Into the Bronze Age: October 1971 (Part 1)

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I’m back at last!  Welcome readers and friends, to a long deferred new edition of Into the Bronze Age!  My world wandering has come to an end for a while, but it seems like Lady Grey and I only started to recover when we found ourselves swamped by the beginning of the semester!  Our adventures were excellent but exhausting, and for a while after we got back, we did as little as possible.  Now we’re running to catch up!  The semester has proven much busier than we anticipated, and I find myself getting smashed by my dissertation work, so updates will be intermittent for a while.  I will be happy to return to my Bronze Age ruminations and to my modding projects, though, and I was glad to find time to finish this post, which sat half-way completed for a month!  Here’s hoping that the early days of Fall will have some wonder left in them for all of us.

This month we’ve got several super, but not exactly superb, tales, featuring Superman and Supergirl, as well as some deeds of Detective derring-do.  Let’s check them out!

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


This month in history:

  • Walt Disney World opens in Florida (the only Disney of my youth)
  • Tennis star Billie Jean King becomes 1st female athlete to win $100,000
  • Social Democratic and Labour Party continues its boycott of the Northern Ireland Parliament
  • Northern Ireland PM and British PM meet and agree to send an additional 1,500 troops to Ireland
  • John Lennon releases “Imagine”
  • US and USSR perform various nuclear tests
  • Jesus Christ Superstar premieres
  • 2 killed in racial violence in Memphis
  • Pittsburgh Pirates beat Baltimore Orioles, 4 games to 3 in 68th World Series
  • Last issue of Look magazine is published
  • A group of Northern Ireland MPs begin a 48 hour hunger strike against the policy of Internment
  • West German Chancellor Willy Brandt is awarded Nobel Peace Prize
  • Nobel prize for literature awarded to Pablo Neruda
  • Troubles continue in Ireland, with several IRA members killed in various confrontations with police and troops
  • IRA explodes a bomb in Post Office Tower, London
  • U.N. agrees to admit the People’s Republic of China
  • Films of note: The French Connection, Bedknobs and Broomsticks, and The Last Picture Show

We’ve got another month with the Troubles continuing in Ireland and racial unrest continuing in the States (Get used to seeing those words; they aren’t going away any time soon).  Yet, there are also a number of interesting cultural events that take place this month.  I’m rather surprised that the Florida Disney World opened this late.  I rather thought it had opened shortly after the original location.  We also get the release of several memorable films, including a childhood favorite of mine, Bedknobs and Broomsticks.

To me, the most interesting of these events is the debut of Jesus Christ Superstar because it says rather a lot about the spiritual state of the country, with its humanized, un-deified Christ and its focus on a sympathetic Judas.  It’s a good show, one that I’ve enjoyed, but it is certainly a product of its time and, in terms of its dubious theology, very much a product of the modern world.  It is human nature to want to confine the cosmic and limit the illimitable.  As soon as you grant the deity of Christ and the significance of his appearance, he goes from a ‘wise philosopher’ who talked about how people should be nice to each other to a God whose existence makes certain demands upon us.  This is is a significant part of the reason that we’re always trying to rewrite the historical Christ, trying to redefine him as something that will demand less of us, no matter how little sense such revisions might make.

On a more grounded note, this month’s chart topper by a clear margin is Rod Stewart’s “Maggie May,” which is a great song with a lovely, bittersweet tone to it.  It’s interesting, and in context of the history and culture of its day, the song feels even more fitting.

 


Roll Call


(You can see everything published this month HERE)

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

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


Action Comics #405


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“Bodyguard or Assassin?”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff
Cover Artists: Neal Adams and Dick Giordano

“The Red Dust Bandit!”
Writer: Don Cameron
Penciler/Inker: Howard Sherman
Editor: Mort Weisinger

“The Haunted Island”
Writer: Jack Miller
Penciler/Inker: Ramona Fradon
Editor: Mort Weisinger

“The Most Dangerous Bug in the World?”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Murphy Anderson
Editor: Murray Boltinoff

We’ve got a weird one to start us off for this month, just an odd duck from start to finish.  It has a solid enough cover, with some type of mysterious threat presumably lingering just beyond the image and Superman in an iconic pose, but it isn’t really all that dynamic.  The story inside is similarly uninspiring.  It begins with the Man of Steel answering an urgent summons from the President.  Notably, we aren’t treated to the conventional shadowed figure of a non-specific president.  No, this time we see the Commander in Chief clearly, and he and his security chief, General Trevis, scan the Metropolis Marvel before he is admitted to the Oval Office, citing fears of assassination.  Apparently, a mysterious malefactor left a message on the President’s desk, declaring that an enigmatic assassin named Marsepun would kill the head honcho at 9:00.  Note the name.

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Well, to protect the President from this would-be killer, Superman, upon advice from Trevis, takes him to the automated base, Tonacom, hidden in a mountain in a secret location and supposedly impenetrable.  Once inside, the Action Ace is given an overview of all of the defenses guarding the only way in, but suddenly communications with Trevis fritz out and the sensors detect an intruder barreling straight through the base’s protections.  To make matters worse, the evidence indicates that it is somehow Superman himself who is fighting his way inside to kill the President.  The Man of Tomorrow realizes that it is his voice on the assassin’s message and that the name, Marseupun, is just an anagram for his.  Hands up if you saw that one coming.  In the face of all this, the Kryptonian begins to lose his grip.

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The many moods of Superman

Now, this could have been an intriguing, suspenseful sequence…if Bates hadn’t immediately revealed that Trevis is behind it all.  He’s working for a secret organization that doesn’t want the President to sign a peace deal that will lead to nuclear disarmament, and he’s set Tonacom up as one big trap, combined with a hidden thought-scrambler designed to turn the Man of Steel psychotic.  In an attempt to calm the increasingly agitated hero, the President narrates some of his “spectacular acts of courage in the past,” leading to a weird couple of pages with flashbacks to non-existent stories.

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Despite all of the Chief Executive’s efforts, as the intruder gets closer, Superman gets more enraged.  Suddenly, the vault door of the base explodes inward and the Action Ace is confronted…with his reflection.  Yep, that’s it.  This confirms that he’s been the assassin all along, and he turns against his charge, who shoots him with a “gamma gun.”

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Unfortunately, the politician’s beam reflects off of his invulnerable target and strikes him instead.  Trevis has been watching and recording all of this, planning on using the video to chase Superman from the Earth, but suddenly, the Man of Steel explodes, revealing that he is in fact as well as in name, a man of steel, a Superman robot.

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Destroying all of the evidence, Trevis flees, but when he reports to his masters, they tell him he has failed and execute him through the phone (neat trick, I wonder if it works on telemarketers…).  Just as he dies, he sees the President, still alive, but it is actually Superman in disguise.  While searching for the authors of all of this misfortune, the Metropolis Marvel thinks to himself that the President was suspicious of Trevis for weeks, and that the two of them had planned this sting to catch him.

action 405-19Superman controlled his robot with a remote, a remote with some very specific buttons and used….*sigh*….”Super Ventriloquism” to speak for it.  Sadly, his efforts to track down the spy ring behind the assassination attempt meet with failure, as he follows their signal to a phone booth on a deserted island in the middle of the ocean….only to have the device explode after a mocking message.  That’s a lot of preparation for not a lot of payoff, but I suppose the shadowy organization knows its business.  The story ends with the notice that it was an imaginary tale and that the danger still exists…which seem like rather contradictory ideas.

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This comic could have had an interesting, suspense-story vibe, as Superman wrestled with whether or not he was losing his mind, but Bates decided to discard the suspense, and with it, most of the interest of the story, by revealing, not only the villain, but the entire plan as well.  Superman’s twist feels like a bit of a cheat, and it makes his narration of his previous deeds rather ridiculously boastful in retrospect.  The end result here is just awkward.  Bates couldn’t quite decide what he wanted this story to be, and so it is a loose collection of ideas that don’t resolve into anything worthwhile, despite some interesting potential.  I’ll give it 2 Minutemen.

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“The Most Dangerous Bug in the World”


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The backup is forgettable but solid enough.  It begins with a boy bumping into Clark Kent on the street and planting a tiny ‘bug’ on him that would have been science fiction in 1971 but is pretty commonplace today.  This device fits unnoticed in the newsman’s pocket and yet can transmit several blocks away.  Is this some nefarious scheme by Lex Luthor to learn Superman’s secret identity?  Nope, it’s just dumb luck.  The kid is the grandson of an inventor who wants to show off his new bug to some investors.  He sent the boy out to plant it on some poor schmuck, which seems wildly unethical to me.  The men, unconcerned with the inventor’s casual invasion of privacy, then proceed to listen in on the private life of this random stranger.

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However, because the stranger is the Man of Steel, what they hear is unusual.  First, they hear him typing at super speed, and then, after he gets a distress call from a small space ship from an antimatter universe, they hear him flying at super speed.  They can’t make sense of these sounds at first, and the Action Ace’s rush to the aid of the antimatter astronauts brings them confusion.  The aliens tell him that if they make contact with the Earth, both it and they will explode in a cataclysm as matter meets antimatter.  Now, I’m no physicist, but wouldn’t they already be in contact with molecules of air…which is matter…so wouldn’t they already have annihilated the planet?

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Comic book science aside, the Man of Tomorrow leaps into action, ensuring that there will actually be a tomorrow after all.  He burrows a path through a mountain and then pulls them ship up into space in his slipstream.  Guiding the craft back to the rift through which they had accidentally passed, he sends them home, only then realizing that there is a transmitter sending out a signal from his pocket.  Meanwhile, the scientist has, with a rather astonishing leap in logic, figured out that he’s listening in to Superman, and the kid, feeling bad for having accidentally exposed the hero’s secret (this is why you don’t spy on people!), confesses to Clark.  Of course, Mr. Mild-Mannered covers, and that night he shows a film of Superman, featuring the same sounds, and informs his audience that he previewed it in his office, allaying the eavesdropper’s suspicions.

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This is not a bad little story, though a bit silly in the convenience of its logical leaps.  I rather wish Bates had played the mysterious sounds for a few more laughs, as that could have been a fun source of humor, with the scientist trying to convince his investors that the device really was working properly.  Still, it’s a fine if forgettable tale.  I’ll give it 2.5 Minutemen.  The art in both of these stories is good, in the usual ‘Swanderson’ style, with some really rather nice bits in both strips.

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This comic had classic Vigilante and Aquaman stories as backup strips, and they were a lot of fun.  The Vigilante yarn was very much Lone Ranger-style Western rather than straight superhero, but it was nonetheless a neat surprise, as was the super charming Ramona Fradon Aquaman tale.  I’ll have to do a feature on those classic Aquaman stories one of these days.


Adventure Comics #411


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“The Alien Among Us”
Writer: John Albano
Penciler: Bob Oksner
Inkers: Bob Oksner and Steve Englehart
Editor: Joe Orlando

“The Wedding That Wrecked the Legion”
Writer: Edmond Hamilton
Penciler: John Forte
Inker: Sheldon Moldoff
Letterers: Vivian Berg and Milt Snapinn
Editor: Mort Weisinger

“Warrior Shepherd”
Writer: Ed Herron
Penciler: Carmine Infantino
Inker: Carmine Infantino
Editor: Joe Orlando

Our Supergirl story this month is an interesting one, with a bit of a 50/60s morality play sci-fi feel, something of a cross between The Day the Earth Stood Still and “The Monsters are Due on Maple Street”.  It’s a little surprising that this comic is from 1971 rather than 1961, at least until you notice the fashions.  On an unrelated note, this is the second month in a row where we’ve had a cover with a kid blindly wandering into danger as Supergirl rushes to help, which is rather random.  Someone at DC had child endangerment on the mind.  The cover image itself is okay, though the alien is more odd than menacing, really.

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The tale begins with the news crew getting a report of an alien entering Earth’s atmosphere in some type of transparent capsule, and Linda slips off to go investigate the matter, with Nasty all set to follow, only to get trapped into staying late and typing up order forms, thankfully putting a temporary end to her inane quest to discover the secret she already knows about Supergirl’s identity.  For her part, the Maid of Might zooms up to discover a strange looking space traveler on his way to the surface, but the gasses that form his clear cocoon begin to react violently with the atmosphere, and while she is putting out fires, the creature slips away.  Let’s leave aside for the moment how the creature can slip away from someone with super vision and super speed…

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The stranded space traveler has crash-landed on Earth, and he decides to investigate a native city before he tries to contact the inhabitants for help.  He meets with entirely predictable paranoia, fear, and cruelty, being attacked by three apparently myopic young misanthropes, who don’t seem to pay much attention to the fact that he’s seven feet tall and green.  The antagonized alien easily disables the punks without hurting them, only to then be accosted with about the same level of restraint by the gendarmes.  The cops pretty much immediately attack him, giving the creature only the briefest of warnings before they shoot to kill.  Remember, at this point, as far as anyone knows, he hasn’t done anything aggressive.

 

Fortunately, the bullets bounce off the alien’s armored skin, and the enraged being tries to toss the cops, car and all, away, only to be stopped by Supergirl who catches his metallic fastball.  When she tries to capture the creature, he vanishes, leading her to be summoned to a meeting of a bunch of soulless bureaucrats in suits, who chew her out and tell her not to interfere anymore as they set out to kill the innocent extraterrestrial.  The Girl of Steel objects, but not on any humanitarian grounds, instead arguing that capturing this sentient being could be scientifically advantageous….which is way too cold -blooded for the character.  We do get a brief note mentioning that Supergirl had helped cure the bird-people from her previous adventure, which is nice to know but is obviously an afterthought.  Apparently someone noticed that she totally abandoned those folks last issue.

 

The next day, the city is panicked, and citizens are attacking anyone who is different, thinking they may be the alien in disguise.  The Maid of Might has to intervene again and again to rescue different innocents from angry mobs.  The source of all this fear, meanwhile, is hiding out in a basement, scared and lonely himself, when he is discovered by a young boy.  The child befriends the being, feeding him, and in return, the traveler heals the young boy’s arm, which had been useless since birth.

 

Unfortunately, the boy’s father discovers the alien and reports him, leading the bureaucrats and the police to ambush the hapless creature.  After promising he won’t be harmed if he surrenders, they immediately open fire, while Supergirl stands by and watches, ineffectually objecting but not doing anything to intercede as they murder the innocent alien.  That’s really the most unforgivable part of this issue to me, that Linda, who absolutely has the power to prevent this tragedy, doesn’t act, all because some jerk in a suit tells her not to.  After the space traveler is struck down, we get the standard sci-fi ending, as the boy rushes to him, pleading innocence in the ambush, only for his newfound friend to forgive him before he dies.

It’s a surprisingly grim ending, and unnecessarily so, especially since Supergirl could and should have interceded to prevent it.  This is particularly surprising considering the growing independence of thought and increased moral maturity that we’ve been seeing in these books.  We’ve seen Superman and Supergirl both buck corrupt authority….but not this time.  Nonetheless, this isn’t a bad issue, though it doesn’t have enough space to do everything it is trying to do.  It definitely feels like a classic sci-fi morality play, but in order to create that atmosphere, Albano mishandles his protagonist and rushes to reach his “the real monster is man” ending.  It’s still a relatively decent tale with some emotional weight behind it, and the too-brief scenes with the boy and the alien are actually rather charming.  Bob Oskner’s art is functional throughout, though his alien is suitably strange, yet sympathetic, and he does a great job portraying the creature’s very human fear and despair.  I’ll give it 2.5 Minutemen, with it losing some points because of Supergirl’s portrayal.

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Detective Comics #416


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“Man-Bat Madness!”
Writer/Artist: Frank Robbins
Colorist/Cover Artist: Neal Adams
Letterer: Ben Oda
Editor: Julius Schwartz

“The Deadly Go-Between!”
Writer: Frank Robbins
Penciler/Inker: Don Heck
Letterer: John Costanza
Editor: Julius Schwartz

“Rex-Circus Detective!”
Writer: Robert Kanigher
Penciler: Alex Toth
Inker: Sy Barry
Editor: Julius Schwartz

“The Case of the Gold Dust Death”
Penciler: Ramona Fradon
Inker: Ramona Fradon
Letterer: Ira Schnapp
Editor: Jack Schiff

Detective Comics this month brings us another tale of that Bronze Age staple, the macabre Man-Bat!  We have an intriguing yarn in this issue, as Frank Robbins is handling both the art chores and the writing, and the result is unique and striking.  Neal Adams does a great job with the colors, and the pair create a really nicely moody and eerie adventure that is a bit ahead of its time in style.  The whole effect reminds me of books from the 80s and 90s, especially the limited-color palette Dark Horse Star Wars books like Dark Emipre.

The story itself begins at a quiet, subdued wedding ceremony where Kirk Langstrom and his fiancee, Francine, finally managed to tie the knot without anyone bat-ing out.  Batman himself watches over the ill-starred couple, and after the ceremony, he gives them a gift, a case full of his Man-Bat antidote.  The gift comes with a warning, as he doesn’t know how long the original dose will last.  The pair of newlyweds swear never to go down that monstrous road again and prepare to build a life together, though they realize they can never have children for fear of what they might become.

 

After their honeymoon, Langstrom destroys his formulas and vows never to experiment again, but when someone uses a prototype sonic device elsewhere in the museum, a change comes over the scientist,  Working in a frenzy, he prepares a new batch of his mutagen.  Fortunately, the device is shut off before he takes the devilish draught, and Kirk locks the new formula away, rushing off to meet his wife at the opera, complete with stylish and totally not portentous cape.  This whole sequence is just wonderfully rendered, capturing the oppressive madness of the scene, with Langstrom’s face distorted by beakers and cast in somber lines by dim lights.

At the opera, all is well until the violinist starts to play, and the high-pitched sound once again affects the scientist, who begins to revert to Man-Bat!  Francine tries to give him the antidote, but, hilariously, the prima donna’s solo aria shatters the ampule.  Completely transformed, the Man-Bat once more takes flight, pursued by Batman, who was also attending the show.  After a brief fight, the monster flees to the subway, railing against the moon that he fears controls him and declaring his own independence from outside forces.

Man-Bat invades a subway train, causing a panic and an emergency stop, which in turn causes an electrical fire, trapping the passengers.  In a nice moment, Batman appeals to his alter-ego’s remaining humanity, and the pair rescue the hapless travelers and together lead them out of the blackened tunnel.  Yet, once the deed is accomplished, Man-Bat once again escapes from the Dark Knight, arriving at his lab, where Francine awaits him.  However, this time the monster has no compassion for his mate, and he knocks her aside and drinks his new formula, intending to remain Man-Bat forever.  Fortunately, Batman beat him to punch, switching the vial with a new antidote.  The experimental serum cures Langstrom, perhaps forever (what are the chances of that, huh?), but it is still untested, so only time will tell.  The couple may even be able to have children. I’m sure that couldn’t possibly go horribly wrong.

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This is a fine little adventure, but it is too brief to be really successful.  We get some nice moments, and the sequence in Langstrom’s lab is great, but the whole thing resolves a little too quickly and too easily.  In general, this story just needs more development, especially the element with the sonic triggers for Langstrom’s transformations.  There’s an interesting angle there, but it’s left entirely unexamined.  I like Batman’s appeal to Man-Bat’s “ember of humanity”, and it’s nice to be reminded that the creature does have a heroic streak.  Throughout, Robbins’ artwork is just striking, and his work on Man-Bat’s face is really quite exceptional.  The furry, monstrous, yet wonderfully emotional visage is very effective.

His figures get a little cartoonish at times, which really doesn’t fit the tone or themes of the story, but overall, I quite liked his work here.  He gives several scenes a wonderful dramatic weight and definitely evinces a good sense of storytelling, even if his style is a little off at times.  It’s unusual but enjoyable.  So, all-in-all, this is a solid and interesting tale.  I’ll give it 3.5 Minutemen, with the unusual art raising it above average.  On a different note, this Man-Bat appearance struck a chord in my memory, and I found myself reminded of Spider-Man’s foe, the Lizard.  There are a lot of similarities between these characters and their settings, down to a long-suffering wife and the tragic regularity of their backsliding.  I wonder how intentional the parallels were, as the Lizard had premiered a decade before at Marvel.

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“The Deadly Go Between”


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Our Batgirl backup for this week is a solid story, which begins with the funeral of one of Gotham’s Finest, a close friend of Commissioner Gordon, killed in the line of duty.  Gordon swears to catch the fiend responsible and works himself ragged in search for the mysterious murderer.  When the Commissioner gets an enigmatic call in the middle of the night, Babs listens in, worried about her father, but she gets quite a shock.  The voice on the line claims to be Batgirl, and the real girl detective hears her lure Gordon into some sort of trap, claiming to have found his friend’s killer!

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Heading out to catch her impersonator and protect her father, Batgirl discovers her doppelganger, only to be captured by a pair of thugs acting as backstops for the duplicitous Dare-Doll.  Meanwhile, the bogus Batgirl leads Gordon to a meeting of radical political group, claiming that their leader killed the Commissioner’s friend, just because he hates cops.  The scene is accompanied by some very goofy slang, as the fellow is described as an “ice-the-pigs radical”.

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In the interim, our real red-haired heroine’s situation hasn’t improved any, as her two captors prepare to toss her off the roof.  She manages to turn the tables on them and escape, rushing to trace her father, while he and her criminal counterpart await the departure of the fall-guy, Zed Kurtz, who the false Batgirl is certain will kill Gordon when confronted.

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This is a fine first part of an adventure, and I’m certainly curious to see how it will all play out.  The one real weakness is the ease with which Babs is captured.  She’s sneaking up on her double, and the dialog tells us she’s alert and scanning for trouble…and then her captors just materialize next to her.  That section could have been handled better, but that’s a fairly minor quibble.  It’s nice to see Gordon get something a spotlight, and a duplicitous version of our dynamite dame protagonist is an interesting angle.  Heck’s art is really a bit better this issue, with no real weak points, and he brings a lot of detail and richness into his setting and backgrounds.  I’ll give this one 3 Minutemen.

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Alright my friends, that wraps up this edition of our little Bronze Age ballyhoo.  I hope that some of my dear readers are still out there and check in every once in a while.  I’m sorry for the long delay and hope that we’ll be able to meet more often going forward.  This was a solid batch of books with which to reconvene, but the next set looks to be much more memorable, including another Mr. Miracle, but also the conclusion to the Green Lantern/Green Arrow drug story!  Check back soon for more Bronze Age goodness and a little comic craziness.  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: July 1971 (Part 2)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Brave and the Bold #96


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

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

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

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

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

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

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

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

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

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

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

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

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Detective Comics #413


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

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

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

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

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

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

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

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

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

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

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

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“Squeeze-Play!”


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

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

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

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

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Forever People #3


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

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

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

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

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

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

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

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

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

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

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

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

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

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

Into the Bronze Age: May 1971 (Part 3)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Detective Comics #411


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

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

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

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

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

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

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

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

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

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

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


“Cut…and Run!”


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

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

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

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

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The Flash #206


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

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

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

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

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

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

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Get it?  GET IT?!

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

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

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

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

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

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“Showdown in Elongated Town!”


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

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

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

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

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

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

Into the Bronze Age: March 1971 (Part 3)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Detective Comics #409


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

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

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

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

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

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

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

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

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

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

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

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

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“Night of the Sharp Horns”


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

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

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

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

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

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

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The Flash #204


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

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

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

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

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

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

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

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

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

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

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Superman is being super-pushy.

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

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

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

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

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

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

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


“The Mind Trap”


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

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

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

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

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

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


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

Into the Bronze Age: December 1970 (Part 3)

DC-Style-Guide-1

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

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

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

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

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


Detective Comics #406


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

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

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

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

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

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Can you figure it out?

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

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

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

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

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

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“The Explosive Circle!”


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

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

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

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

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

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

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

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The Flash #202


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

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

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

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

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

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

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

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

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

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

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

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

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

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


“The Accusation”


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

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

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

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

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

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

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

Into the Bronze Age: October 1970 (Part 3)

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

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

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

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

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


Detective Comics #404


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

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

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

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

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

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

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

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Apparently while in Spain Batman learned how to fly…

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

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

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

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

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

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“Midnight Doom-Boy”


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

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

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

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

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

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

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

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