a good job writing both Wonder Woman and Superman, which makes sense given his experience with both, and their interaction is really interesting.  Dick Dillin’s art is a bit uneven at times, but once again, his work here proves superior to that on JLA, with some really dynamic and also some really subtle work in action scenes and character moments.  He produces a few panels that are downright magnificent.

Perhaps most notably, this issue seems to be a clear commentary on the then recent shootings at Kent State, which loom large in the American zeitgeist of that era.  It’s interesting to see such a major event echoing into comics this way, and O’Neil’s take on it is really quite impressive in the little space he devotes to it.  He presents the perspective of both sides in the conflict, with the kids frustrated at their lack of reception by the powers that be and the guards on edge because of abuse they’ve taken from the kids.  Yet, he also illustrates the overly aggressive attitude by some of the guards.  The final thrust of the piece, focusing on the lost potential of young lives ended, even if doing so in the most dramatic way possible, is really rather thought-provoking..  I suppose in the final analysis, I’ll give this off-beat issue 3.5 Minutemen.  It’s flawed, but it is really fascinating.

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The Head-Blow Headcount:

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

arrowheadglheadAquamanhead.jpgAquamanhead.jpgAquamanhead.jpgbatman-family-6-cover.jpg2f52ff2370b3a87769869427faeac69darrowheadAquamanhead.jpgbatman-family-6-cover.jpgMister_Miracle_Scott_Free_00014aa6e3fed1467a75dcac3f9654a2c723glheadLilith_Clay_(New_Earth)_002

After a quiet period, we got not one but two new additions to the Headcount this month.  In this post, we have a brand new addition to our prestigious club, with Lilith of the Teen Titans making an appearance.  That means that we have most of the Titans team on the wall.  We’re only missing Speedy and Mal!  I wonder if they’ll join the gang before the end of the era.


Final Thoughts:


With these three issues, we wrap up August 1971, which proved to be an important and memorable time in the Bronze Age, featuring a number of stories that would go on to have major implications for the DC Universe.  First we saw the reappearance of Two-Face after decades in obscurity, and even though his story wasn’t quite the triumphant return that will greet the Joker in a few years, it was a still a fun adventure and marked an important re-connection of Batman to his history and rogue’s gallery.  Despite the issue’s weaknesses, it still displayed a sophistication of art and characterization that marks the continuing growth and evolution of the Bat-books, which in many ways seem to be ahead of the rest of the DC Universe.

Even more noteworthy, this month saw the debut of the landmark drug story arc of Green Lantern/Green Arrow.  That comic, which was much better than I expected it to be, was an absolute bolt from the blue when it appeared.  It’s hard to recapture it’s significance over 40 years later, but despite it’s awkwardness and the clumsiness of some of O’Neil’s writing, we can still admire his attempt to grapple with something so very troubling and perilous in his world.  The popularity of the issue, despite its obvious flaws, is indicative of just how much it resonated with audiences at the time.

Of course, one of the major problems with that story are revealed in the fairly innocuous second appearance of Speedy this month, in Teen Titans, wherein he is his usual happy-go-lucky self, with no trace of a drug habit or the trauma that was supposed to have caused it.  Denny O’Neil’s loose attention to continuity leads to some significant dissonance between the portrayals.  Worse than that will be the ongoing portrayal, where Speedy, I imagine, will likely continue unaffected (not least because he’s under the pen of one of the least continuity sensitive writers working at the time, Bob Haney).  This undermines oen of the great strengths of shared-universe storytelling.

In the wider DC Universe, it seems that signs of unrest are everywhere, even showing up in the background of The Flash.  Once again, the pressures on campus and the continuing generational conflict is center stage in some of our stories.  These themes take two very different forms that remain similar in some notable ways.  While the Robin backup focuses on drop-out culture and the rebellion against authority and the World’s Finest issue focused on the unknowable cost that follows the loss of a young life, they both also put narrative effort into presenting a balanced portrayal of both sides of their pictured conflicts.  The DC writers seem to be making efforts to create a reasoned approach to these themes, even while courting younger readers, which makes sense given the more conservative nature of the company.  Still, it is an admirable effort at creating understanding, even if only in small ways.

This month also saw Mike Sekowsky depart Adventure Comics and DC Comics in general.  While I’m not sorry to see him go from Supergirl, it is a shame that we never got to see Sekowsky really develop his own series, with both of his self-authored ideas falling flat.  It’s especially lamentable that his excellent Manhunter 2070 concept didn’t take off.  It’s a little bittersweet to see one of the defining architects of the DC Universe ride into the sunset.

Whatever else it was, this was certainly a memorable month of comics, and it gave us some unexpected gems, like this issue of Teen Titans.  I hope that y’all have enjoyed this leg of the journey as much as I have!  Please join me soon for the beginning of our next month.  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: August 1971 (Part 4)

DC-Style-Guide-1

“Ping! Ping! Ping!”  Mother Box says, “Welcome to another edition of Into the Bronze Age!”  Clearly New Genesis technology is so advanced as to have developed excellent taste.  As proof, I’ve got a smattering of classic comics for you, including the next chapter in Jack Kirby’s epic Fourth World Saga!  It’s an honestly intriguing trio of books on the docket in this bunch, so let’s jump right in!

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #403
  • Adventure Comics #409
  • Batman #233 (Reprints)
  • Batman #234
  • Detective Comics #414
  • The Flash #208
  • Green Lantern/Green Arrow #85 (the infamous drug issue)
  • Justice League of America #91
  • Mr. Miracle #3
  • The Phantom Stranger #14
  • Superman #241
  • Superman’s Girlfriend, Lois Lane #112
  • Teen Titans #34
  • World’s Finest #204

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


Mr. Miracle #3


Mister_Miracle_Vol_1_3

“The Paranoid Pill!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

We start off on a great foot, with this Kirby classic where the King is starting to hit his stride with his unusual superhero.  Ironically, this is probably one of his Mr. Miracle run’s weakest covers, while also being one of his more memorable stories.  The crowd in the image looks suitably maddened, but the perspective is a bit wonky, and the coloring job lets it down, with the mixture of single color and full color characters being a bit distracting.  And why in the world is our hero completely white?  The composition feels unbalanced and crowded by the title, though it effectively captures the feel of the issue.

And the issue is definitely a good one, though it suffers from some of the Kirby-as-writer excesses we’ve been noting.  Having learned at the Stan Lee School of Exposition, where the only thing better than text is yet more text, the King overwrites throughout, starting with the first scene.  A number of silver androids, called “animates,” swarm through a Boom Tube into an empty room, where they set up an office, and the caption declares that “Sometimes, there are things that take place in empty rooms that defy belief, and so go unnoticed!”  Think about that for a moment, as written.  I don’t think that something taking place in an empty room is escaping notice because it “defies belief.”  It might just be because the room is…you know…empty.

mr miracle 03-01 the paranoid pill

Nonetheless, we discover that these silver creatures are artificial constructs, all animated by a single mind, a creature that was once a man but has now become a being of pure energy.  This being is Dr. Bedlam, who slowly takes possession of one of his animates, molding it into the shape he wore in life.  Despite the overwritten dialog, this is a pretty cool scene, and there is a nice air of menace to the whole tableau.  What’s more, while this type of sci-fi concept is pretty common in the genre today, popping up in modern shows like Babylon 5 and the like, it strikes me that it must have been much more groundbreaking in 1971.  I can only think of one example in comics that predates it (though there may be more), and that is NoMan from the T.H.U.N.D.E.R. Agents, and I can’t think of any well-known sci-fi novels before this point that explored the idea of beings of pure energy inhabiting temporary bodies.  The use of actual brain transplants and such parallels are much more common and date back to the beginning of the century, as early as the John Carter novels (1927).  Yet, this seems pretty original.  Once again, Kirby is just casually tossing out fascinating and innovative ideas that could easily support much larger works.

mr miracle 03-02 the paranoid pill

The unique Dr. Bedlam, after taking possession of his body, dismisses the rest of his animates and, with super overly dramatic dialog, picks up the phone and calls Scott Free!  I quite like Bedlam’s design, in keeping with many of the other Apokoliptians we’ve seen so far, but bearing his own sinister identity.  His call finds Mr. Miracle in his usual position, strapped into an elaborate trap and preparing an escape.  It’s a great splash page of wonderful Kirby art.  Scott and Oberon have a fun back and forth as the escape artist asks his assistant to get the phone, completely unconcerned about the nearness of a rather messy death.  Poor Oberon.  This job can’t be good for his blood pressure.  Casually escaping the trap with a full second to spare, the hero answers the phone and receives a challenge, which he accepts.

 

After the call, Scott tries to explain what Bedlam is, offering that he is pure mental energy, making him very dangerous, but adding that Mother Box is fortunately able to guard against such psionic assaults.  What follows is a fairly cool sequence that doesn’t get enough explanation.  Mr. Miracle conducts a seance of sorts with Oberon in which he contacts Dr. Bedlam and experiences a mental attack, and using Mother Box, weathers the storm.  It’s a creepy and suitably imaginative scene, but the purpose and motivations behind it are really unclear.  Does Scott do this to head off an attack he expects, or is this just a way to show Oberon Bedlam’s power?  Kirby’s slightly muddy writing doesn’t clarify.  Yet, the scene does have the effect of establishing the power and threat of the bad Doctor, which is something.

 

After scaring poor Oberon half to death, Mr. Miracle takes to the sky and heads to a high-rise where he is to meet the Apokoliptian.  There, Bedlam offers the escape artist a choice, either surrender to his citizen’s arrest, or escape from a trap of his devising.  It’s never made clear why Scott would show up in the first place, but he is the kind of guy that likes to face danger head-on, so I can at least partially hand-wave that.

mr miracle 03-12 the paranoid pill

Anyway, the Dr. tells the slippery superhero that all he has to do is descend through the 50 stories of the building and walk out through the front door, but to make things interesting, he shows his foe the substance of his trap, a concoction he calls the Paranoid Pill, which he drops into the building’s ventilation system.  Soon the drug does its work, turning the everyday inhabitants of the office building into madmen, and the tower is full of “an army of unreasoning, unpredictable, unstoppable enemies!”  Mr. Miracle lashes out, but Dr. Bedlam simply abandons his animate, which is a nice touch, a villain that cannot really be fought.

 

mr miracle 03-13 the paranoid pill

A great page, absolutely full of menace.

 

Kirby provides a wonderful illustration of the Paranoia Pill taking hold, with people panicking and running wild throughout the building, and it isn’t long before a gang of maddened men burst into the office that traps our hero.  Sensibly, Scott tries the window, only to find it charged with “cosmi-current,” leaving him only one way out.  He flies along the ceiling in a great sequence, dodging the ad-hoc attacks of the panicked populace flooding the halls.  He narrowly escapes into the elevator, only to be attacked by a gun-totting citizen and forced to flee a host of ricocheting rounds on the 45th floor.

 

Unfortunately he leaps right into the arms of another crazed crowd, who, in their delusional state, mistake him for a demon.  The carry him along and lock him into a trunk, which they bind closed with rope and chains before deciding to dispose of this “demon” by chucking him down the central shaft of the building.  The comic ends on wonderful cliffhanger, with the trapped Mr. Miracle plummeting 45 floors to his doom!

 

This is a great issue, featuring a really unique and fitting challenge for the character.  The tower-turned-death-trap is a big enough threat to fill the comic (and then some), and the trope of innocents turned into threats is always a good twist to throw at a hero.  Kirby does a great job with the art throughout this issue, but his work on the crowds is just fantastic.  They’re individual and varied, as are their reactions to the gas itself.  Mr. Miracle’s desperate race through the high-rise makes for good action, and it’s nice to see him use his wits to escape rather than just plot devices and “Applied Phlebotinum.”   Bedlam makes for a good villain, and his gimmick is suitably creepy and outlandish.  Once again, I find myself in awe of Kirby’s creativity and the casual way in which he pours out innovative concepts.  Other than the overwritten sections and the lack of clear explanations, this is a good, solid adventure tale.  I’ll give it 4 Minutemen.

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Superman #241


Superman_v.1_241

“The Shape of Fear!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Editors: Julius Schwartz and E. Nelson Bridwell
Cover Artist: Neal Adams

“Superman’s Neighbors”
Writer: Bill Finger
Penciler: Wayne Boring
Inker: Stan Kaye

“Superman’s Day of Truth!”
Writer: Leo Dorfman
Penciler: Curt Swan
Inker: George Klein

Here we are at the penultimate issue of Denny O’Neil’s innovative but rather weird run on Superman.  This comic is no exception to that description either, featuring a strange mix of elements.  Beginning with the cover itself, which is, of course, beautifully illustrated by Neal Adams, the issue is full of rather odd choices.  I like the image of the monster dragging our defeated hero and his doppelganger away, but the design for the monster itself is a bit curious, with its tail coming out of the center of its back rather than out of its tailbone as you might expect.  Also note the sign referencing New York.  Randomly, this story seems to be set in New York rather than Metropolis, down to including several New York landmarks.  Strange settings aside, it’s a solid enough cover, if not exceptional.  You can’t help but wonder what could defeat two Supermen.

The story itself begins where last issue left off, with the former Man of Steel, now just the Man of Flesh, having defeated the Intergang assassins.  I-Ching offers to complete the ceremony to restore the hero’s powers, but Superman refuses!  In a surprising and rather moving twist, Clark has a crisis of doubt.  He’s tasted what it’s like to be a mortal man (ignoring for the nonce that he’s experienced that TONS of times over the course of his career), and he sees now a chance to be free of the loneliness and crushing responsibility of being Superman.  It’s a great moment, but O’Neil doesn’t give it enough space to breathe.  No sooner does it begin than it is already ending.  I-Ching emphasizes that “one does not choose responsibility!  It is often thrust upon one!” and “To refuse it is to commit the worst act of cowardice.”  Despairing, the Kryptonian relents, and tells the old mystic to work his magic.

superman 241 p_004

I-Ching draws Superman’s spirit out of his body and sends it soaring off to find his dusty duplicate.  When the hero’s soul-form encounters his double, it drains the creature of its stolen powers, leaving it weakened and helpless.  When his spirit returns to his body, the Man of Steel finds himself full powered once more and rushes off to test himself.  He smashes a meteoroid, races around the Earth, and then spots a purse snatcher upon whom he can test his powers.  Faster than a speeding bullet, or a running thief, for that matter, the Action Ace builds a complete jail cell around the startled man in the middle of the street.  The people of Metropolis aren’t too pleased, and thus begins a display of classic Super-dickery.

 

superman 241 p_015The hero has suddenly become overbearing, brash, and more than a little selfish, and he begins to handle even the most minor of crimes with outlandish responses, like when he picks up a speeding car and deposits it on top of the Empire State Building (like I said, we’re suddenly in New York).  He also meets I-Ching up there at the blind man’s request.  The mystic points out this strange behavior and tells Superman that he thinks the Man of Tomorrow suffered brain damage when he was mortal, which enrages the hero.  Unable to convince the Metropolis Marvel that something is wrong, I-Ching turns again to magic, all the while talking about how it is a really bad idea because he doesn’t really know what he’s doing.  I knew they should have contacted Dr. Fate!

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The martial arts master conjures a spell to track the Sand Superman, and when he and Diana Prince find the weakened creature, they learn its origins.  Apparently it’s a being from the “Realm of Quarrm,” which I-Ching helpfully describes as “a state of alternate possibilities!  A place where neither men nor things exist…only unformed, shapeless begins!”  Sure, why not?

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The explosion that destroyed the world’s kryptonite ripped a hole between dimensions between Earth and Quarrm, and the energy that leaked out mingled with that of Superman as he lay stunned in the sand, eventually giving form to the formless.  Each time the two got close to each other, the Sandman gathered more and more power from his opposite number.  In a desperate bid, I-Ching plans to use this creature to drain Superman once more, but unbeknownst to them, a new tear has opened, and more energy begins to leak into this world.

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Sneaking into Morgan Edge’s apartment (for some reason), Diana calls Superman to lure him into their trap.  When he arrives, his dusty duplicate drains some of his powers, but the headstrong hero manages to escape.  Meanwhile, a shadowy figure watches from a soundproofed room.  Mysterious!  Down on the street, fate takes a hand as nearby in Chinatown a parade is underway and the energy from Quarrm seeps into a statue of an “Oriental War Demon,” which suddenly comes to life and runs amuck.  The Man of Steel stops his flight in order to investigate, showing that he is still somewhat himself, only to be drained once more and fall from the sky, to collapse helplessly at the mercy of the Quarrm-demon.

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There’s a lot going on in this issue, and you have to give O’Neil credit for creativity.  He’s certainly telling new stories.  Whether or not they’re also good stories…well, that’s a different question.  In this case, there are definitely strengths that recommend this yarn, like the moment of mature emotion that grips Superman when he is faced with the prospect of a normal life.  It’s just a shame that this dilemma isn’t given more (or any) development because it has a lot of potential.  Also, despite how time-worn the Super-dickery trope is, at least it is given a fairly reasonable explanation here, as the Man of Steel took a blow to the head while he was vulnerable.  How do you force a demigod to get help if he doesn’t want it?  There are some weaknesses here too, though, including a general sense of disconnectedness between the different elements of the plot.  I-Ching’s vaguely defined abilities and general inscrutableness don’t help matters, really.  The sudden return of Superman’s powers once again illustrate how over-powered he is in the Silver Age.  I find myself hoping that, once this arc is finished, O’Neil will leave him at least a little weaker.

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Curt Swan’s art is largely great, as usual, but I’m noticing that in the current iteration of Superman, he tends to draw the character’s legs as too short and stumpy at times.  His work on the demon is alternately nicely rendered or a bit cartoonish.  The creature’s design in general and the sudden injection of Chinese elements into the tale seems a bit incongruous, despite the involvement of I-Ching, because these events seem to have nothing to do with him.  Thus, the fact that the Quarrm energy just happens to inhabit a Chinese demon statue ends up feeling rather random.  So, in the end, this is a solid continuation of the story, even if it doesn’t quite come together successfully.  I’ll give it 3.5 Minutemen.

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The Phantom Stranger #14


Phantom_Stranger_Vol_2_14

“The Man with No Heart!”
Writer: Len Wein
Penciler: Jim Aparo
Inker: Jim Aparo
Colourist: Jim Aparo
Letterer: Jim Aparo
Editor: Joe Orlando
Cover Artist: Neal Adams

“Spectre of the Stalking Swamp!”
Writer: Len Wein
Penciler: Tony DeZuniga
Inker: Tony DeZuniga

What a cover!  That is a wonderful composition, with the incredibly menacing swamp monster rising from the water, his shape only partially defined and gloriously creepy in its uncertainty and inhumanity.  Apparently muck monsters are just in the zeitgeist over at DC at this time!  It’s a great scene, very fitting for a monster story with the blissfully unaware couple in the foreground, though I’m not entirely certain what I think of the Phantom Stranger’s outline hanging out there in the background.  This is especially true because, unusually, this cover does not relate to our headline tale.  Instead, this is an image from the Dr. Thirteen backup.

Nonetheless, I think any kid with an interest in horror or the supernatural would be hard pressed to resist the lure of that image.  Inside, despite the disappointment of not finding the Phantom Stranger locked in combat with shambling swamp monster, we still find a gripping and arresting story.  It begins on a stormy night in New York (Again with New York!  What happened to Metropolis or Gotham?), where the Phantom Stranger pays a visit to a somewhat Lex Luthor-looking fellow named Broderick Rune.  Interestingly, Rune doesn’t react the way most do when they see the Stranger, instead seeming positively pleased to see him, and as the mysterious wanderer steps into the man’s penthouse apartment, we see why.  Suddenly, the Spectral Sleuth is caught in a glowing pentagram, and “sorcerous fumes” knock him out!

the phantom stranger (1969) 14 - 02 & 03

A Hindu servant named Rashid arrives and we discover that this is all part of a plan, just as the wealthy rune topples over from what is described as “the final attack.”  Both the Stranger and his captor are rushed to a private hospital, where a hesitant doctor performs a bizarre transplant, stealing the Ghostly Gumshoe’s immortal heart and giving it to the ruthless Mr. Rune.  The procedure is a success, but while under, Rune dreams that he is confronted by the Stranger, who demands the return of what is his.  There’s a nice little back and forth about the importance of a soul above all else that is reminescent of Christ’s question, For what shall it profit a man, if he shall gain the whole world, and lose his own soul?” 

 

When Rune awakens, he is panicked, but things continue to get more bizarre!  Two thugs trying to dispose of the Spectral Sleuth’s body, only to discover their bag is empty when they try to dump it.  Just then, the Stranger appears behind them, and shock of the confrontation shatters their minds!  Meanwhile, Rune recovers, but he is plagued by visions of his mysterious adversary.  Finally, he decides to try and escape his guilt by heading to a castle in Europe.

 

the phantom stranger (1969) 14 - 15This gambit seems to have worked for a time, but on another stormy night, Rune once again sees the Stranger stalking out of the darkness.  In desperation, his servant, Rashid, who had originally trapped the mysterious hero, tries to conjure another spell to banish his spirit.  Unfortunately, his power is not up to the task, and in the midst of his incantations, the Stranger appears!  Despite the loyal Hindu’s desperate efforts, when Rune flees out into the storm, the Spectral Sleuth follows, and the stolen heart stops beating!  Finally, Rune’s allies find him, dead, and lacking a heart!

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This is a really good Phantom Stranger story, taking full advantage of the mysterious nature of the character and supernatural trappings of the setting.  You can ask questions about how the Stranger’s heart was able to be taken in the first place, but given the way things worked out, I’m rather inclined to think that this undertaking was always intended to end like this.  The story tackles rather similar themes of guilt and conscience as the Edgar Allen Poe classic, “The Tell-Tale Heart,” with its protagonist who is slowly driven to desperation by the knowledge of his crime.

the phantom stranger (1969) 14 - 18

Like Poe’s own brand of Gothic horror, this tale is wonderfully atmospheric, with menacing oozing from every panel, and the oppressive threat of outer night seeming to press against every scene.  Aparo’s art is fantastic, bringing Rune’s selfish self-confidence to life, as well as his growing terror.  The looming menace of the Stranger is wonderfully rendered as well, and our mysterious hero has rarely scarier.  It’s short, but tightly plotted and effective.  I’ll give it 4.5 Minutemen, an excellent supernatural thriller.

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“The Spectre of the Stalking Swamp”


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Our Dr. Thirteen backup sadly doesn’t live up to our wonderful cover either.  It presents a rather unusual tale for the Good Doctor, though it is also a pretty entertaining one.  It starts in the swamp, right enough, with a young couple out for a walk.  The youthful Romeo’s efforts are interrupted by a strange sight, a green monster arising out of the swamp! The creature scoops up the frightened girl and carries her off into the murk.  The next day, the local sheriff, Rufus Taylor, explains the mystery to Dr. Thirteen.

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The boy who witnessed the abduction is now comatose from shock, but he and the girl are not the only victims of this monster.  Apparently people have been disappearing for weeks.  According to local legend, a hundred years ago a settler got separated from his family and wandered off into the swamp, where the essence of the bog infused his body, turning him into the specter that haunts the silent spaces.  Thirteen, of course, is having none of this, and he insists on going out into the wild to investigate.

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That night, the monster attacks his boat, and the Ghost Breaker disappears, apparently broken himself!  Despite his strict orders, his wife follows him, persuading the sheriff to help her, and they find the doctor’s boat.  Maria manages to convince Rufus to continue the search, even though he insists it’s hopeless, and they stumble upon a strange sight deep in the swamp, a gleaming domed city. Finding their way inside, the pair discover the populace moving like zombies, blank-eyed and listless.

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Upon a throne in the city’s center, the encounter the swamp monster, actually a man called Professor Zachary Nail, who is wearing a suit designed for “protection against the filth outside–the polution that infects your dying world!”  Nail has created his own Eden in the swamp and kidnapped the locals to populate it.  When the sheriff bravely tries to capture the madman, the Professor shots him with a bizarre ray, which converts the lawman into a plant!  Shades of Batman: TAS!

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Nail takes the terrified Mrs. Thirteen for a tour of his city, explaining that the place is powered by a nuclear reactor (!), and that he has hypnotically controlled the populace so that they are utterly subject to his will.  He then leads her to her husband, who is also under his power.  The Professor orders Dr. Thirteen to take his wife to the “Submission Room” (which doesn’t sound too pleasant), but the strong-willed Ghost Breaker resists his control.  In an overly written sequence, Thirteen throws off the brainwashing and attacks Nail.

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Just then, the foliage of the swamp starts growing exponentially and begins to smash the dome.  The Professor runs off in an attempt to save his Eden, but the Thirteens have better sense and begin to evacuate the place.  They get the placid populace out just in time, as the vegetation of the wilds reclaim the city, destroying it utterly.  Know-it-all Dr. Thirteen theorizes that the waste from nuclear reactor must have caused the plants to grow super fast, but Maria thinks maybe Mother Nature was exacting her revenge “for the crimes he committed in her name!”

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This is a solid and entertaining story, if quite rushed.  It is not, however, really a Dr. Thirteen-style story.  This character is best suited by relatively conventional mysteries with exceptional or sensational trappings, and this type of science fiction yarn is a little out of his wheelhouse.  He doesn’t even really solve the mystery here.  The villain just captures him and conveniently explains his plans.  The actual plot is an interesting one, and the eco-terrorist villain archetype is one that will emerge more often in the future, most notably when R’as Al Ghul is given his chance to shine in future issues.  Clearly the concept of radical action on environmental issues was in the zeitgeist, which is interesting.  I rather thought the spread of such characters was a more recent development.

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Poor Sheriff Rufus, despite looking the part, surprisingly didn’t conform to the usual trope of the small-town Southern sheriff.  These characters in fiction tend to fat, incompetent, and corrupt.  Rufus, on the other hand, was brave and apparently honest and dedicated, even losing his life trying to perform his duties.  I’m so used to the tropes that I was surprised by this.  We can give credit to DeZuniga and Wein for subverting expectations there.  Wein, for his part, is a bit overly purple in his prose, especially in his narration, throughout, but the writing isn’t bad.  On the art front, Tony DeZuniga does a solid job, and some of his character work is really quite good.  We don’t really get a good sense of the city, though, which might have more to do with the lack of space than anything else.  His design for the swamp monster is effective considering what we eventually learn of it, but it certainly isn’t as cool as Adams’ cover version, sadly.  On the whole, I feel like his style is a good fit for these types of horror/suspense comics.  So, all-in-all, I suppose I’ll give this rather cramped and odd tale 3 Minutemen.  It’s enjoyable but forgettable.

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P.S.: Notably, I think that this concept of a futuristic city hidden in the swamp will be recycled in the first Swamp Thing run, though I can’t remember which issue.  That run, of course, was begun by Len Wein, for a bit of synchronicity.

 


Eco-terrorists, Chinese demons, and energy beings, oh my!  A fun set of books, these, and I had a good time going through them.  There is certainly plenty creativity in this batch, whatever their quality.  I hope that y’all enjoyed reading my commentaries and that y’all will join me again soon for another edition of Into the Bronze Age!  Next post, we close out August 1971!  Be there, or Mother Box will be disappointed!  Until next time, keep the Heroic Ideal alive!

 

Into the Bronze Age: August 1971 (Part 3)

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Welcome to another edition of Into the Bronze Age!  We’ve got a really famous comic on the docket for this post, or perhaps it might be more accurate to say that it is infamous.  I’m speaking, of course, about the drug issue of Green Lantern/Green Arrow.  I can’t say I’ve been looking forward to reading this one again, but it should certainly prove an interesting subject for study and reflection. First, a little background.

Green Lantern/Green Arrow #85 is, without a doubt, the most famous issue of this famous run, and justifiably so.  Whatever it’s quality, this issue arrived like a thunderclap, and it became massively influential.  Interestingly, the origins of this tale lie, not in the offices of DC, but in the Marvel Bullpen.  You see, in 1970, the drug epidemic was a major concern, and the Nixon administration asked Stan Lee to publish an anti-drug story.  The Marvel editor chose to do so in The Amazing Spider-Man #96-98 in 1971, leading to the first comic since the advent of the Comics Code Authority to depict drug use, which was not allowed, even in a negative light, under the Code.  This caused a minor furor, and the folks at the Code refused to sign off on the issues, so Lee published them anyway, removing the Code seals.  This was an important moment in comics and especially in the growth of maturity in the medium.  When Denny O’Neil and Neal Adams came to tackle their own treatment of the drug problem (because where one of the Big Two goes, the other inevitably follows), the powers that be at the Code reevaluated the matter and approved the issues.  The rest, as they say, is history and led to the gradual loosening of Code restrictions.  Thus, this issue had an impact on the superhero genre at large, as well as its immediate cultural influence.

Of course, we can’t let that comic completely overshadow our other classic books, which include a solid issue of the Flash and another of JLA/JSA crossover, which is always a blast.  So, we’ve got plenty to cover in this post!

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 #403
  • Adventure Comics #409
  • Batman #233 (Reprints)
  • Batman #234
  • Detective Comics #414
  • The Flash #208
  • Green Lantern/Green Arrow #85 (the infamous drug issue)
  • Justice League of America #91
  • Mr. Miracle #3
  • The Phantom Stranger #14
  • Superman #241
  • Superman’s Girlfriend, Lois Lane #112
  • Superman’s Pal, Jimmy Olsen #138
  • Teen Titans #34
  • World’s Finest #204

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


The Flash #208


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“A Kind of Miracle in Central City”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Editor: Julius Schwartz

“Malice in Wonderland”
Writer: Len Wein
Penciler: Dick Giordano
Inker: Dick Giordano
Editor: Julius Schwartz

“Flash’s Sensational Risk”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Joe Giella
Editor: Julius Schwartz

We’ve got a rather off-beat Flash tale this month,  though it has some similarities to the themes of an earlier issue in this run.  This comic has an equally unusual cover, with its scene of piety and the seemingly providential arrival of the Flash.  It’s not the most arresting of images, but it is unique enough to catch your attention if you actually take a moment to figure out the story it tells.  It’s not a particularly great piece, but it is certainly fitting for the tale within.  That particular yarn begins with a group of teens bearing an offering of stolen goods to an abandoned church, only to be greeted by an unlikely trio of gunmen.

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They’re dressed like refugees from the 19th Century, with one a Yankee soldier, one a Confederate cavalryman, and the leader an Indian brave.  I’ve always got a soft-spot for gangs in themed costumes, but I’m not really sure how this gimmick fits these small-time hoods.  At least it’s better than another appearance of the Generic Gang, I suppose.  Either way, as they gather their ill-gotten gains, a troop of nuns march into the crumbling edifice and confront them.  One of the sisters pleads with her actual brother, the leader of the teens, to stop the thieves, but he rejects her.  Fittingly when dealing with such unrepentant rogues, the sisters bow and begin to pray to St. Jude, the patron saint of hopeless causes (the concept of which appeals to my Romantic sensibilities).

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While the nuns can’t convince the thieves to change their ways, they at least drive them out of their hideout, but while meeting on the top of a building, the larcenous louses decide that someone must have tipped the sisters off to their location.  Who could be a better suspect than the brother of one of those sisters?  So, the thugs toss young Vic right off of the roof when he asks for his payment!  Meanwhile, the Flash is on his way back from Istanbul and makes a small but significant mistake.  He forgets that it is Saturday and heads to the office, only then realizing his error and heading home, which brings him by that building at the exact moment Vic makes his precipitous exit.  The Sultan of Speed whips up an updraft to break the kid’s fall, but inexplicably (and unnecessarily), “electromagnetic interference” somehow messes up his efforts…which consist of wind…somehow.  Nonetheless, the Scarlet Speedster saves the boy,  but the youth won’t tell him anything.

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This leads to a fun scene where Barry ponders how to help the kid, realizing that saving the world is important, but so is saving one misguided teenager.  As he thinks, he paces, unconsciously zipping from one end of the world to another, and we get a glimpse of how tumultuous the world was in 1971, with protests from Japan to Paris.  Having made his decision, the Flash zooms back home, only to find Vic having come to his senses and gone to his sister for help.

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Clearly these scenes represent some issues which don’t make our history recaps but were in the zeitgeist at the time.

The Fastest Man Alive overhears him confess and add that the kids want to give back the stolen goods, but they can’t find the gang’s new hiding place.  So the Monarch of Motion takes a hand.  He conducts a super speed grid search of the city, locates the loot, and then races past Vic and his girl, pulling them along in his slipstream right to the cave where the spoils lie.

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Unfortunately, they aren’t the only visitors.  Their anachronistic antagonists make an appearance as well, but the invisibly vibrating Flash jumps in again, swatting their bullets out of the air and lending an super-speed hand to Vic’s desperate fight against his foes.  I enjoy the touch of characterization this provides Barry, as he doesn’t need the glory from this deed, preferring to give the kid something to make him proud.  Later, the teens are granted leniency by a judge, and the nuns host a social at their renovated church.  Vic, for his part, is convinced that the strange events that led to this happy ending were a miracle.  Flash notes that it was the miracle of super speed, but we see a caption that quotes Dylan Thomas, saying that, to those who believe, “the moment of a miracle is like unending lightning.”

 

I like the light touch of religious themes in this story, with the whole tale having the appearance of a fairly straightforward superhero adventure, with the Flash as the usual arbiter of justice and redemption.  Yet, there is the admirably subtle twist of our hero’s wrong turn at the beginning of the story that brings him into contact with the lost soul in need of rescue, a wrong turn that is easily explained as just a random occurrence but which takes on greater meaning in the context of a story filled with prayer and faith.

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The yarn is nothing special, but Kanigher does a good job with suggesting the possibility of divine intervention.  The final quote makes that subtle connection stronger, but it is rather deeply and unintentionally ironic.  You see, that line comes from Dylan Thomas’s “On the Marriage of a Virgin,” which describes a sexual experience of a virgin, probably that of Mary, the mother of Jesus, in contrast with her experience with the Holy Spirit.  That makes its use here an…odd choice.  The line, taken out of context, works pretty well, but its context certainly provides a weird perspective on the story!  Nonetheless, it’s an entertaining read, and Dick Giordano does a solid job on the art, really acing the secret super-speed confrontation with the villains at the end.  The thieving kids’ arc is probably the biggest weakness of this issue, as it feels like it is missing something.  With all of the costumed criminals constantly talking about “The big man,” the tale feels rather unfinished when it ends without some type of reveal or resolution involving this big time baddie that supposedly is running things.  I found myself wondering if I had missed a few pages when I got to the end. Nonetheless, I’ll give the whole thing an above average 3.5 Minutemen based on the strength of its themes.

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“Malice in Wonderland”


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Despite how much I enjoyed the religious themes of the cover story, I have to say that my favorite part of this book was this delightful Elongated Man backup.  Like many of Ralph Dibny’s adventures I’ve been able to read, this one is just plain fun.  It begins in rather unusual fashion, with our unhurried hero stopping off at a small town named Dodgson, which is celebrating its 50th anniversary in a rather unique way
Apparently the festival is, oddly enough, Alice in Wonderland themed because the town’s founder was a descendant of Lewis Carroll, and a costumed ‘Alice’ gives the visiting detective a free copy of the children’s classic, which he decides to read in the pack.  As he relaxes in that idyllic setting, reliving his childhood and admiring the original illustrations by Sir John Tenniel, which provide the official aesthetic for the town’s celebration, he is startled to see a running rabbit, late for a very important date!
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Of course, no self-respecting detective could pass up such an odd occurrence, so Ralph hurries off after the harried hare.  Before he can catch up, the White Rabbit hops into a cab and speeds away.  Using his stretching powers, the Elongated Man is able to pursue the rogue rodent through the town for a while before losing him, but after an informative conversation with a helpful ‘Mad Hatter,’ the Ductile Detective follows a hint and heads to the library, where a first edition of Alice is on display.
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Flash208-22Sure enough, the hunch pays off, and the hare is there.  When the bold bunny sees the superhero arrive, he calls out to another costumed character, who tosses down a smoke bomb.  Together the two steal the valuable tome while Ralph and the townsfolk take an impromptu nap.  Upon awakening, the Ductile Detective deduces where the thieves will be hiding, from a scrap of paper he snatched from the rabbit.  The notes reads “Mushroom Float,” and the hero realizes that the crooks plan to make their escape in plain sight, by hiding out among the costumed cast of the town’s anniversary parade!
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Meanwhile, those same thieves are slowly winding through town aboard, you guessed it, a float of the hookah-smoking caterpillar atop his mushroom.  As they congratulate themselves on their cleverness, an arm suddenly stretches out of the caterpillar’s hookah and snatches their loot.  The criminals draw weapons, but the wildly stretching sleuth proves too hard to hit.
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There’s some really fun (and funny) action in this scene, as when the villains try to smother our hero by shoving his head into the smoke from the hookah, only to have him stretch his nose free of the cloud, all while stretching a foot around the float to give his opponents the boot!  With the criminals corralled, Ralph explains what originally tipped him off about the rogue rabbit.  The town’s celebration was based on Tenniel’s illustrations, but the ignorant thief had based his costume on the Disney movie, making him look out of place.  This set the detective’s ‘mystery loving nose’ to twitching.  There’s a lesson in there for you, kids: Don’t just see the movie; read the book!
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This is just a charming little adventure.  It’s a lot of fun, and Ralph is entertaining throughout, both in dialog and in his wacky stretching.  Dick Giordano’s art is great in this tale, really doing a wonderful job with the whimsical world that best suits Ralph and his exploits.  All of the colorful costumed characters look great, though they also don’t really look like people wearing costumes.  Still, Giordano does a really good job with the final fight, providing entertaining and creative uses of his hero’s powers, which is always important for a stretching character.  There’s not much to this story, but Len Wein manages to make it feel complete in just eight pages, which is always a challenge.  I’ll give this whimsical little visit to Wonderland a thoroughly entertaining 4 Minutemen.
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Green Lantern / Green Arrow #85


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“Snowbirds Don’t Fly”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Neal Adams
Colourist: Cory Adams
Letterer: John Costanza
Editor: Julius Schwartz

Here we are at last.  I’ve been talking about this comic since we began the GL/GA series.  Of course, I’ve been dreading rereading this issue.  I  rather cordially disliked it upon my first read, finding it massively heavy-handed and generally goofy and melodramatic.  Imagine my surprise when, upon begrudgingly rereading the comic (the things I do for you, my beloved readers!), I found the story much better than I remembered.  It’s certainly not perfect, but it’s far from the worst issue of this run, and it is undeniably important and groundbreaking.  So, without further ado, let’s examine this landmark issue.

First, I’d be remiss not to talk about this justly famous cover.  It’s not exactly subtle (what in this run is?), but it is immediately arresting.  Can you imagine browsing through the newsstand, seeing the collection of fine and conventional covers of this month’s books arrayed in front of you, only to have this piece jump out.  It had to be an incredible shock to audiences back in 1971.  I’d say that this is one of the few cases where cover dialog or copy is absolutely necessary.  I think a little context, at least in 1971, was probably called for.  The central image, of Speedy strung out, shaking, hunched and ashamed, is really a powerful one, though Ollie’s reaction might be a bit exaggerated to the point of being comical.  The overall effect is certainly gripping, nonetheless.

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The legendary story this cover represents had to be even more shocking to fans.  It begins with the conventional scene of a mugging, but unusually, these muggers are uncertain and possessed of a strange desperation.  Unfortunately for them, they pick Oliver Queen as their pigeon, which goes about as well as you might imagine.  Apparently, Dinah has broken things off with Ollie (maybe that fight last issue was more serious than it seemed?), and he’s got a bit of aggression to work out.  Things take a turn for the serious, however, when one of the muggers pulls out a crossbow of all things!  Oddly, the guy who uses a bow and arrow as a superhero mocks the weapon and doesn’t take it seriously, which makes the quarrel that embeds itself in his chest all the more surprising!

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In a modern day reimagining of the beginning of the Good Samaritan parable, the badly wounded hero crawls through the streets in search of aid…and is promptly ignored by a well-dressed couple, a cop (!), a taxi, and even the nurse at the emergency room…at least until he keels over.  It’s an effective little commentary on the dehumanizing affect of urban life.  After all, we’re only six years after the murder of Kitty Genovese.  Once he’s patched up, Ollie checks out the quarrel and notices that it is rather familiar and, on a hunch, he calls up Hal Jordan for some backup.  When the Green Lantern arrives, Ollie suits up and admits to his friend that the quarrel has him worried because he hasn’t seen Speedy in a month, and it could have come from his wayward ward.

 

green lantern 085 011The heroes begin their investigation in the basement of Ollie’s own building, where he’d seen the kids who jumped him before.  Downstairs they find one of the punks begging a charming fellow named Browden for a fix.  It seems that Browden is a pusher!  He turns away the junkie with a savage kick, and the partners decide to ask the jerk some questions.  The guy proves suicidally brave, taking on two Justice Leaguers with a fire axe, but surprisingly this doesn’t prove to be the best idea.  After capturing both the drug dealer and his client, the heroes plan to interrogate their prisoners.

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Next, we get a scene that I found cringe-inducingly bad when I read it the first time.  I found it much more palatable this time, but there’s still plenty here that is on the silly side.  We join our other two would-be muggers in an apartment in China Town, and they are suffering from withdrawal.  To take their minds off their pain, they admire a wall of ancient weapons, the source of the nearly deadly crossbow.  One of the boys is an Asian American, and he mentions that the weapons are his fathers, who collects them as an outlet against the injustice that he has to deal with day in and day out as a minority.  This leads to their discussions about why they are using drugs, and the dialog is a bit goofy, but there is something worthwhile here as well, though I didn’t appreciate it on my first reading.

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What…what is that kid doing in the last panel?  Interpretive dance?

The scene is ham-handed, and in it O’Neil commits a cardinal sin of writing, having his characters simply declare how they feel, rather than delivering that information organically.  Despite the clunky and, at times, ridiculous dialog where these characters just helpfully hold forth about their motivations and feelings, O’Neil links their drug use to the racial issues of the time.  While his connections are wildly overly simplistic, effectively equating to “I use drugs because people are racist,” there’s no denying that there was and is a disproportionate percentage of addiction in minority communities in the U.S..  This is tied into a host of other social ills, but it’s noteworthy that O’Neil makes the connection and gives us a sympathetic portrayal, not only of addicts, but of minorities as well, identifying the social pressures that play a role in their problems.

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green lantern 085 016Their group-therapy session is interrupted by the arrival of the Green Team, who fly in and capture the fleeing kids, only to be surprised to see that one of them is…Speedy?!  Ollie instantly assumes that his ward is there undercover, and when one of the junkies helpfully offers to take the heroes to their suppliers, Arrow tells his young friend to stay behind while they wrap things up.  On the way, the heroes talk with the kids, and in a notable inversion, it is the Emerald Archer who is the inflexible, judgemental one, while Hal takes a more thoughtful, moderate approach.  It seems that Ollie has no patience for the kind of weakness that leads to drug use.

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Another Headcount entry!

When they reach their destination, a private airport, the Emerald Gladiator quickly disarms the smugglers operating there, but then he falls prey to that perennial superhero foe…the headblow!  One of the junkies unsurprisingly turns on the heroes and clocks the Lantern with a wrench!  His green-clad partner does his best, but the wounded Archer is quickly beaten down, and instead of killing the helpless heroes, the smugglers decide to dope them up and leave them for the cops.  The addicts get a fix for their efforts, and as the cops arrive, it seem that the Green Team is doomed for disgrace and jail!  Just then,  Speedy arrives and manages to rouse Hal, who unsteadily tries to use his ring to escape.

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His efforts result in a monstrously distorted construct produced by his drug-addled imagination, but the Emerald Crusader wasn’t chosen to wield the most powerful weapon in the universe for nothing.  Hal summons all of his willpower and manages to focus enough to get them away.  It’s actually a really good sequence, and I love that Hal is portrayed as having enough iron willpower to overcome even the drugs in his system this way, however unrealistic it might be.

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Back at Green Arrow’s apartment, the heroes recover and discuss what would lead someone to put that kind of poison into their body.  Roy quietly offers a suspiciously specific example about a young boy ignored by a father figure and turning to drugs for comfort, but his mentor simply shrugs it off.  After Hal leaves, Ollie walks back into his rooms, only to discover Speedy in the process of shooting up!

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green lantern 085 029The reveal is, of course, not that surprising after the cover, but the twist of an honest-to-goodness superhero, not just a supporting character, becoming a drug-addict, must have been earth-shattering to fans in ’71, especially at DC.  We’re still not very far removed from the era where DC heroes were spotless, flawless paragons of all virtues, and this is a huge departure from the line’s conventions.  You simply didn’t see things like this in comics, especially DC Comics.  This makes the issue itself an important milestone, in many ways representing the high-water mark of social relevance for the era.

The portrayal of DC heroes as fallible was amped up by an order of magnitude with this story, for better or worse, and not just with Speedy’s succumbing to heroin.  No, the moral culpability of Oliver Queen shouldn’t be overlooked.  This is actually one of my biggest problems with this comic.  O’Neil does here what often happens with such “nothing will ever be the same” twists: he tells a massively disruptive story, revealing a huge change in the characters, but with no plans to follow it up or manage the fallout from it.  Thus, these two issues will go on to haunt poor Speedy for the rest of his comics career.  Hardly a story will be written about him that won’t be affected in some fashion by this choice, and while Ollie isn’t as marred by these comics as his poor ward, the character is marked by his cavalier irresponsibility towards the kid that was effectively his son, which helped lead to this moment.  These factors make this tale a pretty grave disservice to these characters.  As bad as the incredibly self-righteous, Godwin’s Law invoking Green Arrow of the earlier run might have been, this twist, which turns him into an incredibly selfish, irresponsible jerk is significantly worse.

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Translation: ‘I should not be allowed to care for a kid.’

Despite this, the story itself is significantly better than I remember, and there is a good tale to be found here, with the examination of drug use and the damage it causes, as well as the desperation of those caught in the claws of addiction.  Unfortunately, the dialog of the junkies is more than a little silly at times, and the characterization problems, with both Ollie’s selfishness and Speedy’s rather weak reasons for his drug use seriously impacting the overall effect.  Apparently Roy was abandoned by his father figure…while he was in college.  At that point, you’d think he’d be able to handle it.  A lot of kids go off to college and don’t see their parents for months at a time.  I certainly did.  So, his motivations seem a bit insufficient, and this portrayal also contrasts rather noticeably with the happy, well-adjusted kid concurrently appearing in Teen Titans.  A little more groundwork would have gone a long way to making this tale more successful.

Despite these weaknesses, seeing this comic in the context, both of its preceding run and of the rest of the DC line at the time, is really revelatory.  In that light, it becomes apparent that is the culmination of much of O’Neil’s work on this book.  In it, the major themes of O’Neil’s social relevance campaign come together in a surprisingly sophisticated (for its time and medium) combination that illustrates a compassionate understanding of the drug problem that is often still lacking today.  It is clumsy in places, clever in places, poorly thought-out, yet innovative and daring.  The issue is helped greatly by Neal Adams’ beautiful, realistic art.  It elevates the material and adds a touch of humanity to the characters whose suffering and struggles might otherwise not have nearly as much weight.  This flawed comic is definitely worth a read if you want to understand both its era and Bronze Age comics at large.  I’ll give it 4 Minutemen, certainly a higher score than I expected to award, but it is definitely hurt by O’Neil’s abuse of his characters.

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Justice League of America #91


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“Earth – The Monster-Maker!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Editor: Julius Schwartz
Cover Artist: Neal Adams

“The Day the World Melted”
Writer: Robert Kanigher
Penciler: Carmine Infantino
Inker: Joe Giella

“The Hour Hourman Died!”
Writer: Gardner Fox
Penciler: Dick Dillin
Inker: Sid Greene

To round out our comics for this post, we’ve got a JLA issue that delivers another JLA/JSA crossover, which always provide for fun reading.  It starts with a really great cover.  That’s quite a dramatic tableau, the grim-faced Dark Knight carrying in the ravaged body of his comrade and the shocked looks of the other Leaguers, all beautifully drawn by Neal Adams.  It would certainly be tough to pass this issue up and forgo the chance to find out what happened!  I’d say that we could certainly do without the cover copy, but that’s a small complaint.  Of course, I always love the team line-ups that these classic issues provide.  Overall, it’s an all-around good cover.  Sadly, the comic inside doesn’t quite live up to the tantalizing promise of the piece.

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While the dialog is, of course, a cheat, the image itself is truth in advertising, as the tale begins with Batman’s arrival as depicted.  Superman, Hawkman, Green Lantern, and the Atom are holding a meeting on the Satellite, and they note that Aquaman is absent without leave, causing them to wonder if he’s still angry about the events of the previous issue.  Just then, the Caped Crusader arrives, carrying the Crimson Comet, not so speedy at the moment.  Apparently the Masked Manhunter recovered the mauled hero from near Gotham.

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I quite like this title image; it evokes the feel of those classic 50s sci-fi tales.

Before that mystery can be solved, we see a strange scene, in which some rather adorable aliens, traveling between dimensions in a spaceship, lose one of their passengers and his 80s-TV-show-cute pet.  The poor kid, the brother of the pilot, slips through the dimensional barrier, and he and his space-dog end up in separate worlds.  The other aliens frantically fret that, once separated, the boy and dog can only survive for 37.5 hours!  Apparently, this strange species has developed a symbiotic relationship with their pets, one in which the creatures are so dependent upon one another that each will die without the other.  On Earths 1 and 2, the castaway creatures are mutated by the dimensional energies they experienced, growing gigantic and becoming maddened.

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jla091-05On Earth 2, the Justice Society gathers, including their Superman, Hawkman, Flash, and Atom, as well as their Robin.  They get a distress signal from their Green Lantern, and when they arrive, they find him battered and bruised from a bout with the alien boy.  Apparently the yellow youth sensed that the Emerald Gladiator’s ring had the power to bridge dimensions, so he attacked the hero and stole the ring.  The team sends their fallen friend back to base while they set out in search of the kid.  Oddly, on the way, Hawkman talks down to Robin, telling him he “may as well fill in for Batman,” prompting the ADULT Wonder to remind the Winged One that he is a full-fledged member of the Society.  Robin thinks about the ‘generation gap,’ which seems a bit odd, given that he’s supposed to be, like in his 30s in these stories.

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jla091-07Forced friction aside, back on Earth 1, their Flash recovers long enough to give them a super-speed clue, which Superman decodes.  It’s a reference to “New Carthage,” where Robin attends Hudson U.  Just then, Aquaman sends in an alarm of his own, so the team splits, with Batman and the newly arrived Green Arrow heading to help the Sea King, while the rest of the team go to track down the mysterious threat.  At their destination they find their own Robin, who was already investigating the monster.  As they continue their search, the Earth-1 Hawkman gives the Teen Wonder his own dose of condescension.  Man, Friedrich has poor Hawkman playing the jerk…on two worlds!

Before the heroes find the problem pup, Green Lantern detects a signal emanating from Earth-2, leading to the two teams joining forces.  The Atom suggests the distribution of forces: (Earth-1: Both Supermen, both Atoms, and Flash 2 / Earth-2: Both Hawkmen, Green Lantern 1, both Robins), saying that it will be “more scientifically sound,” which Superman questions…but despite this the choice is never explained.  Weird.  On Earth-2, the baffled alien boy lashes out at his surroundings, but when the heroes arrive, he tries to communicate… but it doesn’t go too well.

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They can’t understand each other, and the young Robin loses patience and attacks!  See kid, this is why Hawkman talks down to you!  He takes a beating until his elder counterpart and the others rescue him.  The Emerald Crusader packs the two Robins off to safety at the Batcave so the Teen Wonder can get help, but he himself gets pummeled by the kid…rather unnecessarily, really.  He basically just lands and lets the alien belt him.  The youth is after the Lantern’s ring, but Hal manages to turn it invisible.  This prompts his frustrated foe to turn the Green Guardian into a human missile, taking out both Hawkmen in the process.  It’s not the best fight scene, really, as the heroes seem more than a little incompetent, and the kid really doesn’t seem like that much of a threat.

 

That problem is magnified even more for his adorable animal companion, which is rampaging through Earth-1.  Seriously, the thing looks like it should have shown up on The Snorks, Teddy Ruxpin, or some other brightly colored and whimsical kids’ cartoon.  Obviously this is intentional to a degree, with the creative team wanting to emphasize the juxtaposition of the innocence of these creatures with the threat they pose, but I think they went a tad overboard here, especially when the cute critter somehow knocks down two Supermen with a single swipe!  The heroes’ efforts seem futile, but finally, while Atom 1 distracts the dimension-lost dog, one of the Supermen digs a pit around it at super speed, trapping the creature.

 

Realizing that there might be a connection between their invader and that of Earth-2, Flash 2 and Superman 1 head there to investigate.  Meanwhile, the alien boy stumbles into Slaughter Swamp, where he encounters…Solomon Grundy!  The two bond in an unlikely friendship that is actually a little sweet, and when the heroes track the lost lad down, Grundy tries to protect him  This leads to a fairly nice brawl, which ends with Grundy triumphant, preparing to smash the alter-Earth version of his nemesis, Green Lantern, using Superman himself as a club!

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This is a fun and rather unusual issue.  I didn’t remember this one at all, but I have to say, the central conflict, the dangerous innocent facing his own imminent doom, is a creative and interesting concept.  It’s also always fun to see the League and Society team up, even if they aren’t exactly at their best in this story.  Notably, Friedrich’s attempts at characterization with his Robin/Hawkman pairings are interesting, even though they aren’t entirely successful.  Still, I have to give him credit for trying to inject some personality and personal drama into the book.  It’s intriguing to see him attempt to bring the generation gap conflicts into the superhero world in such a fashion.  We’ve seen it addressed in Robin’s backups and in Teen Titans, but we haven’t seen this tension explored between actual adult and teen heroes very much.

 

The introduction of Grundy is a nice way to add a bit more of a threat to the story, but he still seems a bit overmatched by the gathered heroes, so much so that Friedrich has to cheat a bit to neutralize Hal, having the Lantern sort of take a dive against the kid.  Dillin’s art is, unfortunately, evincing the usual stiffness and awkward patches that I’ve come to expect from his JLA work, but there are also the usual highlights.  (In this case, the fight with Grundy)  Despite its weaknesses, this is still a fun and admirably creative adventure tale.  I’ll give it a solid 3.5 Minutemen.  It loses a bit because of the plot induced stupidity of its protagonists.

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P.S.: Entertainingly, this issue includes a note from Mike Friedrich himself about writing the story wherein he laments the tortuous challenge of juggling the massive cast of a JLA/JSA crossover.  I sympathize!  That has to be quite the job.  I know I’ve found it tough in my own work with these characters in the DCUG.

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The Head-Blow Headcount:

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We get a second appearance by Green Lantern on the Wall this month, and I have to say, I’m more than a little surprised that we haven’t seen a lot more of him.  Hal has something of a reputation, you see.


Well folks, that will do it for this post, but quite a post it is, featuring a landmark comic.  There’s plenty here to consider, and I hope that you’ve found the reading as entertaining and interesting as I did in the writing.  Please join me again soon for another leg of our journey Into the Bronze Age!  While our next set of books won’t be quite so groundbreaking, they promise to be fascinating in their own right, including the always-exciting Mr. Miracle and the penultimate issue of Denny O’Neil’s unusual but provocative run on Superman.  Until next time, keep the Heroic Ideal alive!  See you then!

Into the Bronze Age: August 1971 (Part 2)

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Welcome to another edition of Into the Bronze Age!  I know I’ve been quite remiss in delivering you some more Bronze Age goodness, but I’m getting back in the swing of things, so I hope you can look forward to some more frequent posts.  Thank you all for your patience and your continued support!

As for this post, we’ve got a double dose of the Dark Knight on tap, including a Bronze Age first, the return of one of the great Batman villains!

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 #403
  • Adventure Comics #409
  • Batman #233 (Reprints)
  • Batman #234
  • Detective Comics #414
  • The Flash #208
  • Green Lantern/Green Arrow #85 (the infamous drug issue)
  • Justice League of America #91
  • Mr. Miracle #3
  • The Phantom Stranger #14
  • Superman #241
  • Superman’s Girlfriend, Lois Lane #112
  • Superman’s Pal, Jimmy Olsen #138
  • Teen Titans #34
  • World’s Finest #204

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


Batman #234


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“Half an Evil”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Vengeance for a Cop!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Trail of the Talking Mask”
Writer: Gardner Fox
Penciler: Carmine Infantino
Inker: Joe Giella
Letterer: Gaspar Saladino

We’ve got an important milestone here, as this issue features the return of a classic Batman villain, the first of many due in the coming years.  As you can probably tell from the cover, our mystery guest is that bifurcated badman, that champion of chance, Two-Face!  I knew that he had been long absent from the Bat books, but when I looked him up, I was astonished to discover that he last appeared way back in 1956, in Detective Comics #228.

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It’s hard to believe that a character now considered to be one of the major Batman villains could be absent from these books for over a decade and a half, but so it is.  Notably, DC seems to realize the significance of this story, as the cover copy touts the return of the villain.  The cover itself is okay, but it isn’t really all that impressive.  We’ve got a nice depiction of Batman’s plight, and Two-Face’s laughing visage is fairly striking, but the whole tableau is more confusing than evocative.  What exactly is going on here?  Has Two-Face turned uglier than average pirate?  We are left to ponder the question.

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The book opens with a lovely, moody splash page presaging the showdown that will eventually take place in the swamp at the end of the story, but the action actually begins during the “Gotham City Merchants’ Parade,” which bears a striking resemblance to the annual Macy’s Thanksgiving Day Parade.  This particular festival is interrupted by a strange theft, as two clowns break character to hijack a giant hotdog balloon, which floats up to be received by a waiting helicopter.  Note the label on the float.

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This crime, unusual as it is, attracts the attention of Batman, and we get a funny scene in Commissioner Gordon’s office, as resident anti-Batman loudmouth, Councilman Arthur Reeves, is busy boasting about how he’s going to put the vigilante in his place, only to flee in terror when the Dark Knight, having silently arrived behind him, says “boo.”  It’s a great little humor beat that provides some levity while not detracting from Batman’s brooding presence or serious attitude, striking a balance that isn’t easy to achieve.  The annoying Reeves having been removed, Batman and the Commissioner compare notes, but their conference is interrupted by an alarm at the Nautical Museum.

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Batman234-09Arriving there ahead of the police, the Masked Manhunter sees a car take off, but realizes that it is a diversion.  Continuing his search inside, he encounters the two criminal clowns from the first robbery, and he captures one, though the other escapes with the loot, a diary of an old sea captain named Bye.  Interrogating his captive, the Caped Crusader receives a shock.  The mastermind behind these thefts is always flipping a coin and keeps his face in shadow.  Sadly, the cover rather spoiled the reveal, but I imagine the next scene still had to be exciting for long-time Batman fans, as Two-Face is slowly revealed, first with a focus on his scarred coin, and then his equally scarred visage.  It’s a nice, dramatic scene, and it ends with the evil side of the coin winning out, setting the stage for more mischief.

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Having sussed out the identity of his foe, Batman reminisces over Two-Faces history, and I was surprised to discover that the Pre-Crisis villain actually had his face repaired and was healed at one point in time, only to have another disaster scar him once more and drive him back into madness.  Poor Harv can’t catch a break!  Back in the present, the world’s greatest detective begins to put the pieces together, realizing that Captain Bye’s former ship is still preserved in a marina nearby.  When he arrives to investigate, the Batmobile is met by a pair of gunsels, but Batman isn’t in it!  Using an automatic pilot to control the car, the Dark Knight gets the drop on the gunmen and takes them out, only to arrive on the dock just as the schooner explodes and sinks!  The Masked Manhunter realizes that he’s missed something and tries to examine his assumptions.

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In another funny scene, a drunk is floating elsewhere in the river on an inner tube, only to be slowly hoisted out of the drink by a mast emerging from the water.  The schooner slowly floats to the surface, and Batman is there to see it.  When the ship is fully afloat, he climbs aboard to await the arrival of his foe, but even the great detective is stunned to see the drunk hanging obliviously from the mast, and he’s distracted enough for Two-Face, who had stowed away with a SCUBA rig, to sneak up and knock him out.  It seems that the mastermind stole the parade balloon to help him raise the ship after he sank it, having chosen that particular balloon because it belonged to the Janus (two-faced god) hot dog company, labelled “Doubly Delicious,” thus making it doubly appealing for Two-Face!

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The scarred scalawag discovered that Captain Bye had hidden a treasure of gold doubloons on his ship, and he had sunk it in order for the tide to deposit it in a secluded cove, then he raised it with the balloon so he could recover the hidden fortune in secret.  Lashing Batman to the mast, Two-Face plans to sink the ship once more, but the Dark Knight points out that this will kill the tramp on the mast.  A flip of his coin forces the villain to save the drunk, and this gives the Caped Crusader time to free himself, and with a single blow, he knocks his foe out, bringing the adventure to an end.

This is a fun story, with a lot of entertaining moments and a nice mix between humor and drama.  It isn’t necessarily the most impressive return for Two-Face, though it’s nice that his convoluted plan almost works, only to be thwarted by his own fixation on his coin, in the custom of all the classic Two-Face tales.  This feels like a Two-Face story in that way.  It’s a tradition that Batman’s foes tend to defeat themselves thanks to their own particular shades of madness, and this story is right in line with that history as well.  Yet, I was a bit disappointed that the Dark Knight defeated Two-Face so easily.  It seems like Harvey should have been more of a physical threat, ‘strength of a madman’ and all that, as the old stories had it.  On the art front, Dick Giordano’s heavy inks bring a certain darker atmosphere to this tale, and for once the difference is striking enough that even I can notice it.  This works well for Batman, though it brings a rougher look to Adams’ pencils.  The artwork is excellent and very effective throughout, with Adams doing a particularly nice job on the reveal of Two-Face’s scarred visage.  So, taken all together, this is a solid if not spectacular return for a great villain.  It lacks just enough in Two-Face’s portrayal and the development of the mystery to keep it from being great to match.  The coin dictates that I give Two-Face’s reappearance 4 Minutemen, a pretty good score, and I’m not one to argue with the coin.

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“Vengeance for  a Cop”


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The Robin backup features an odd but thoughtful little yarn.  It begins, oddly, with a police officer named Robert Beeker apparently breaking the fourth wall.  He seems to be talking directly to the reader, as he talks about how his beat, on the edge of Hudson U’s campus, places him between angry and frustrated portions of society, the townsfolk who think he’s too soft on the “long-haired anarchist law-breakers,” and the kids, who think he’s just “a head-busting establishment pig.”  It’s an interesting monologue, and it highlights the divide afflicting the culture and his own difficult, delicate role as a peace officer.  Yet, as he talks, a shadowy figure shoots him down, though he gets off a shot in return.  This seems to be in response to his speech, so what exactly is going on is a bit uncertain.

Either way, who shoot Officer Beeker is a mystery that attracts Robin’s attention, as he thinks to himself that “too many cops are getting the short end of the stick these days,” which is an interesting perspective given the enduring national anger following events like the Kent State Shootings in 1970.  The Teen Detective investigates, but finding nothing, he visits the wounded officer.  Beeker, recovering well, asks the young hero to bring his daughter home.  The silly girl has bought into the counter-culture promises of the day and run off to a commune, hating her father for defending a corrupt society.

 

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Charming girl…

 

When the Teen Wonder heads to the commune, he finds the girl, Nanci, headstrong and passionately convinced of her own righteousness, as is often the case for the young and foolish.  She condemns her father and shows Robin a police bullet she wears, taken from the leg of one of the ‘family.’  Just then, Terri Bergstrom arrives with a note from Batman that warns his ward that the shooter may actually be at the commune as well.  When asked how she found him, Terri is vague once more, continuing to imply that she knows more than she’s letting on.  I suppose the he should really be used to this by now from his time around that master of vague nonsense, Lilith.  Nonetheless, it’s then that Dick meets Pat Whalon, Nanci’s boyfriend, who has a wounded leg and who admits to having been at Hudson U.  Curious.

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Aiming to investigate the commune, Robin approaches a bridge, only to be confronted with a towering hippie who speaks in a strange, archaic fashion, and who declares that the Titan must best him with a staff to gain entrance.  Shades of Little John!  Dick loses the fight, but he loses with humility, and this is apparently the real test, but it doesn’t explain the weird put on Shakespearean act (nor how the young superhero gets his head handed to him by this hippie Merry Man).  Nonetheless, in addition to a dunking, the fight also provided Robin with a clue to the culprit, and he points out the perfidious one.  Yet, the hippies declare they won’t let him take the gunman back to town.  The identity of the villain is kept a mystery for the moment, but I’m guessing it is pretty clear.

Batman234-28This is a story with some really worthwhile elements and some really strange touches as well.  The odd opening and the random anachronistic dialog that doesn’t get explained are rather off-putting, but the central mystery and, more importantly, the attempts to address current social concerns, are really decent.  Friedrich does a solid job setting up the mystery in a small space, but there just aren’t many characters to work with.  It might have been better to go to the commune immediately and filled in the backstory briefly.  Nonetheless, his attempts to address the anti-police sentiments abroad at the time are worthwhile and surprisingly effective, humanizing Beeker, briefly but well, with his lament about being stuck in the middle, and touching obliquely on the dangers of returning violence for violence and hatred for hatred.  It’s all rushed, but it’s fascinating to see these themes being addressed, especially in the Robin feature, which seems aimed specifically at the college crowd.  So, I’ll give this ambitious but uneven tale 3 Minutemen.  It’s worthwhile, but clumsy.

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Detective Comics #414


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“Legend of the Key Hook Light House”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: Gaspar Saladino
Editor: Julius Schwartz

“Invitation to Murder!”
Writer: Frank Robbins
Penciler/Inker: Don Heck
Letterer: John Costanza

“The Australian Code Mystery”
Writer: David Vern Reed
Penciler: Alex Toth
Inker: Sy Barry
Letterer: Gaspar Saladino
Editors: Mort Weisinger and George Kashdan

“Private Eye of Venus”
Writer: Gardner Fox
Penciler/Inker: Carmine Infantino
Editor: Julius Schwartz

We’ve got a lot of backup material in this issue, with two very different mystery stories rounding out the Bat-tales, which is always neat to see.  We’ve got a military-style spy story, complete with code breakers and double dealing, as well as a classic 50s-style sci-fi yarn.  Yet, our cover story is definitely the highlight.  It’s a surprisingly touching story where the action and adventure take a distant backseat to the human drama of one unexpectedly sympathetic and well drawn supporting character.  As for the cover itself, it is just okay.  It’s got that soft, ghostly effect that we’ve seen often lately, and it actually rather inverts the events of the actual story.  Still, it is nicely menacing and dynamic.

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It begins with an unusual tale of love and betrayal set forty years in the past.  A lighthouse keeper lets himself be distracted from his duties by his young love, and a ship wrecks in a stormy sea (Tom Curry would be disgusted!).  Unable to live with what he’d done, the keeper killed both his lover and himself, leaving the tower…haunted!

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Detective414-04In the ‘present,’ Batman is poised in the rafters of a Florida bar, spying on a meeting of arms smugglers.  Notably, the narration focuses on the humidity and heat of the night (and if you’ve ever been to the Gulf Coast, that will be no surprise to you), and I can’t help but think, ‘man, Bats must be DYING under that cape and cowl!’  Anyway, the Dark Knight’s comfort aside,once the guns are revealed, the Caped Crusader descends on the hoods, taking out the muscle in a nice fight scene.

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Detective414-06Yet, among this motley band of mercenaries are a mismatched pair, a tall, Amazonian blonde named Lucy and a little fellow named Arnie, who has brought the guns down from Gotham.  When the Masked Manhunter confronts the Lilliputian driver, Lucy attacks the hero.  This leads to a fun little exchange where Batman tells this fiery femme that “I don’t want to hit a member of the fair sex–but if the need arises…”  That feels very fitting.  In order to save the diminutive driver, Lucy offers to make the Dark Detective a deal.  She offers to bring the Caped Crusader to the head of the gang, if only he’ll let Arnie go.

Detective414-07Batman agrees, and as he and Lucy board a boat and head for the abandoned lighthouse for which the guns were originally destined, we learn why this brassy belle was willing to make this trade.  Beautifully illustrated by Novick, who perfectly captures Lucy’s care-worn face, we learn a bit of her backstory.  With a lovely, rough-hewn charm, she describes how she was once an up-and-coming singer in Jersey, and Arnie was her manager who wanted to marry her.  She wanted nothing to do with the little fellow, and instead lived a fast, flashy, and ultimately hard life, losing her beauty and her voice chasing the wrong type of men and the wrong types of thrills.  Only then did she realize her love for the sweet-natured Arnie, but then he wouldn’t have her.  It’s sweet, and sadly beautiful, and it’s delivered in just one great panel and a few word balloons.  It’s a real feat of storytelling to create something touching in so brief a space, and another example of the power of this medium for narrative economy.

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Once on the island, Batman lays in wait for the buyers, a thoroughly vicious South American general named Ruizo.  Lucy leads his men into a trap in the lighthouse, and the Dark Knight takes them out swiftly, taking advantage of the darkness.  But Lucy is left outside with Ruizo, who shoots her in revenge!  This old dame is tougher than she looks, though, and thinking that the General will go after Arnie, she drags herself across the beach and into the surf in order to wrap a cable around the getaway boat’s propeller.

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Detective414-15The Caped Crusader takes advantage of the situation to confront Ruizo, but the rough seas knock him off his feet, and he strikes head!  The General draws his sword and prepares for the deathblow, only to be surrounded by a corona of blinding light and an unearthly voice speaking of redemption.  Desperate to escape the ghostly blaze, the would-be dictator leaps into the sea and swims towards another phantom glow that he thinks is the lighthouse, only to sink into the depths.  Batman rescues Lucy, and they have a nice moment.  Then, he climbs into the lighthouse and, realizing that it has been deserted for years, he realizes there must be a spiritual explanation for the strange occurrences and he says…’thanks,’ as the restless spirit finds redemption.

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Detective414-17 - CopyThis is an odd little tale, with the haunted lighthouse not quite fitting in smoothly, but it really becomes worthwhile with the brief but touching story of Lucy, her wasted life, and her heroic struggle to save the only man who had treated her with love.  She’s wonderfully sympathetic, and I wish O’Neil had cut out the ghost angle and just spent more time with her.  Novick’s art is serviceable throughout, occasionally rising to be excellent, but one of the only flaws of this story is that he struggles to consistently portray the age and wear on Lucy’s face.  She’s as gorgeous as Black Canary most of the time, with only a few panels really capturing the older, more world-weary face she’s supposed to have.  It makes it a little hard to take her tale of faded glory seriously.  This is, of course, a common problem in superhero art, as artists tend to only be skilled at drawing heroic types.  Despite its weaknesses and the ill-fitting element of the haunted lighthouse, this story is nonetheless memorable because of the charming portrayal of this single random minor character.  I’ll give it 4 Minutemen in honor of “Loosy’s” hard-knock life.

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“Invitation to Murder!”


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This month’s Batgirl backup features a night at the theater, as Jason Bard, the poor man’s Dick Grayson, takes Babs to see a new show, only to arrive to find the place seemingly deserted!  The only other showgoers are a couple in one of the private balconies.  Nonetheless, the show goes on, only to be suddenly interrupted when Jason notices a rifle pointing at the other guests from nearby their nosebleed seats.  He tries to intervene, only to receive a buttstroke for his troubles.

Babs strains credulity for her secret identity, switching into Batgirl and tackling the gunman.  She stops his next shot, but the fellow tosses her over the edge of the balcony.  Fortunately, she manages to grab onto the rail, and she sees her dear detective try to tackle the gunman again, only to get his head handed to him…again.  Switching back to Babs in the interim (are we sure she doesn’t have super speed powers?), she picks up her battered beau, who in turn picks up the sniper’s weapon.  It’s a lever-action rifle, a prop from “Mesa Productions,” which recently went bankrupt.

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Wondering who their rogue rifleman was shooting at, the couple goes to investigate, only to find that the targets were Hollywood royalty, “Tiz and Robbie Marlow,” clear analogs for Elizabeth Taylor and Richard Burton, who were THE Hollywood couple of the mid-century, which is a fun little detail.  Incidentally, America’s celebrity obsessed paparazzi culture really took off with those two, which is a sad memorial to their relationship.  While you’re pondering that anecdote, our heroes are pondering who would want to take a shot at these beloved figures.  It seems that one of the bullets at least managed to find its mark, and Richard, err…Robbie, got hit in the arm.

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After “Tiz” sobbingly wonders why anyone would do such a thing, especially on their anniversary, Jason begins to put some of the pieces together.  He deduces that the Hollywood couple had booked the entire theater for their anniversary, and the ticketseller had misheard the sleuth and given him tickets for the seventh instead of the second, tickets which he didn’t bother checking…and apparently neither did the ticket taker, who they just rushed past.  Odd.  Yet, even odder, the Marlows didn’t buy out the house, the tickets were a gift from “an anonymous admirer.”  Clearly a setup.  It seems only their manager, Joe Ryan, knew of their plans, but Jason’s playmate didn’t seem to be him.  The tale ends with Babs stepping out, ostensibly to call the police, but really to pursue a hunch of her own!

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This is a fun little story, and it has the makings of a good two-parter, but there’s not quite enough here to make for a substantive mystery.  We don’t even meet a single suspect.  Nonetheless, Robbins gives us a colorful and interesting setup, and the playful reference to the real-life stars is fun.  There’s also a nice dynamic between Jason and Babs, with Batgirl’s paramour being a detective in his own right, which gives their adventures a rather different flavor than those of most heroes in their secret identities.  It’s also beginning to get a bit comical that Jason can’t seem to win a fight to save his life.  Unfortunately, Don Heck’s art continues to be a poor fit for this feature, still producing a number of awkward, stiff figures and rough compositions.  Yet, there are also some really nice panels, and some of his facework is quite good.  The overall effect is serviceable, if not exactly good.  So, I suppose I’ll give this crazy curtain call an above average 3.5 Minutemen, as it has just enough of interest to raise it above the crowd.

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This was an enjoyable pair of Bat-books, with the long deferred return of the bifurcated badman, Two-Face.  I’m hoping that this heralds a return of supervillains to the book in general, though I know we’re still a little while away from the Joker’s triumphant and legendary return.  We also get an intriguing glimpse of 70s popculture, with the appearance of an ersatz Liz Taylor and Richard Burton, who I imagine were easily still in the headlines here in the early 70s, even if their heyday had passed with the 60s.  In fact, each of our stories in this bunch have something to recommend them, from the socially relevant Robin tale to the surprisingly touching Detective yarn.  I’d call this a memorable pair of comics.

 

Into the Bronze Age: July 1971 (Part 4)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Superboy #176


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

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

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

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

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

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

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

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

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

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

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

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“Invisible Invader”


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

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

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

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

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

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Superman #240


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

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

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

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

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

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

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

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

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

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

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

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

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

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“The Man Who Cheated Time”


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

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

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

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

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

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


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

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