Into the Bronze Age: December 1971 (Part 5)

Hello fellow Internet wanderers, and welcome to another edition of Into the Bronze Age, finishing up our coverage of December 1971. I’m afraid that there is a cloud hanging over our celebration of the joy of classic comics today, as a tragedy has struck the FF community. We recently learned of the death of Cyber Burn, content creator extraordinaire, my constant aide and ally, my dear friend, and all-around great human being. He was an amazing guy, and we are all grieving his loss. I’m going to write more about him and his importance to our community and literally everything I ever created for FF in a future post. At the moment, I don’t have the capacity to do him justice, though I am far from certain that I ever will be up to that particular herculean task.

In the meantime, let’s celebrate one of the things that always brought him joy, one of the things that, for him, as for many of us, served as a refuge from the ugliness and tawdriness of the world around us, the realm of the fantastic, the brighter, more hopeful terrain, of superhero comics. Let’s see what our last books of the month have in store for us.

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman’s Pal, Jimmy Olsen #144


“A Big Thing in a Deep Scottish Lake!”
Writer/Penciler: Jack Kirby
Inkers: Vince Colletta and Murphy Anderson
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell


DNA Project: “The Torn Photograph”
Writer/Penciler: Jack Kirby
Inker: Vince Colletta
Letterer John Costanza
Editors: Jack Kirby and E. Nelson Bridwell


Newsboy Legion: “Kings for a Day!”
Writers: Joe Simon and Jack Kirby
Penciler: Jack Kirby
Inker: Joe Simon
Letterer: Howard Ferguson
Editors: Whitney Ellsworth

The first book in this batch is that misfit, redheaded step-child of the Fourth World titles, Jimmy Olsen, but unlike the bizarre, confusing mixture of ideas from the previous pair of issues, this month the King gives us something much more focused and fun. As you might guess from the cover, this comic sees the Newsboy Legion and our titular cub reporter coming face to snout with an ersatz Loch Ness Monster. In such an aquatic adventure there’s even a chance that Flippa Dippa might actually be useful….but I wouldn’t count on it. The cover image itself is a pretty good one, with a nicely dynamic and exciting central drama unfolding upon it, as the Legion hang on for dear life or leap to safety during their impromptu shipwreck. The whole thing has the King’s trademark energy and excitement. Superman doesn’t quite fit in with the picture, both because of Murphy Anderson’s overwriting of Kirby’s work and because he’s not really part of the dominant scene. That is actually rather accurate, as he plays no role in Jimmy’s plot, but it looks a bit odd to have him disproportionately soaring past as his young friends face pseudo-Nessie’s watery wrath, ‘Sorry kids, I’ve got super-business back in Metropolis, good luck with the monster!’

Not exactly the most creative of titles…

Kirby’s cover is a pretty fair promise of what awaits us within, and our tale begins with a Kirby-tech speedboat racing across the surface of “Loch Trevor,” which is totally not Loch Ness, thankyouverymuch. The pilot of the craft is searching for a supposed sea monster that stalks the waters of the Loch, and he finds it, or rather, it finds him, in rather dramatic fashion, destroying his ship and setting the stage for our adventure. Back in Metropolis, everyone’s favorite corporate shark, Morgan Edge, is raking Jimmy Olsen and the Newsboy Legion over the coals for failing to come back with a story. Of course, they have a heck of a story about “The Project,” but they’ve been sworn to secrecy. The King also seems to have forgotten that he last left Jimmy Olsen watching musicals projected onto the clouds of a miniature Universal Monster-themed world, so one would imagine he’s got quite the story to tell himself! Nonetheless, the heinous head of Galaxy Broadcasting casually dismisses the Legion’s claim that their Whiz Wagon was destroyed by a bomb and sends them out to chase down the scoop on the sea monster of Loch Trevor. Man, the gang are awfully forgiving about all of Edge’s attempts to kill them. You think they’d be a tad more insistent about that whole thing. Yet, once they’re out of his office, he opens the secret screen in his desk that we saw in this month’s Lois Lane, but this time he’s not looking at himself. Instead, he orders a hit on the Newsboy Legion!

Meanwhile, all crime everywhere has apparently been stopped, because Superman and the Guardian are spending their time dropping by a “discotheque,” not for charity, not as a benefit, not working a case, but just to “help their attendance.” Oookay? I’m glad they’ve got their priorities straight. Inside, they meet the young woman who is running the place, a girl named Terry Dean, who we saw briefly in #138. It seems she first appeared in a rather interesting sounding issue, #127, wherein Jimmy Olsen goes undercover to expose a slumlord. It’s neat and a little surprising that Kirby is making use of this minor supporting character introduced before his run, though I wouldn’t have minded some editorial reminders here. At any rate, Dean introduces them to a super Kirby-ified band, the San Diego Five String Mob, who are secretly serving Apokolips. They are wonderfully cool looking, in that inimical Kirby style of gonzo gadgets and weird wardrobes. As the malevolent musicians maintain their cover, playing strange music, Dubbilex, the D.N.Alien suddenly appears, bringing with him a warning!

The King cuts away before we see what comes of that, though, and we travel to the skies over Scotland, where Jimmy and the Legion are literally dumped out of a fancy jet in the Whiz Wagon. Scrapper is determined he’s going to fit in, and has dressed the part, complete with kilt and Tam o’ Shanter, but unfortunately, his voice gives him away every time he opens his mouth, which becomes a running gag. On the ground, the gang nearly run over their contact, Felix MacFinney, as they try to stop their careening car, but they manage to do no permanent harm. This whole scene is fun and Kirby actually gives us some fairly charming humor, though we’re also besieged with comically exaggerated Scottish accents at every turn.

Back in the “discotheque,” Dubbilex reveals to the Man of Steel that there is a tunnel under the club that leads right back to the Project, but it is a tunnel the good guys didn’t make! Well, the bad band certainly can recognize a cue, so they prepare to strike…giving us a weird and interesting little sequence. They each play a note, summoning their “Sixth String,” Barri-boy, who is just another guy with a crazy instrument, but he literally brings the house down when he plays! That seems a little inefficient, but it’s still a fun sequence.

Back in Scotland, our neophyte newshawks meet MacFinney’s lovely daughter and engage in some banter while the plan for the monster-hunt the next day. MacFinney also shows them a device he created to attract the marine menace. Nothing suspicious here, nope! The next morning finds them out on the Loch, monitoring Flippa Dippa as he swims in its murky depths. Suddenly, he’s ambushed below the waves by a fellow frogman, and the others prepare to go to his aid, only to find themselves looking down the barrel of MacFinney’s gun! It seems that the Scotsman is actually an Intergang assassin! Fortunately, while Jimmy distracts the gunsel, the little Scrapper Trooper that the full-sized Scrapper brought along slips away and activates the monster lure. The situation is resolved in dramatic fashion, as the creature swamps the boat and seizes MacFinney, leaving the others soaked but safe. When they reach the shore, they find Flippa Dippa there ahead of them, having overcome his assailant, MacFinney’s “daughter,” another Intergang assassin. One wonders, how inept must she be at her job to have been taken out by Flippa Dippa? Confused but very curious, the gang determine to stay in Scotland and solve this monstrous mystery!

This is a fairly fun story, as silly as it is in parts, and the main plot, with Jimmy and the Newsboy Legion investigating the mystery and generally carrying on with their own banter and shenanigans, seems like a good fit for the characters. It’s a premise that serves them well, and I’d be happy to see the book settle onto a course like this. Heaven knows the last few issues have shown it is desperately in need of some direction. In terms of the writing, Kirby’s dialog, rather stilted and awkward in some of his other books, is generally in much better shape in this issue, provided you don’t mind his atrocious Scottish accents. He seems to have a good grasp of the voices of the Newsboys, which isn’t too surprising, seeing as they are his creations, after all. In fact, the interplay between Scrapper and the Scotsman, as well as the banter between the rest of the boys, is often genuinely funny and enjoyable. And then there’s everything Flippa Dippa says…the book’s resident embarrassment has fairly cringe-inducing lines throughout, like: “This ghetto guppie says ‘yeah!'” and “My SCUBA cells are vibratin’, Jimmy.” It is rather funny in an almost meta sense how desperately enthusiastic he is when he discovers that their adventure will involve a body of water, like he realizes how completely pointless he is as a character. Overall, Flippa Dippa aside, this is an enjoyable adventure. The King’s unmatched creativity is once again on display, but all of these different elements fit together much better than the bizarre horror-planet of the previous issues. Superman and the Guardian just sort of casually dropping by the club is pretty goofy, but the Kirby-tech band is so cool that I’m willing to give it a pass. Of course, the King’s art is great throughout, despite Colletta’s inking. I’ll give this promising start to a new adventure 4 Minutemen, with its sillier elements holding it back from a higher score.

P.S.: I’ve been really enjoying the Newsboy Legion stories that have been reprinted as backups in these books. They’re simple but fun.


Teen Titans #36


“The Tomb be Their Destiny”
Writer: Bob Haney
Penciler: George Tuska
Inker: Nick Cardy
Letterer: John Costanza
Editor: Murray Boltinoff


Aqualad: “The Girl of the Shadows”
Writer: Steve Skeates
Penciler/Inker: Jim Aparo
Letterer: Jim Aparo


“Superboy Meets Robin the Boy Wonder”
Writer: Bill Finger
Penciler: Al Plastino
Inker: Al Plastino
Editor: Jack Schiff


“The Teenager from Nowhere”
Writer: Bob Haney
Penciler/Inker: Nick Cardy
Letterer: Ben Oda
Editor: Mort Weisinger

Well, if this month’s Jimmy Olsen issue was an improvement over the previous one, we can’t really say the same for this month’s Teen Titans, which is rather disappointing. The book continues to limp along without a clear direction and without any real reason for the Titans to actually be involved in its plots. To start with, we’ve got an okay cover, with a hint of mystery to it, though the perspective and layout is a bit wonky. I’m not really sure how those stairs exist in relation to the angle of the floor at the front. While the scene is non-Euclidean, it is also atmospheric, but the context is a bit too vague for it to be entirely successful. Our heroes seem to be hunting this figure rather than trying to rescue him, but he’s turning to dust, which his dialog tells us is….bad, as if they’re out to help him? It’s just not terribly successful.

Unfortunately, the story itself isn’t much better. It picks up where we left off in our last issue, in the purported crypt of the “real” Romeo and Juliet, where Robin, Speedy, Wonder Girl, and the superfluous Mr. Jupiter examine the scene and debate whether Lilith is really the incarnation of Romeo’s star-crossed lady love. They spot a shadowy figure and give chase, only to be temporarily trapped by a cave-in. While they are delayed, the shadowy figure sneaks off with the unconscious forms of Romeo and Lilith (doesn’t have quite the same ring as the original, does it?).

The misshapen figure turns out to be a hunchbacked madman named “Calibano,” who is supposed to resemble Romeo’s cousin of the same name, though I wouldn’t have gotten that from the art alone. As the young lovers revive, this Calibano tells them that Romeo and Juliet were actually part of a love triangle, with him as the third angle. Lilith uses her power of vagueness to learn that it was actually him who killed the original moon-struck Montague, causing Juliet to take her own life. Then, he apparently got trapped in their tomb and put into suspended animation…by…plot? Seriously, that’s not explained at all.

Now Calibano’s convinced that the new couple are the originals reawakened, as he was, and he challenges Romeo 2.0 to a duel, and the brave young man fights a desperate battle while Lilith makes the valuable contribution of…shouting…and…looking worried. It’s just a very impressive showing for a superheroine. As the ancient feud reunites, the rest of the Titans follow the trail of their lost teammate, only to come across the other Calibano leading a water-borne funeral procession. We’re reminded that the police were interested in the Loggia family, and this funereal flotilla out on a foggy night seems suspicious.

Suddenly, Mr. Juptier, who let’s remember has displayed no particular skills or abilities or received any special training up to this point, decides that he’s an action hero, and he and Robin investigate the suspect ships. The pair discover that the casket is a cover for smuggling industrial diamonds (which really doesn’t seem all that worthwhile, really), and overcome a bunch of frogmen in an extended scene where neither of them is apparently troubled by the need to, you know, breath for what one can only assume is a good 15-20 minutes. The marine marvel millionaire hauls himself out of the water to confront Calibano, and is nearly killed, only to have his life saved by the sudden arrival of Don Loggia, who is actually honest, though still a jerk, and who was suspicious of his nephew.

While Robin was being upstaged by a random dude with no qualifications for hero work, the other two Titans arrive just in time to save Romeo…by straight-up murdering the original Calibano! That’s right, Speedy shoots the guy with a sharp arrow as opposed to any of the zillion trick arrows he carries. He shoots him right in the chest, and though the poor fellow is able to stagger back to the crypt, he definitely dies. (Man, the books this month have had an unusually high body count for the era!) The story ends with the characters wondering if Lilith and Romeo are actually the reincarnations of their much more interesting and famous predecessors, and we are told that they are totally in love. Yep, definitely deeply and really in love, a love that is absolutely going to last beyond this issue and will certainly carry significance for years to come. Or not. Yeah, it will probably not surprise y’all to learn that our dear friend, Zany Haney, the anti-continuity cop, completely drops that particular plot thread, and this Romeo guy is never heard from again. It’s just as well, because the whole ‘reincarnated Romeo and Juliet’ angle doesn’t seem super sustainable over the long-haul.

So, what are we to make of this story? Well, much like the previous issue, it’s not an entirely bad tale, by itself, but it isn’t particularly suitable for the Teen Titans, and there is absolutely no reason for these characters to be here. The actual Titans contribute almost nothing to the story, short of Speedy murdering a poor, deformed, and mentally ill fellow. That’s the part of the story that galls me most, as Haney gives Speedy exactly one panel to feel a little bad about missing the sword and shooting the guy straight in the chest, and that is it, as if this wasn’t entirely avoidable if the character was acting in any normal fashion. And, of course, because it’s a Zany Haney plot, this killing will never be mentioned or thought-of again, and that’s terrible on multiple levels.

Let’s also not forget Haney just casually adding a character and a whole subplot to what is arguably the most famous play of all time. It’s not quite as bonkers as it seems, though, as it is very likely that “Calibano” and his plotline were drawn from “Caliban,” a character in another of Shakespeare’s plays, The Tempest. In that story of magic and mysticism, Caliban was the misshapen and monstrous servant of the wizard Prospero and was also the unlucky angle of a love triangle. Nonetheless, even if Calibano has respectable origins in another of the Bard’s tales, his presence in this story is weird and a bit disconcerting, especially because the last issue ended with the young couple discovering the apparently mummified remains of Calibano, who was also wearing different clothes. Continuity errors aside, this whole thing is just a bit of a mess. Everything happens at the speed of plot, and the two plotlines end up feeling entirely alien to each other, despite the attempts to connect them with the multiple Calibanos. You could pretty much drop the entire Loggia family plot thread from this issue and lose nothing except for Mr. Jupiter’s inexplicable display of commando skills.

As you might be able to tell, I have just about lost all patience with this whole premise. This whole ‘superhero summer camp’ thing we’ve got going on, with the Titans involved in this vague project with Jupiter, just has nothing to recommend it to me. Lilith also continues to be vague and pointless, only now she is joined in her uselessness by Wonder Girl, who does nothing all issue. I find myself wishing we could see the Titans be, you know, superheroes. On the plus side, the team of Tuska and Cardy continues to be great, really turning out some lovely work with lots of darkly atmospheric scenes that add some drama and mystery to this silly plot. Their work is really deserving of a better story. So, what is the final score? Well, I would probably have given this one 2.5 Minutemen like its first half if it weren’t for Haney having Speedy kill the antagonist with zero justification, logic, or examination. That plus ‘secret agent-Jupiter’ sours the story for me, so I’ll give it 1 Minuteman. Haney is really batting 1000 this month.


“The Girl of the Shadows”


Interestingly, this issue has another little Aqualad backup, which is cool, but it is a super brief one, only running 3 pages. Apparently, this little mini-adventure, by the wonderful SAG team, was actually slated to appear in the cancelled Aquaman #57, and it was put into inventory when that book never materialized. Unfortunately, that also meant that this intriguing little tale and the mysteries that it introduces are never resolved! What a crying shame! Being only 3 pages, there’s really not enough here to judge, so I’ll just share all three pages and offer a brief overview.

It begins with the young Aquatic Ace emerging onto darkened docks, searching for a girl that had intrigued him when he saw her earlier at a concert (don’t tell Tula!). Just as he finds her and she gives him a cryptic greeting, she is confronted by a big man in strange armor who tries to capture the mysterious maiden. The Sea Prince cleans his clock, then asks the girl for an explanation. All she says is that they must “get past the wall — before it’s too late!”, and then she disappears, leaving our young hero to wonder what this strange encounter was all about. So, we are left with a mystery that will likely never be solved, and that’s a shame, because Skeates set the stage for an interesting story, and I would have quite enjoyed it if he had been given a chance to finish it in these pages.


“The Teen-Ager from Nowhere”


That…is a very…generous description of the infamous mythical figure, Lilith.

This month’s Titans issue actually held two original backups, and the second is a solo Lilith story, which is actually a good deal better than you’d probably expect from what we’ve seen of her in the main book. This little tale is something of an origin story, and in just 7 pages Haney gives us more information about Lilith and more reason to care about her than in all of the issues she’s been in up to this point combined. It is still, of course, pretty vague, but that vagueness is at least a bit more understandable here, and the story also seems to promise some answers might be forthcoming.

It begins when a 12 year old Lilith sees a group of men leaving her small Kentucky town to search for the body of a young boy presumed drowned in the river. Suddenly she runs after them and yells that he’s not in the river, leading them into the hills and finally to an old well. They find and rescue the boy, but then they begin to wonder how she knew he was there. The young girl can’t explain her knowledge, and the crowd grows more suspicious until her father finally arrives and takes her home. Back in the safety of her own house, her parents are supportive, but the pre-teen psychic senses that she is actually adopted, and she runs out of the house in search of her origins.

In fact, she runs all the way to the orphanage that once sheltered her, where somehow the matron recognizes and remembers her, despite the fact that she was only one year old when she was adopted. Neat trick! Lilith learns that her powers were apparently shared by her real mother, who brought her to the orphanage after some mysterious trouble relating to her father. The kindly matron warns the strange girl not to dredge up the tragedies of the past, but the youth swears that she will discover who she is, though she is glad when her adoptive parents come to fetch her home.

This is a surprisingly good story for focusing on Lilith, and it shows that she could be a decent character if she was given any development or personality other than “mysteriousness.” The girl’s lack of understanding of her powers or past is much more believable and excusable, as she is just beginning her journey. A 12-year-old not being able to explain a first flash of psychic insight is much more understandable and palatable than, say, a college-age girl doing the same after having lived with such abilities for years. Nick Cardy’s art is just plain gorgeous, as always, and he brings so much humanity and emotion to his characters that you can’t help but sympathize with the lost young girl or her concerned parents. Haney’s writing is positively restrained and thoughtful here, and the final result is a really solid and intriguing backup that actually makes me, of all things, look forward to more stories about Lilith! I’ll give it 4 Minutemen, as it isn’t quite strong enough to reach a higher score, .


World’s Finest #208


Cover Artists: Neal Adams and Gaspar Saladino

“Peril of the Planet-Smashers!”
Writer: Len Wein
Penciler: Dick Dillin
Inker: Joe Giella
Letterer: John Costanza
Editors: Julius Schwartz and E. Nelson Bridwell


“The Inside Story of Robotman!”
Writer: Joseph Samachson
Penciler/Inker: Jimmy Thompson
Editor: Jack Schiff


Ghost Patrol: “The ‘Spectacular’ Crimes”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Frank Giacoia
Editor: Sheldon Mayer

Oh man, what an awesome cover! How could you pass by the newsstand and not plunk down your quarter to see what kind of story could have such an epic image over its pages? Many of us have probably heard the old saying that the Silver Age Superman could “juggle planets,” but that expression, which captures the casual omnipotence of the character and thus one of the flaws with his portrayal in the era, doesn’t really apply here. Instead, we get a wonderful portrayal of a truly epic feat that feels properly epic. You can see the strain and effort on Superman’s face, like a moment out of the wonderful old Fleischer Superman cartoons, where the Man of Steel would constantly be pushed to his limits to defeat his foes and rescue his friends. It feels heroic and exciting in the extreme, and it is beautifully and powerfully rendered by Neal Adams. In fact, it’s such a cool cover, that I’ve been anxiously anticipating its approach in my lineup, quietly excited to read the story it represents. So, does the tale within live up to that dynamite image? Perhaps a better question is, could anything?

Sadly, although Wein and Dillin give us a good super-story inside, it isn’t quite the amazing epic that our cover promises us. It begins with Dr. Fate helping the police to recover a stolen “thermal-ray,” which is apparently insanely dangerous for a hand weapon, but the technological marvel and its erstwhile criminal owners are a poor match for the master of magic, who simply causes the device’s trigger to disappear! That’s a wonderfully clever and straightforward solution to the threat. However, his heroics are soon interrupted by an emergency call from…the hospital?? Apparently this Dr. Fate is a literal medical doctor, which was completely news to me. I always knew him as an archaeologist, but apparently, his earliest appearances had him sharing his fellow Justice Society member, Dr. Mid-Nite’s profession. Who knew? Surprisingly, what awaits the good doctor at the hospital is not your average case but an ailing alien! The strange-looking being telepathically communicates the mental message that “Earth is doomed!” The medical magician is left stunned, realizing that he must save this creature’s life, or its secret will die with it, and so may the Earth itself!

Meanwhile, our other heroic headliner is hanging out on a satellite above Earth 1, contemplating his magical misadventure from the previous issue. We find Superman lamenting the fact that he has two whole weaknesses in his otherwise invulnerable form. Boo-freaking-hoo, the poor sun-god is only mostly invulnerable! Just then, the morose Man of Steel hits upon the idea of seeking succor from one of his mystical allies and heads out to consult the Mistress of Magic, Zatanna. On the way, he casually disposes of a radioactive dust cloud by sucking it into his lungs and then blowing it into the sun. Yep, clearly he’s not powerful enough! Unfortunately, Zatanna tells the Action Ace that she can’t help him, because her father told her that “to know how our powers work would cause them to stop working!” Now, I don’t know, but I’m pretty sure that just means that Zatarra didn’t feel like answering a young Zatanna’s questions…I do enjoy Zatanna just casually doing crazy magic as she talks to Supes, almost like she’s rubbing it in.

Having exhausted his options on Earth 1, Kal conceives of an alternative, and he goes to visit his other spell-slinging friend, Dr. Fate, on Earth 2. The Man of Tomorrow arrives just in time to help his fellow hero with his unusual patient, and mage teleports them to his tower and fills his guest in on the plot. Apparently this alien was just hanging out in the sky over a city and was struck by a plane (imagine being the pilot and trying to report that!). I suppose you’ve got to be prepared for things like this when you live in the DC Universe. The Arcane Avenger supernaturally scans his patient’s mind and discovers images of two landmarks, a Mayan temple and Stone Henge, and the heroes split up to investigate the mysterious threat facing the world.

Dr. Fate travels to the Mayan temple, only to discover another alien just “sitting” in the sky, meditating, and ignoring him. When the occult hero presses his case, the strange being casually causes the surrounding flora to grow and attack, and the wizardly warrior has to employ his magical might to escape from the plant-based peril, literally blowing up some one of the hungrier heinous herbs from the inside! It’s a nice little sequence, and Dillin renders it well. However, just when Fate is ready to grab his alien attacker, the being simply vanishes!

On the other side of the world, Superman doesn’t have much better luck in England, where the same pattern repeats itself, though with a giant formed from the ground itself in place of the sinister shrubbery that attacked his ally. The sand is too soft for the Man of Might’s blows to have much of an impact, so he tries a different tack, turning the entire colossus into glass with his heat vision, and shattering it with a powerful blow, another really cool sequence, with an honestly clever resolution. Yet, just as with Fate, the mysterious meditator vanishes when approached. What could these baffling beings be up to? Well, as the heroes prepare to regroup, they each encounter strangely sudden natural disasters, with Dr. Fate stopping a rampaging tidal wave and Superman saving a city from an unexpected volcanic eruption.

Comparing notes, the dauntless duo discover that the continents of Earth 2 are being drawn together, and the planet is heading towards an apocalyptic ending! Risking another probe of their injured alien, they discover that he was a member of the Buudak, the “high lamas” of an ancient race, who are seeking an interplanetary Nirvana, one that can only be found through the release of energies resulting from the destruction of the Earth! The heroes confront the alien trio as they prepare their final psychic attack, but both might and magic prove futile. In desperation, the dauntless dyad decide to combine their abilities, and Dr. Fate channels his preternatural power into the Metropolis Marvel, giving him mystical might to match his star-born strength.

The supercharged Superman is able to shrug off the alien’s attacks, smashing their psychic shield, and the terrible trio vanish as their own powers consume them. However, despite their defeat, the world is not yet saved, and the continents continue to converge! The master of magic reclaims his power and forges occult chains, and Superman hauls the rogue land masses back into place! The adventure ends with the world restored and with the Man of Might having decided that his vulnerability is for the best after all because…and see if you can follow this, he was only able to save the day because Fate’s magic could effect him…though one wonders just how often such a situation is going to arise. To be fair, the Kryptonian’s actual last thought makes more sense, as he notes that “a little humility is good even for a Superman.” That is almost certainly true, and in fact, I might say “especially good”.

Muddled moral aside, this was a pretty fun issue. Dr. Fate and Superman make for an unusual team, and it is interesting to see them in action together. They are in many ways opposites in terms of their powersets, with one being a physical juggernaut, while the other is a magical powerhouse. It’s a pairing that we don’t see too often, and I enjoyed the casual yet logical reason behind their team-up. Superman just happens to show up looking for answers, and he drops into an adventure already in progress. Good enough, and it makes the world of DC feel a bit more interconnected. The incredibly powerful alien lamas made for solid antagonists, though I would have liked to know a bit more about them. Their objective, spiritual enlightenment at all costs, is also an unusual one, adding an interesting twist on the standard ‘destroy the world’ plot, but their casual dismissal of the lives they’re about to destroy does raise some questions about their ethos! Our heroes’ efforts make for an entertaining and exciting tale, especially in the first half. Unfortunately, the final confrontation and climax aren’t as successful. Dillin makes the first challenges the team faces visually interesting and fun, especially Superman’s fight with the sand giant, but the last attack isn’t nearly as engaging, though it is serviceable enough. The real problem with this story, and it is a minor one, is that Dillin’s portrayal of that wonderfully dramatic moment from the cover just simply pales in comparison. It’s fairly uninspiring rather than the show-stopping scene it really should be. Still, if the worst you can say about a comic is that it has one moment that isn’t as impressive as its cover, then you’re not doing too badly! In the end, this is a really enjoyable adventure, if not quite as epic and memorable as the cover promised. I’ll give it a strong 4 Minutemen.


Final thoughts


Well, with these three books, we have reached the end of December 1971, and an interesting end it is! This month saw quite a collection of comics, with few high highs but several quite low lows. Nonetheless, we had an unusual number of moderately high scoring books this month, with a lot of them earning 4 Minutemen, even if few scored higher. Overall, it was a fairly enjoyable month of comics, with several pleasant surprises along the way, including Action Comics, Adventure‘s new Zatanna backup, The Creeper’s guest spot, Superman‘s plankton-fueled panic, and more. There were a few real clunkers, though, with the master of madcap plots, Zaney Haney, turning in two terrible tales that even his insane energy can’t save. We’re seeing some books dragging, like Teen Titans, while others, like Jimmy Olsen have hopefully begun to recover, though Kirby’s 4th World work is so wild and uneven, there’s no promise of that. One thing is certain, both Zaney Haney and the King will have something unique and creative for us next month, whether it sinks or swims.

In terms of themes, this has been a fascinating month, with many a book aiming at a significance that its story can’t quite match. Nonetheless, there are some really interesting attempts to tackle heavier ideas in this batch of books, and the social relevance revolution is on full display. We’ve got obvious examples, like Green Lantern / Green Arrow, which attempted to address racism in O’Neil’s usual rather ham-handed fashion, but which did succeed in achieving some real importance by introducing John Stewart, a new black hero who would go on to become an excellent and worthwhile addition to the DC Universe. If his portrayal in this first appearance was rather one-note, his very existence was still rather remarkable. The Green Arrow backup also aimed at relevance, and with a fair amount of success too. That unusual ground that tale trod had to feel particularly revolutionary in 1971, with Ollie questioning how much good a superhero could actually do in light of the social problems plaguing the country. O’Neil’s attempts at verisimilitude and relevance are effective, if rather depressing.

Though the issues that percolate in the background of the story are vague and unexplored, the sense of unrest and tension fits with what we’ve been seeing in many of the other other books that have tried to take on such themes. In fact, we find that this idea has plenty of company this month. Interestingly, we see just that same vague sense of tension, especially among the youth, reflected in Justice League, where we meet an ersatz Jimi Hendrix. Of course, the most fascinating element in that story was its look at the plight of Vietnam veterans, though sadly it was given little more than a glimpse. This issue does recognize the power that music was playing in the counter-cultural movement, a concept which we also see show up in much more fantastic and strange fashion in Superman’s visit to the “discotheque.” Unfortunately, Jimi Hendrix never quite managed managed to rock hard enough to bring down a literal roof.

Nonetheless, we can see how much DC comics have changed in just a year, with so many different teams on so many different titles attempting to engage the tumultuous culture of their day to a degree that was much more rare when we started our journey. One of the most unexpected of these attempts was our backup Kid Flash tale, which featured another wealthy businessman as an antagonist, which is becoming a much more common trope, but which also focused, not on environmentalism as has already become common, but instead on nutrition. That really surprised me, showing up in 1971, as I think of that as a much more modern concern. Heck, I grew up in the 80s, where preservatives and all manner of additives in our super-processed food was just the norm! It’s the carcinogens that make it tasty!

Social relevance wasn’t the only connection to the real world that we saw in our books this month. We also got to see the first appearance of the Rutland Halloween Parade in DC Comics, which was quite entertaining, though that issue did have some problems with tone, combining the light-hearted fun with the heavy drama of holocaust survivors and escaped Nazi war criminals…real laugh-a-minute stuff! Despite its rather schizophrenic tone, it did manage to be an interesting and memorable issue. After all, it’s not every day you see Batman sharing the page with Thor and Spider-Man!

All-in-all, there were a lot of really entertaining reads this month, and we saw a lot of great art in the pages of our various books, even when the stories themselves weren’t quite as good. Pleasantly, even when the main tales tank, I find myself really enjoying several of our backups, like The World of Krypton, Rose and Thorn, and especially the new Zatanna feature. I’m really looking forward to seeing what comes out of that one. Despite its unevenness, I’m still excited about reading the rest of the 4th World as it develops. Though there are several runs that I find myself wishing would end, there is still plenty to be excited about. I wonder what next month will bring us!

Well, there’s only one way to find out! I hope that y’all will join me again soon(ish) for another edition of Into the Bronze Age! I’ll be posting a tribute to our fallen friend, Cyber Burn first, and I hope that y’all will join me for that as well and honor his memory. Until next time, keep the Heroic Ideal alive!

Into the Bronze Age: December 1971 (Part 3)

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #95


Cover Artists: Neal Adams

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

Editor: Julius Schwartz

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

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

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

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

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

That’s…really not all that impressive…

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

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

I do quite enjoy Ollie’s misplaced confidence here.

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

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

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

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

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

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

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

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

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

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


Mr. Miracle #5


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

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

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

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

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

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

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

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

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

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

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

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


The Phantom Stranger #16


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

Cover Artist: Neal Adams

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

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

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

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

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

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

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

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

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

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


“And the Corpse Cried ‘Murder'”


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

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

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

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


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

Into the Bronze Age: December 1971 (Part 2)

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Detective Comics #413


Cover Artists: Neal Adams and Gaspar Saladino

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

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

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

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

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

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

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

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

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

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

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

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


“The Kingpin is Dead”


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

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

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

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


Flash #211


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

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

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

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

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

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

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

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

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

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

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

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


Is This Poison Legal?


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

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

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

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

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

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

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


Green Lantern/Green Arrow #87


Cover Artists: Neal Adams and Jack Adler

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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


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

Into the Bronze Age: November 1971 (Part 6)

Hello and welcome back my friends and readers! I hope and trust that y’all have all had a very merry Christmas and are enjoying the post celebration cheer. In any case, we have, after a two year hiatus (!), finally arrived at the end of November 1971! I’m very pleased to have gotten back to this little project, as it has always been something that I have loved. I have already been enjoying diving back into these classic comics, and even the duds have proven entertaining. Here at the end of this month we have two more tales to tell, and they are a mixed bag. I can safely say, however, that you won’t be bored reading these comics, even if one of them makes no freaking sense. So, without further ado (I feel like y’all have waited long enough as it is!), let’s continue our journey Into the Bronze Age!

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

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


Superman’s Pal, Jimmy Olsen #143


“Jimmy Olsen: Genocide Spray!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inkers: Vince Colletta and Murphy Anderson
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell

“DNA Project: The Alien Thing!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editors: Jack Kirby and E. Nelson Bridwell

“Newsboy Legion: The Rookie Takes the Rap!”
Writers: Joe Simon and Jack Kirby
Penciler: Jack Kirby
Letterer: Howard Ferguson
Editor: Whitney Ellsworth

Okay….where to begin? So, the last issue, which we covered way back when, was crazy enough. Yet, this one really takes the cake for gonzo madness. After I finished reading, I sat staring at my comic for a few minutes, just pondering, ‘how in the world am I going to summarize this?’ Do we get an explanation for why vampires and werewolves are hanging around former NASA facilities? Sort of? We do get explanations, but they don’t make a whole lot of sense! But before we get into the madness inside, let’s take a look at this cove. We get an interesting image of ghostly figures rising from the “mini-planet” our heroes discovered at the end of the last issue. It works pretty well, and it looks fairly dynamic and spooky. The story it represents is not quite so fortunate!

We do get a really lovely two-page splash revealing the mysterious planet, Transilvane, complete with comparatively giant ‘horns’ (Can a planet be evil?) and a brace of hovering movie cameras(!). With no warning, we’ve gone from investigating a scientific laboratory to the set of a Universal monster movie, as The Man of Tomorrow finds a secret passage that opens into a chamber where the pals discovers a pair of coffins, presumably belonging to the apparently vampiric ‘Count Dragorin’ and his hairy henchman. Inside, they do find their supposedly undead antagonist, but they also find hi-tech gadgetry, and this seems to confirm Superman’s theory that these beings are actually from the mini-world, tiny creatures that use machines to grow large enough to interact on a human scale, like reverse Atoms. Just then, more of the classic movie monsters arrive, and we get a regular Monster Mash, as the Action Ace and the cub reporter fight this macabre menace, only to be struck down by a “micro-bomb” triggered by the cunning Count.

Kirby cuts us away at that point, shifting the focus to the Newsboy Legion, who we last left in an underground bunker, having discovered the gangster who killed the original Guardian, Jim Harper. The kids listen in as the unwary gunman spills his guts on the phone with his Intergang contact. Having heard enough, they jump him, planning to bring him to justice, but the torpedo turns the tables on your youthful heroes, literally, in a panel that looks more like a bomb went off than a desk was kicked over. However, his escape proves short-lived, as Intergang triggers hidden explosives in the hideout, tying up the loose end he represented and leaving the kids empty-handed. Dispirited, they eventually make their way back to the surface at last.

“ZONNKO!” You’ve got to love comic sound effects!

Meanwhile, what about the assembled cast of our extraterrestrial Adams Family and their feud with the Man of Steel? Well, they tie the Kryptonian to a torture device and attempt to force him to reveal the location of the elusive Dabney Donovan, but when Superman casually breaks free and tells his ‘captors’ that he doesn’t know where to find the missing scientist, they start talking about some kind of prophecy about a “Demon Dog,” which will destroy their world when it flies, an evil event that is at hand! While the horror movie rejects lament their fate, the Metropolis Marvel leaps into action, tearing open the stone floor and finding another high tech facility below the planet cradling catacombs, finally discovering the very Demon Dog itself, just as it takes flight!

The strange winged hound, it turns out, is a mechanical delivery system for a poison spray which was designed to eliminate life on the artificial planetoid….for….reasons? Whatever lunatic logic was behind its creation, Superman smashes the poisonous pooch and saves the day for Transilvane and its movie-monster denizens. At this point, Jimmy finally recovers from the explosion that knocked them out, and he joins his heroic pal to observe a fleet of flying coffins shrinking back into the mini-world, their mission accomplished, I suppose? At this point, Superman explains the situation….or at least, it’s as close to an explanation as we get. As we had already discovered, Dabney Donovan apparently somehow created this miniature world, along with an entire race of sentient life, and for some reason, he played classic horror films on the clouds as that life evolved, so they copied what they saw, becoming a race of B-picture players.

It’s basically the plot of the famous ‘gangster planet’ episode of Star Trek, “A Piece of the Action”, except even wackier and not nearly as charming. On top of all of that, apparently Donovan, completely unconcerned with the fact that he had created life had planned on cleaning the slate, for more ‘reasons’, presumably, and had cruelly declared this fact to the inhabitants of Transilvane, once more through cloud-movies. Superman and Jimmy decide to try to undo the weird, warping effects of Donovan’s choice of sky-entertainment (skyertainment?) by playing a different genre. Of all things, they choose a musical, Oklahoma!, and pull up chairs to watch the sky-screening. One can only wonder what kind of society would evolve from that choice…

So…that was certainly an interesting ride. It’s certainly not boring, but this tale is just so out there and disjointed, with so many different concepts pulling in so many different directions, that it just leaves you scratching your head and asking “why”? Why did Donovan hide his planetoid below a graveyard? Is he just a nutjob obsessed with horror movies? Why did he just abandon the experiment? Why bother killing the planet’s inhabitants if he abandoned it? What is the point of any of this? Well, we never learn any of the answers to those questions, and we never even meet Donovan. It’s a rather unsatisfying conclusion to an already weird adventure.

I do sort of enjoy the ending, with Superman and Jimmy sitting down to try to provide the Transilvaneites with something more wholesome to copy, though I rather question their choice. Kirby’s artwork is fun and dynamic, as usual, though I noticed several scenes that seemed stripped-down and unfinished, and I would wager that the infamous Vince Colletta is to blame for that. The Newsboys’ subplot was interesting, but it wrapped up rather quickly and dramatically, and I find myself wondering about its point as well. All-in-all, this issue just confirms the sense I had with the last one that this book is in need of a focus and a direction. Here’s hoping the next one will bring something more coherent from the mind of the King! I’ll give this one a disappointing and disjointed 2 Minutemen.


World’s Finest #207


Executive Editor: Julius Schwartz
Cover Artists: Curt Swan and Murphy Anderson

“A Matter of Light and Death!”
Writer: Len Wein
Penciler: Dick Dillin
Inker: Joe Giella
Editor: E. Nelson Bridwell

“Galloping Gold”
Writer: M.W. Wellman
Penciler/Inker: Edwin J. Smalle, Jr.
Editor: Whitney Ellsworth

“The Cosmic Idiots!”
Writer: Sid Gerson
Penciler: Gene Colan
Inker: Joe Giella

While this month brought us an issue of Jimmy Olsen with a cool cover but a weird, unsatisfying story, it also brings us this rather pleasant surprise of a comic, which is the exact opposite. Take a look at that cover. Despite the jeopardy of our heroes, it just about couldn’t be more boring. Oh no, Superman and Batman, the greatest super hero pair in the world, the eponymous “World’s Finest,” are being menaced by….a couple of guys? It doesn’t exactly fire the imagination. They have slightly more personality than the usual foot soldiers of the Generic Gang, but not by all that much, and the cover is largely blank, other than these four figures. And yet, the tale inside, which I fully expected to be a slog, held my attention and even kept me guessing, though the title sort of gives away the secret villain of the piece.

Our tale begins with a clandestine meeting, where three random guys, whose names I can’t be bothered to remember, are being contracted for a hit by a shadowy figure. The splash page reveals that the target is….Superman! That’s right, these random gunsels are being hired to whack the freaking Man of Steel. Even more surprising, the mysterious malefactor behind these mercenary machinations is none other than….Clark Kent himself! Well, as you might imagine, the hoods, not being complete morons, balk at being asked to kill the invulnerable alien sun god, but the not so mild-mannered reporter convinces them that he can provide them with magical means to complete the hit, and vanishes as proof (using super speed, of course).

This may seem quite silly; after all, what threat can three random guys pose to the Metropolis Marvel, but Len Wein actually does have a reason for this setup. In any case, as Clark flies away, we follow him to the arctic, where he uncovers a strange device that he calls the “Satan Staff,” which supposedly can kill his alter-ego. I rather expected that this was an artifact from an earlier story, so I was confused by the lack of an editor box, but once again, I was to discover that there was a reason for that. After stashing the device in a Metropolis park, Clark “wakes up” and realizes that had suffered from a blackout, apparently the third such episode! Afraid of what he’s doing with his lost time and unsure of how to solve the mystery enshrouding him, the Action Ace turns to the world’s greatest detective, the Batman!

Our scene shifts, and we join Batman taking out a gang. and doing a bit of bantering that would be rather out of place for the character these days but which is fun enough in context. Superman arrives just in time to help him clean up the captured crooks, and then shares his trouble with his friend. In response, the Dark Detective sets out to shadow the Metropolis Marvel in a series of disguises (which is a fun touch and gives us a nice montage), but discovers nothing through his trailing.

At the end of the day, Clark returns to his apartment to meet his ally, only to once again fall under strange influence and swat the Caped Crusader aside! Not to be deterred, the Dark Knight of course prepared for such an eventuality and preemptively planted a tracker on his pal. He trails the mind-controlled Man of Steel to another meeting with the assassin trio, where the reporter delivers the “Satan Staff”, and attacks after Clark leaves, smashing through a skylight in a wonderfully dramatic panel. After defeating two of the thugs in a skirmish, Batman is blitzed by the last one, who uses the magic device to trap the Masked Manhunter in a net summoned from thin air. The trio decide that, since they are businessmen, they won’t simply kill the Gotham Guardian for free; instead, they’ll auction off his death after they’ve taken care of his partner.

The Random Gang attempts to ambush Superman at the Metropolis Planetarium, where he’s setting up an exhibit on Krypton, which is a fun little touch, but his super hearing tips the hero off to their heinous plans. After a fun little fight, they manage to take him out by using the magic wand to bring a Kryptonian exhibit to life, which seemingly kills the Man of Might! The assassins trap his body in amber and return to finish Batman off, wondering when their contact will arrive with their fee.

It is then that our true antagonist makes his appearance, and it is none other than Dr. Light! This is the latest outing in his attempts to destroy the members of the Justice League by attacking them one at a time. He eventually reveals that he was the prime mover in this enterprise; having tapped into Superman’s brainwaves in a previous attack, he used that experience to hypnotically program his foe to arrange his own destruction with the Satan Staff, a weapon of his own devising. Dr. Light later explains that he developed the Staff after studying the magic of Zatanna, seeking to use such magic, Superman’s one remaining weakness, against his Kryptonian opponent. But why this elaborate charade? Well, it’s actually a rather funny reason. The Luminary Lunatic realized that, although he possesses the power to destroy the Justice League, he blows it every time he tires to defeat them, thus, he decided to work through intermediaries and to turn hes enemy’s own strength against him. That is both hilarious and reasonably clever.

At any rate, Dr. Light’s sudden arrival doesn’t have the effect on his contracted killers that he had hoped, as they want to keep the Satan Staff because of its power, so he straight up disintegrates them! That’s a great moment, and also stunningly brutal for a comic of this age. Yet, just as the bad Doctor is about to reclaim his weapon, a gloved hand beats him to the punch: the Dark Knight has freed himself! The two maneuver around, trying to get in position for a shot, but when the Caped Crusader fires the Staff, it passes harmlessly through the Lord of Luminescence, who then snatches the device and teleports away!

Is all lost? Not quite, as Superman suddenly bursts free from the amber, and Batman reveals that he foresaw Light’s avoidance of his attack, so he had maneuvered him in front of the Man of Steel’s yellow tomb so that the beam would strike it instead, breaking the spell and reviving his fallen friend. The Action Ace is steaming mad, so he leaves his partner in peril behind to settle the score with Light by his lonesome. The Kryptonian hero discovers his foe in a floating solid light fortress hidden in the Aurora Borealis, which is a really cool concept that Dillin’s art doesn’t quite capture.

Despite Superman getting the drop on him, Dr. Light is not without resources, and he hits the Man of Tomorrow with a red sunlight beam, weakening him, only for the hero to turn the tables on him by smashing through the floor and striking from an unexpected direction. It’s a great little action piece, and a satisfying conclusion to the conflict. Finally, the issue ends with Superman and Batman taking in one of Zatanna’s shows, where Batman laments the bruises he suffered through the contortions necessary to escape his bonds.

What a fun, enjoyable issue! I really had a good time reading it, especially considering that I thought I was in for a chore because of that clunker of a cover. The whole thing hangs together surprisingly well, with all of its different elements making sense once the mysteries are revealed. I really enjoy the interaction between Batman and Superman, and this tale accomplishes a feat that remains rare today, properly balancing the two character with their vastly different power levels. Both the Man of Steel and the Dark Knight get a chance to shine and be useful. And speaking of the Masked Manhunter, his portrayal here is fun, though a little too light in context of where the character is going in his own books. Still, I enjoyed this Batman, who doesn’t take himself entirely seriously, though he’s still mysterious and calculating.

On the villain front, it’s worth noting that, although Wein tries to give the trio of assassins a little personality, they are ultimately forgettable cats-paws, so much so that I really can’t remember any of their names as I write this, having read the issue just last night! On the other hand, Dr. Light is a great antagonist for this tale, and his portrayal is interesting and entertaining. Despite awful things done with the character in later days, I’ve always liked this classic version of Dr. Light. He’s got cool powers and a cool look. He’s generally a great ‘generic’ villain to throw at your heroes for a straightforward superhero adventure, as his motivations are pretty prosaic and simple. Dillin’s art was quite good as well, energetic, dynamic, and full of life, and we got a lot of lovely, creative panels throughout. Yet, there were a few missteps in there as well, like Zatanna’s horribly distorted legs in the panel to the left (she looks like she’s being viewed through a fun-house mirror!). All told, this is exactly the kind of superhero yarn I enjoy, creative, fun, action-packed, some mystery and surprises, and a touch of continuity and world-building to top it all off. I’ll give this entertaining issue a strong 4 Minutemen.


Final Thoughts:


Well dear readers, with these two books we at long last wrap up our trek through November 1971! I hope that y’all have found these tales worth the wait, though I don’t think even the best of them quite justifies the delay, ha! Nonetheless, I am pleased that we at least end on a positive note. Years between my posts has, I’m sure, tried your patience, and I appreciate all of those of you who have rejoined me now that I’ve emerged from the wild realms of a PhD program, busy semesters, and the general chaos of 2020!

It’s been an interesting month of comics, featuring more of the themes we’ve come to expect, with a little bit of environmental consciousness in one of our Superman stories, some more witches and occult outings, and the usual dash of counter-culture chaos. Interestingly, we are seeing both positive and negative portrayals of the counter-culture trends, with Robin’s ‘illuminating’ contact with a commune on one hand and Batgirl’s conflict with some truly heinous hippies on the other. We’ve had some unexpected gems, like Supergirl’s super-fun alien adventure, as well as some disappointing duds, like Jimmy Olsen’s visit to the planet of the Late-Late Show. We’ve also had more than our fair share of the wacky and the weird, with robo-Lincolns battling robo-Booths, and superfluous melting androids. It’s certainly been an interesting month, and I hope that y’all enjoyed joining me on our little trek.

I know that my wrap-up section here is shorter than normal, but there’s so much distance between me and the bulk of these stories now, since I read most of them ages ago, that I don’t have as much to say as usual. Nonetheless, I hope things will get back to normal in the months to come. I’ve also had to cut the “Headblow Headcount” for the moment, as I can’t figure out who to format it in the new WordPress editor. I’ll keep experimenting with it, and hopefully I’ll have that figured out by the next time a hero takes a crack to the cranium. So, until we begin our next month’s coverage, I hope that y’all will enjoy the final days of 2020, at least as much as possible. Here’s hoping that the next year will bring better fortunes and brighter skies for all of us! Until then, keep the Heroic Ideal alive, and join me again soon for another edition of Into the Bronze Age!

Into the Bronze Age: November 1971 (Part 4)

DC-Style-Guide-2.jpg
Hello Internet travelers, and welcome to another edition of Into the Bronze Age!  It’s time to explore some more classic, Bronze Age DC comics, and we’ve got a pretty interesting trio of titles to talk about this time.  We have a significant issue of The Haunted Tank’s harrowing adventures, a cool and unusual issue of JLA, and finally another frantic feature of the Fourth World!  Let’s dive right in, shall we?

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #406
  • Adventure Comics #412
  • Batman #236
  • Brave and the Bold #98
  • Detective Comics #417
  • The Flash #210
  • Forever People #5
  • G.I. Combat #150
  • Justice League of America #94
  • New Gods #5
  • Superboy #179
  • Superman #244
  • Superman’s Girlfriend, Lois Lane #116
  • Superman’s Pal, Jimmy Olsen #143
  • World’s Finest #207

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


G.I. Combat #150


g.i._combat_150

“The Death of the Haunted Tank”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor/Cover Artist: Joe Kubert

“The Two-Legged Mine”
Writer: Bob Haney
Penciler: Russ Heath
Inker: Russ Heath
Editor: Robert Kanigher

“Hip Shot”
Writer: Sam Glanzman
Penciler: Sam Glanzman
Inker: Sam Glanzman
Editor: Robert Kanigher

“Ice Cream Soldier”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert
Editor: Robert Kanigher

We’ve got a landmark issue of the Haunted Tank this month!  For once, the cover doesn’t lie, and when it promises the “Death of the Haunted Tank,” it is being quite literal!  After roughly 60 issues, the plucky little M-3 Stuart tank will meet its demise in this issue.  And that cover is a pretty good one, in addition to being honest.  It’s dramatic, catching a moment, not before disaster strikes, but just as it is striking, which creates a pretty dynamic effect.  Of course, Kubert’s stark work adds to the drama of the moment rather nicely.

gi combat 150-03

Inside, our tale begins in what has become normal fashion, with the spectral J.E.B. Stuart offering one of his habitual vague warnings that could really mean anything, as Kanigher continues to not really take advantage of his awesome premise.  In this case, the General’s super helpful warning that “things aren’t what they seem” applies to a seemingly crashed German bomber that is actually a trap for the tank.  Jeb and company knock it out in a nice two-page splash, but then their ghostly guardian informs them that this was the last time he could “help” them, and bids them farewell.

gi combat 150-04-05

As Jeb ruminates on this startling turn of events, his crew continue to contemplate his apparent insanity as he seems to speak to empty air.  They roll past a depot where other crews are cannibalizing knocked out tanks for parts.  There are two things of note in this scene.  First, the other crew actually asks how Jeb’s tiny little Stuart constantly knocks out tanks much heavier than it, joking that it must be because it is haunted.  Second, we get a shot of this crew, who include Joe, Russ, and Steve, who are given very detailed faces.  I feel like this has got to be a reference to particular folks.  I’m guessing, and this is just a guess, that the fellow in the middle is Joe Kubert and the one on the right is Russ Heath.  I would love to hear from any readers who actually know!

gi combat 150-07

Anyway, possible creator cameos aside, the ghostly guys next run into trouble when they encounter a Jeep full of wounded troops fleeing a fighter.  The crew manages to knock the perilous plane out of the sky (more unbelievable feats!), encouraging the team.  Yet, their continued faith in the old Stuart meets a much tougher test later on, when they are sent into a hot zone to aid Dog Company.

gi combat 150-08

The infantry is getting cut to pieces on the banks of a river by a tank and artillery in the woods on the other side.  Jeb charges the Stuart into the teeth of the enemy guns, and they get the enemy tank.  However, the AT gun tears their little tin box apart piece by piece, and in surprisingly short order, the Haunted Tank dies, though the crew manage to make a frantic escape.

gi combat 150-12

When Jeb and company realize that no more backup is forthcoming, they race to the depot and assemble a new, “Jigsaw Tank” out of cannibalized parts.  They take their new makeshift metal monster into combat, just in time to stop two new Nazi tanks charging across the river, and they even manage to clean up the AT gun that killed their previous ride.  The story ends with General Stuart returning, and explaining that the tank didn’t matter, only the dedication of the men inside, so the grateful crew christen their new vehicle The Haunted Tank once more.

gi combat 150-13

I actually expected rather more form this tale.  It’s a fine, fun story, however unrealistic it is for the guys to assemble a new tank so quickly and easily.  Still, I’ve been seeing this cover approaching for some time, and I just expected the death of the tank that had been through so much with the crew to be given a little more weight.  Instead, Jeb and co. basically joke about it for a minute, then immediately replace the faithful old girl.  Of course, there’s only so much you can do in a 14 page story, but I found myself a bit surprised that Kanigher didn’t make more of the moment.  The actual adventures here could have been condensed, with more focus on the central conflict at the river and the loss of the Stuart, which I think would have been more effective.

As is, the story is really rather forgettable.  Of course, Russ Heath’s art remains excellent, perfect for the title.  He’s a master of both the dynamic battle scenes and even the quiet, character-centric moments.  On a broader note, I continue to be disappointed by the lack of development of the premise.  General Stuart leaves the crew for most of the issue, but functionally, it doesn’t actually play out any differently than 90% of the stories we’ve read, as he plays no active part in most plots after his traditional enigmatic warning anyway.  Well, missed opportunities aside, I’ll give this solid armored adventure 3.5 Mintuemen.  At least Jeb and crew now have a tank that might stand a ghost of a chance against German armor in real life!

minute3.5


Justice League of America #94


jla_v.1_94

“Where Strikes Demonfang?”
Writer: Mike Friedrich
Pencilers: Neal Adams and Dick Dillin
Inkers: Neal Adams and Joe Giella
Letterer: John Costanza
Editor: Julius Schwartz

“The Tarantula Strikes”
Writer: Gardner Fox
Penciler: Bert Christman
Inker: Bert Christman
Editors: Vincent Sullivan and Julius Schwartz

“The Amazing Starman”
Writer: Jack Burnley
Penciler: Jack Burnley
Inkers: Jack Burnley and Ray Burnley
Colourist: Raymond Perry
Letterer: Betty Bentley
Editors: Whitney Ellsworth and Julius Schwartz

Alright!  Time for another issue of my favorite comic team’s book!  Despite the fact that this title has been so uneven since we’ve started, I still find myself excited about it each month, and this issue features my favorite character….sort of!  Sadly, we’ve got a pretty lackluster cover, really.  It’s got Deadman’s dramatic pronouncement, but the blank blue background and compressed, box-out cover-space don’t do it any favors, and all the pointless occult paraphernalia in the foreground can’t change that.  Of course, the actual art is lovely, as Neal Adams contributes the image, as well as several pages inside!  Yet, the biggest trouble with this cover is that it spoils a significant part of the story, which is a shame.

jla094-(avalon)-01

As for that story, it is actually a pretty darn good one.  We begin with a wonderfully detailed splash page of the League of Assassins’ leader, the enigmatic Sensei, who is plotting revenge against an unknown JLA member for a previous slight.  We join the trio of characters who disappeared from the last arc, Batman, Green Arrow, and the Sea King himself, Aquaman, as they prowl about the waterfront, hunting for an assassin who hunts them in turn.  The Bold Bowman spots a flash from the killer’s scope, and the heroes leap into action, quickly corralling the gunman.  Yet, the assassin refuses to talk, and the Leaguers are left in the dark about who is the target of the “Demon’s Fang,” the League of Assassins.  That’s right, it’s League vs. League!

Back at the Demon Fang’s headquarters, the Sensei is not pleased that his man has missed his mark, and he summons one of his best, Merlyn, the archer.  We get an interesting note of continuity and world-building here, as the League of Assassins are part of Ra’s Al Ghul’s set-up and have been introduced in the Batman books, so it is exciting and surprising to see them here.  What’s more, the Demon’s Head, Al Ghul himself, gets name-dropped, as Merlyn mentions that their master has a special interest in their target.  Nonetheless, the ancient Sensei is adamant, and the archer is sent on the attack.

jla094-(avalon)-05

Meanwhile, everyone’s favorite sleaze, Morgan Edge, makes another universe-building appearance, and sends Clark Kent out on assignment.  There are hints of Intergang’s involvement, and the under-cover Kryptonian brings along a little action figure-sized ace -in-the-hole, the Atom, as the assignment brings him near the last known location of the missing Leaguers.  Yet, before they can arrive, their news van is ambushed with arrows!  Superman attacks, only to be taken out of the fight by special gadgets prepared by the Demonfang techs, including a gravitational arrow which increases the pull of gravity on the Man of Steel exponentially.

jla094-(avalon)-09

The Atom, after delivering a great pint-sized punch, is also put out of commission by a sonic arrow.  Now, if you had told me that Merlyn was taking on a significant subset of the League on his own, I would have said that was silly, but Friedrich actually manages to write his way around the problem of a vastly under-powered villain with some reasonable gadgets.  It’s nice to see Superman treated as something other than completely unstoppable, and without recourse to Kryptonite or something completely silly.  Is it convenient that Merlyn has trick arrows that can take out these heroes?  Yes, but I’ll buy it for the purposes of this story.

jla094-(avalon)-10

Unfortunately, our other heroes don’t have much better luck than their fellows, as our original trio finds their captive assassin killed almost as soon as they turn him over to the police.  On the arrow that killed him is a note, which declares that “The price of failure in the League of Assassins is death!”  It is signed by the mysterious Merlyn, and it is here that we discover that Green Arrow knows our enigmatic assassin.  Merlyn was a master archer, and he was Ollie’s first great rival, who embarrassed him in a competition before disappearing, only to emerge now, as a master of a decidedly more deadly discipline.

jla094-(avalon)-12 - copy

The titanic trio set out on Merlyn’s trail, but we have an odd little moment where Batman asks Aquaman if he has enough time, and the apparently confused Sea King responds, ‘sure…uh…why not?”  I saw what was coming, and I was a bit annoyed by it, and sure enough, as soon as they reach their destination, a creepy old house that is definitely not a trap, the Marine Marvel passes out.  He’s been out of water too long (that darn 1 hour limit can’t go away soon enough!), and I just couldn’t believe Friedrich had put the character in the book just to have him act this stupidly.  But, when the Caped Crusader finds a fountain inside and submerges the submarine superhero, things take a much more interesting turn, as the Dark Knight puts Aquaman in a headlock and demands to know….who he is!  Just then, the trap springs, and Green Arrow is locked in a vacuum tube!

jla094-(avalon)-13jla094-(avalon)-16

While the hunted heroes investigate the house, the agonized Atom manages to smash the sonic arrow and free himself, and he comes up with a novel way to free the Metropolis Marvel too.  He can’t budge the gravity device, but he wraps his belt around it and enlarges the machine until it becomes unstable and explodes! That’s actually a really clever solution, and fitting for the brilliant Ray Palmer.  The haggard heroes aren’t yet back at a hundred percent, however, and they must hitchhike towards their allies!

jla094-(avalon)-14

jla094-(avalon)-17 - copy

I love the hilarious banality of Superman having to listen to some schmo blather on as he hitches a ride! “Really, I have more important things on my mind, man!”

Back in the villain-haunted house, the Masked Manhunter can’t break his Emerald ally out of his glass prison, but Superman, recovering enough to take flight and escape their blabbermouth chauffeur, is able to spot the predicament with his super vision and hurl the Atom hard enough to free Ollie.  It’s really a nice sequence.  Yet, at the same time, Batman has become stuck on the fence that separated him from his fallen friend, a perfect target for Merlyn, who has emerged at last to kill his true target…the Dark Knight, of course!  He lets fly, but the stunned Green Arrow recovers rapidly enough to string and fire an arrow just in time to deflect Merlyn’s killing shot!  His nemesis salutes such a fine shot, and his carefully calculated chance gone, the magician uses a jetpack built into his quiver to escape.  Merlyn himself is now a hunted man, as he reminds the heroes that “the price of failure in the League of Assassins is death!”

jla094-(avalon)-18

It is then that the “mystery” of Aquaman’s identity is solved in another pair of Adams-penned pages, as the Sea King and the Dark Detective discuss the case.  It turns out that Deadman took over the Marine Marvel’s body because the being he serves, Rama Kushna, warned him of an attempt to kill a Justice Leaguer which would upset the balance of the world.  He didn’t know who the target was, and the Sea Sleuth was just the first hero to hand, effectively.  That’s why he ran himself out of gas (or water, as the case may be), and made various other mistakes.  All of this was in revenge for Batman interfering with the Sensei’s attack on Nanda Parbat back in Brave and the Bold #86, apparently, which I must have read but have forgotten.

Of course, this would be a lot more impressive if we didn’t know Deadman was possessing Aquaman from the cover (even if I did get swept up in the story enough to forget!).  Yet, the tale doesn’t end there.  It ends with a return to the JLA Satellite, where something is wrong with the teleporter, something that we won’t discover until next issue!  Meanwhile, the Sensei has learned his lesson, and the next time he strikes, he shall isolate and destroy his enemy!

Well, the non-reveal aside, I really enjoyed this issue, despite some trademark overwriting and generally deplorable dialog from Friedrich.  It’s a lot of fun, and it is really great to see the universe-building happening in other books filter into the flagship title like this.  How interesting must it have been to be reading the Bat-books and JLA, and to see these characters and concepts jump from one title to another?  Of course, this makes perfect sense, but it isn’t the kind of thing that you see that much in DC from earlier eras.  I imagine it will become more common as we get further into the Bronze Age.

In addition, the story is pretty solidly plotted, with events having a decent logic to them, with characters acting with clear motivations.  As I was reading, several story beats seemed off to me, only to be revealed to work perfectly in Friedrich’s plot, which was a pleasant surprise.  On another note, the removal of Kryptonite seems to already be paying story dividends, as it has forced Friedrich to come up with a clever way of taking the Man of Tomorrow out of the fight, rather than relying on the formerly ubiquitous mineral.  One of the only real downsides to this tale is that Aquaman doesn’t actually get anything to do, which seems like a real waste when he features so prominently in the comic, especially since he isn’t actually Aquaman.

The art is solid throughout, though evincing the standard weaknesses I’ve come to associate with Dillin’s JLA work, though the interpolated Adams pages are beautiful.  They are also a bit distracting, as the clash of styles is very noticeable.  Nonetheless, this is a fun, interesting issue, with some fascinating world building happening that still manages to include a solid adventure.  I’ll give it 4 Minutemen.

minute4


New Gods #5


new_gods_v.1_5

“Spawn!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Mike Royer
Letterer: Mike Royer
Editor: Jack Kirby

“Introducing Fastbak”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

We finally return to the centerpiece of Kirby’s Fourth World epic, and it is a definite improvement over the somewhat understated and disappointing last issue, as the operatic action that suits this book best is back in spades.  Our dramatic tale lies beneath a solid, if flawed cover.  It’s got a nice, dynamic image in the central brawling characters, though their poses are a bit odd.  Yet, their size rather downplays the significance of the massive monster symbolically squeezed into the corner.  The orange background doesn’t really help either, especially with Orion’s red costume.  Kirby just isn’t producing his best covers for this run, which is a real shame, as the stories really beg for ‘kapow’ images.

This particular issue begins with Metron, who is traveling through dimensions once more.  This time his wanderings take him to one of the most memorable and dramatic settings from Kirby’s Fourth World, the Promethean Galaxy, the last barrier of the Source, where float for all eternity the Promethean Giants who give the place its name.  Kirby gives us an amazing, dramatic two-page splash, depicting the size and scope of this strange sight as only the King could.  It’s a really striking image.  We discover that these giants were beings who tried to force their way to the source, and in return for their hubris, they are bound forever in suspended animation, just short of their goal.  I love this concept, wonderfully archetypal, reflecting all of the myths of giants and titans, who have traditionally been associated with the sin of pride and destroyed by the deities they opposed.  What a wonderfully Kirby-cosmic treatment of the theme.

newgods05-0203

Star-sized super-beings aside, once his contemplation is finished, Metron returns to New Genesis, but our story is much more concerned with a humbler sphere, the Earth, where a detective named Terrible Turpin is interrogating Dave Lincoln after the events of the last issue.  Turpin has discovered the war between gods that is brewing in his city, and he’s determined to put a stop to it, before the place is leveled in the process.  When Lincoln returns to Orion’s human allies, we check in with them, but the Useless Crew continues to contribute little to the plot, other than some exposition and general fretting.

newgods05-07

Fortunately, we don’t waste too much time with them, and we soon rejoin Orion, who was captured by the Deep Six last issue.  He’s pinned by a giant clam, where he is taunted by Slig, who also demonstrates the Six’s sinister powers, the ability to mutate living beings with just a touch from his right hand, and to kill instantly with his left!  Fortunately for the Dog of War, he is able to free himself with a hidden device after his captor has finished his gloating, though he discovers that the clam is more than meets the eye.

newgods05-08

What follows is a cool sequence as Orion battles his way through various mutated menaces, who all have wonderfully cool Kirby designs (the man just constantly produced awesome creations, even for these little creatures which we’ll never see again!).  Finally, the hunted hero discovers a massive, battleship sized cradle, which once held some gargantuan beast created by the Six, but now lies ominously empty.

Back in the city, Turpin continues his investigation and the Useless Crew continue their fretting, but they are all interrupted by the coming of….Kalibak!  Darkseid’s scion arrives with a smash, prepared to spread fear and devastation on Earth!  However, Orion is busy elsewhere, so the Cruel one will have to keep for the moment.  Back in the undersea caverns, Slig finally finds his quarry amid a pile of smashed guards.  Unfortunately for him, the warrior has also found something, his Astro-Harness, and he blasts his foe in the face before proceeding to pummel him pitilessly.

newgods05-17

It’s another great sequence, and Kirby shows us the savage joy Orion takes in the terrible thrashing he administers, as well as showing us Slig’s beaten face.  The King actually manages to make this malicious monster a little pitiful in that moment.  Interestingly, Orion’s brutal visage is revealed by the violence of his attack, and he is forced to have Mother Box replace his fallen features, another hint about his origins.  Finally, the Dog of War disposes of his fallen foe by tossing him into a pit and sets out in search of the monster the Six have unleashed.  We get a glimpse of the beast in a nice splash page, but lacking anything to establish its scale, it’s not as effective as it might be.

So this is a great, action-packed issue, setting up a lot of what’s to come with Terrible Turpin and Kalibak’s chaotic arrival, as well as the monster unleashed on the seas.  There is a lot going on here, and Kirby handles it quite well.  While the time spent with Orion’s supporting cast feels wasted, every moment with the warrior’s quest is exciting and dramatic, and the glimpses of the wider mythology with Metron are fascinating.  The whole thing feels operatic and earth-shaking in the best ways, like a particularly good issue of the classic Fantastic Four, but elevated by the cosmic overtones and archetypal underpinnings of the Fourth World.

newgods05-20

It’s also fun to see Detective Dan Turpin introduced, as he will later be recast as a tribute to Kirby himself in Superman: TAS, where his bulldog attitude and heroic perseverance make him a fitting match for his creator.  On the art front, this issue looks quite good, and it is immediately noticeable that Colletta is gone from the book.  Mike Royer’s inks aren’t perfect, but they seem to pick up more detail and generally drown out Kirby’s pencils less.  At least so it seems to my inexpert eye.  As I said, I love the creativity of the Deep Six’s monster minions.  Why no-one has brought the Six back as recurring Aquaman villains, complete with a Kirby-esq monstrous menagerie of mutants is quite beyond me.  Missed opportunities aside, I’ll give this exciting adventure 4.5 Minutemen.

minute4.5


“Introducing Fastbak”


newgods05-35fastback

We get another brief Young Gods backup strip in this issue, this one featuring Fastbak, a free-spirited New Genesis youth with a need for speed.  Once again, there are only four pages to the strip, so there isn’t really time for Kirby to do much with the character, but we see him lead the New Genesis equivalent of cops, the Monitors (no, not those Monitors) a merry chase as he flies around Supertown at reckless speed.

The aptly named Fastbak is joined by more restless young gods, and when he finally comes to ground, he is given a quick wardrobe change by his friends just in time to sing before Highfather.  It turns out that our rebellious friend has the voice of an angel when he’s not busy raising Cain. This was a fun little strip, full of exuberance, energy, and the boundless enthusiasm of youth.  With Fastbak and his fellows, Kirby immediately humanizes the New Gods by showing us a fitting parallel to our own youthful foolishness even in their hallowed halls, yet this youthfulness is presented in an inimitable Fourth World fashion.  Of course, the King also gives us more great designs both in characters and wild Kirby-tech.  I’ve decided I’m not going to rate these backups, as they are really too brief to be judged as full stories.


Well, I will close out this post with Fastbak’s flying feats and bid you all a fond farewell until next time!  I hope you enjoyed my coverage of these exciting adventures and that you will join me again soon, for another edition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

 

 

Into the Bronze Age: September 1971 (Part 6)

DC-Style-Guide-2.jpg
Welcome to another edition of Into the Bronze Age!  With this post we’ll finish of September of 1971.  Our last two books are really quite a pair!  We have an unusual issue of World’s Finest, but the real highlight (lowlight?) here is the raw star power of the greatest new superstar in the DC constellation….I’m speaking, of course, of Don Rickles.  That’s right, this month we get more of the inexplicable madness of Kirby’s use of the insult comic as a guest star in Jimmy Olsen.  Yay?  Well, see what sense you can make of what lies within!

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman’s Pal, Jimmy Olsen #141


Jimmy_Olsen_141

“Will the Real Don Rickles Panic?”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

“The Guardian”
Writer: Joe Simon
Penciler: Jack Kirby
Inker: Joe Simon

Ohh man, for a moment there as I was looking from Lois Lane to my next book, a moment of blissful forgetfulness, I was excited for more of Jack Kirby’s wild and wonderful Jimmy Olsen adventures…and then I remembered that this one was the second half of the Don Rickles fiasco.  If you thought the last issue was strange, just wait; you ain’t seen nothing yet!  We start with an almost decent cover, in that classic, ‘heroes introducing a new character’ fashion that JLA and other books did from time to time.  Unfortunately, this one has Don Rickles on it, which is bad enough, but even worse, it is a black and white picture of the guy.  I’m never a fan of mixing real photos, especially black and white ones, with comic art in such a way.  It is just incredibly incongruent.  It looks like someone cut the center out of the cover and pasted Rickles’ mug into the hole.

jimmyolsen141-01

jimmyolsen141-04Despite the ugly cover, the first images that greet a reader inside are really quite impressive.  Kirby is experimenting with his photo-collages again, trying to create an otherworldly effect for Clark Kent’s journey into the strange alternate dimension in the booby-trapped capsule from the last issue.  The result is pretty striking and successfully cosmic.  After floating helplessly for a time, the mild mannered one is visited by Lightray, who eventually rescues him.  Yet, Clark doesn’t escape before he gets a brief glimpse of New Genesis and Apokolips in their great cosmic dance.  This brief interaction is really cool and, sadly, way more interesting than what takes the bulk of the comic’s focus.

jimmyolsen141-08While the reporter roves around in the Fourth World, his three friends, Jimmy Olsen, the Guardian, and…urg…”Goody” Rickles, find themselves deposited on the side of the road by Intergang, poisoned and facing a fiery fate.  The cloned hero sends the other two to seek help at the nearest hospital….ohh, wait, no.  That might make sense.  He sends them to the Daily Planet instead.  The Guardian himself sets off after the villain’s rolling headquarters to capture an antidote, and Kirby treats us to a few panels of his revived Golden Age hero leaping rooftop to rooftop in classic fashion.

jimmyolsen141-06

 

Meanwhile, the actual focus of the plot nears, as Morgan Edge prepares for the arrival of the real Don Rickles in his office.  When the comedian shows up, he’s mobbed by the staff in an admittedly funny scene, where they all beg to be insulted.  Unfortunately, I’d say that’s the last unambiguously funny bit in the book.  After the corporate shark chases off his underlings, he leads the star into his office, where his dialog becomes part comedic and part chaotic nonsense.

jimmyolsen141-09

While those two talk business (I guess?), Jimmy and Rickles’ inexplicable doppelganger are taking the subway, where Goody’s agitation causes the chemical in his system to react and start him smoking.  There’s some funny bits to this, but I can’t help but wish we were visiting one of the more interesting plotlines instead.  Fortunately, we quickly return to the Guardian, who smashes his way into “Ugly” Mannheim’s mobile base.  He lays into the gangster’s gunmen, but we cut away from his fight for….*sigh*….more Rickles.  Double the Rickles, in fact, as Goody arrives at the Planet, where he and the original engage in some “funny” hijinks about how they are identical.

As Goody and Jimmy approach critical mass, glowing and emitting flames, Morgan Edge calls for the bomb squad while silently cursing Mannheim.  Disaster is averted (although, other than Jimmy’s death, would it really have been that much of a loss?) by the timely arrival of the Guardian, who crashes through a window with the antidote in wonderfully dramatic fashion.  How did the cloned champion overcome all Mannheim and his criminal cohorts?  Well, we don’t get to see that.  Nope.  It’s way more important that we watch Don Rickles chew scenery.  As the comedian hams it up, Clark Kent returns via a boom tube and the bomb squad arrives and carries the frantic comedy star away.

jimmyolsen141-21

Sheesh.  There is a lot of really interesting material in this comic; the trouble is that Kirby ignores all of that to give us Don Rickles and Goody making faces at each other.  Clark’s cosmic journey is quite visually interesting, and there is a lot of potential to his visit to the dimension of the New Gods, especially given his fascination with a world full of super-beings in the Forever People title, but no sooner does one of them arrive than we cut away.  The same is true of the Guardian’s big return to action, where he swings through the city and single-handedly defeats the villain….almost all off panel.  This issue is just a lesson in missed opportunities, as the King has absolutely packed this book with fun concepts and characters, from the Newsboy Legion to the returned Golden Age hero, and yet he wastes his narrative space on Don Rickles of all people.  That being said, this issue isn’t as bad as I may have made it sound.  It’s still a relatively entertaining read, though one that will have you groaning in a few places or simply scratching your head.

jimmyolsen141-27

Kirby’s art, so beautifully powerful and dynamic in the last issue, is much more inconsistent in this one as well.  Don Rickles himself is all over the place, and the bombastic scope of the action is more restrained, which is really a shame.  There are a couple of wow moments, like Clark’s trip and the Guardian’s timely arrival, but those are sadly exceptions.  So, what do we make of this mad little issue?  I think I’ll give it 2 Minutemen.  It has some interesting moments, but they are quickly bypassed for lesser material.  The humor is better in this one, but while the plot is more coherent and less nonsensical than the previous issue, the overall effect is weaker.  This outing just lacks the whimsical fun of its predecessor.  Or perhaps I’m just already sick of Don Rickles

minute2

P.S.: Notably, the letters column for this issue includes a missive from a thoughtful reader who points out many of the same criticism I had about the completely unaddressed moral issues inherent in the concept of the D.N.A. Project.  Even fans in 1971 could see the disturbing implications of such technologies and wanted more substance from their treatment.

jimmyolsen141-28-lp

P.P.S.: This issue also features another text piece, this one on the return of the Newsboy Legion.  It’s hilarious to see Mark Evanier and Steve Sherman struggle to make Flippa Dippa sound cool.  As a bonus, the comic includes the first adventure of the Newsboy Legion and the Guardian from 1942, and it is a surprisingly fun and solid story that holds up well today.  Jack Kirby and Joe Simon made a good team.  I wish the new Guardian would get a bit of his progenitor’s personality, but then again, given that he was grown in a test-tube, I suppose it makes sense for him to be a bit bland.

 


World’s Finest #205


World's_Finest_Comics_205

“The Computer That Captured a Town!”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

“Secret of the Last Earth-Man!”
Writer: Gardner Fox
Penciler: Mike Sekowsky
Inker: Murphy Anderson

“The Duel of the Flying Knights!”
Writer: Joseph Samachson
Penciler: Frank Frazetta
Inker: Frank Frazetta

We’ve got a very unusual team-up tale in this month’s World’s Finest.  It’s really just a Superman story, with the Teen Titans serving as victims in need of rescue, but it features an interesting premise.  That premises is presaged by the book’s exciting cover, one I imagine I would have been plenty tempted to pick up.  I’m always a sucker for a giant monster, but Adams’ dragon, however fearsome in aspect, is a bit strangely proportioned and weird looking.  I think the perspective is just a bit wonky on it.  I do like how the Titans on the sidebar are all reacting to the scene in the center, though.  That’s a clever use of the character preview.

World's Finest 205-02

Inside, we travel to the small town of Fairfield where we join three of those young heroes, Kid Flash, Speedy (apparently taking time out from his drug-addled drama in Green Lantern), and Mal Duncan.  The trio are on patrol when they see a man robbing, not a bank, not a jewelry store, nor any of the normal criminal fare, but a grocery store.  Despite the fact that the poor fellow is clearly desperate, stealing to feed his starving family, they beat him savagely and show now compassion.  Even more strangely, after the fight, Kid Flash and Speedy talk down to Mal, and say he better get back to his “side of town” and be with his “own kind,” and Mal meekly accepts such statements, speaking in exaggerated, minstrel show-style.

World's Finest 205-03

World's Finest 205-06This is not the only sign that something is not right.  A scene change find Wonder Girl and Lilith acting like stereotypical 50s TV girls, sitting around, pining over boys and exercising no agency in their lives.  Yet, when Clark Kent shows up on TV to read the news, Lilith’s subconscious reaches out to him, and Mr. Mild Mannered has a vision of an old man discovering a strange machine in a cave and transmits the message “THE TEEN TITANS ARE TRAPPED IN FAIRFIELD!”  Startled, Clark actually says that on the air, which leads to confusion from the girls and anger from everyone’s favorite corporate shark, Morgan Edge.

After placating his boss, Clark changes into Superman and heads out to investigate, locating his young allies just as Kid Flash is once again talking down to Mal and using super racist rhetoric.  Yet, when the Man of Steel asks about their being trapped, the Fastest Boy Alive laughs the question off.  The Kryptonian gets the same response from Lilith, but as he wanders around town, he begins to notice the name “Richard Handley” plastered over everything and, combined with the images from his vision, he develops a theory and heads into the hills to test it out.

World's Finest 205-10

Locating a cave, and having a flashback to what we just saw seven pages ago (for some reason), the Metropolis Marvel suddenly finds his way barred by a massive monster, a huge fire-breathing dragon!  While Dillin’s dragon looks pretty great in most of his panels, his first appearance has his proportions a little screwy, like the cover image.  Nonetheless, this starts a battle between the beast and our modern day St. George, only Superman can’t hurt the creature.  He reasons that it was created by whatever machine is affecting the town, and thus, it isn’t actually real and possesses no nervous system that he can injure or vital points he can attack.

World's Finest 205-15

As their battle rages, the machine’s own violent energy seeps out into the town, causing the bullies to turn on the meek.  Back at the cave, the Action Ace attempts to slip past the monster, but he’s caught and hurled out of the cave.  Yet, his second attempt, moving at super speed, is successful, and after a nice looking fight sequence, he manages to reach and smash the mysterious machine at the heart of the town’s problems.  Just then, the dragon vanishes and the world returns to normal, with the girls giving the chauvinistic Kid Flash what-for (although, methinks if the super strong Wonder Girl slapped him, he might just be in a coma) and Mal shoving Speedy’s racism down his throat.  Fortunately, the boys come out of it, and they all make peace with one another.

World's Finest 205-21

Then Superman kindly provides some answers, explaining that a man named Richard Handley had discovered the strange device in the cave, which he surmises was of alien origin, some time ago, and when he touched it, the machine absorbed his thoughts and then projected them across the town, controlling the minds of its inhabitants.  Notably, the Man of Steel opines that Handley was a “complicated man,” but when he describes the fellow, he doesn’t really seem all that complicated, instead, just a simple racist, chauvinistic, and provincial jerk.  The only non-negative quality Supes ascribes to the guy is that he loved his town, which is really only a neutral characteristic.

This was almost a really interesting coda to the story.  It seems like Skeates is aiming to soften the portrait of Handley in this scene, but the sketch he draws doesn’t accomplish that end.  If Handley had some redeeming qualities, it could have been a really nice illustration of the fact that people are not merely the sum of their beliefs and that someone can possess flawed principles and still be redeemable, which would be a moral that would still have a lot of resonance today, perhaps even moreso than in 1971.  As is, the guy just seems to be the worst.  Now, the theme is still somewhat served because we see the Titans, who are ostensibly good people, acting in biased and immoral fashion in this story, but the impact would have been stronger if the final impression of Handley had been more nuanced.

World's Finest 205-27

Either way, this is an interesting and unusual little morality play of a story, and it has an engaging mystery in the conduct of the Titans and a fun core of action with Superman’s visually engaging fight with the dragon.  As usual, I’m thrilled to see Aquaman scribe extraordinaire, Steve Skeates, pen another yarn.  In classic Skeates fashion, the plot for this one has some unique qualities that separate it from the usual ‘heroes acting out of character’ and ‘mind controlled town’ tropes.  The alien device here isn’t co-opting the heroes or the town for any nefarious purpose, and they aren’t being overtly evil or trying to conquer the world.  They’re just being influence by biased and prejudicial values, a serious problem, but a much more subtle one than those usually found in such tales, which is interesting.  Skeates manages to deliver a simple but thoughtful story, showing his readers the ugliness of racism and sexism, and doing it in a creative way, by having admired characters enact it, while at the same time not getting stuck in his message.  As is often the case in this title, Dick Dillin’s art is great for the most part, except for just a few awkward panels.  Superman’s fight with the dragon is particularly nice.  It really seems like outside of the massive chore that JLA had to be, Dillin does routinely excellent work.  I’ll give this interesting and different tale 4 Minutemen.

minute4


The Head-Blow Headcount:

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

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

No new faces join the Wall this month, though Lois gets honorable mention for her own head-blow hiccup.  I wonder who our next guest will be!


Final Thoughts:


Quite a month!  We encountered books of every type, the serious, the silly, and the truly out there.  The stories varied wildly in quality, but even some of the rough ones were noteworthy, and we had several really good comics in this batch too.  One of my favorite events this month was the return of supervillains to the Flash for a strange but entertaining tale.  He’s got such a great rogue’s gallery, and it is exciting to see them back in action again.  One of my ever-astute readers pointed out that there may be something of a theme of de-supering the superheroes at DC in this era, and I wonder if the reticence in the use of supervillains that I’ve noted might be part of such a trend.  If so, it is an intensely foolish one.

On that topic, this month also saw the slightly anti-climactic end of O’Neil’s rather uneven run on Superman wherein he partially de-powered the Man of Steel and did away with some of his familiar trappings.  His stories tended to be rather more odd than impactful, but they clearly caused a stir in their day.  For whatever flaws they had, O’Neil did manage to inject some humanity and some drama into the character that were a welcome additions.  I’ll be interested to see how long his changes endure.

Another of O’Neil’s efforts is worth mentioning here, as we got a new glimpse of R’as Al Ghul and Talia, though the story wasn’t nearly as effective as previous outings.  I wonder how long it will take before these characters achieve the iconic status that marks them as important additions to the Batman mythos.

In terms of the comics reflecting their times, we have some really fascinating examples this month.  We saw Ralph Nader and his Nader’s Raiders given the DC Universe treatment, with fictionalized counterparts fighting the good fight for consumer protection in the superhero world.  One wonders how consumer standards would be different in a world where an alien monster might come rampaging through the city or mystical energy could sweep through your building on any given Tuesday, bringing appliances to life.  Well, whatever new safeguards might be necessary, it’s interesting to see the events at the end of the last decade with Ralph Nader’s consumer protection crusading being reflected in a Batman comic of all things.  I’d say this reflects, in a small and subtle way, a changing attitude towards businesses and authority.

History also enters into our comics in a very unexpected way, as the Holocaust is referenced in G.I. Combat.  It’s a great story, particularly notable for its Jewish protagonist and its subtle but honest reminder of the terrors of hatred and the horrible capacity of humanity for evil.  This was another Kanigher story, and he continues to turn out the occasional grand slam, producing some of the goofiest comics I’ve read, but also some of the unequivocally most successfully serious and thought-provoking issues.  This month, he turned out two.  Kanigher’s work on Lois Lane and the story about urban poverty and its racial dimensions is quite good as well, despite its heavy-handed sentimentality and simplicity.  It’s notable that both of these, and our World’s Finest issue all deal with racial bias and attempt to encourage readers to see people of different races as individual human beings.

It’s really interesting to see superhero comics tackling such a topic, which was still a very a live issue in 1971.  It was only this very year that the final efforts to desegregate schools in the South were begun and the Supreme Court put the nail in the coffin of the Jim Crow era (though far from the end of the Civil Rights struggle).  That makes the racial overtones of the Lois Lane story’s conflict really fascinating and timely.  The DC Universe is still a very monochrome place at this point, but here we have a positive character of color in the person of Dave Stevens, acting heroically and making a difference in his community.  We’ve come a long way from just a few years before where the inclusion of a single black face in a crowd in Green Lantern resulted in special attention and letters of appreciation for such an unusual inclusion.  In the other direction, we’re only a few months away from DC getting its first black hero as well!

On another note, we also got Robin’s hippy commune sojourn this month, another reflection of the wider world, as the Counter-Culture movement still hadn’t quite run out of gas.  Interestingly, Friedrich attempt to paint the hippies and their commune positively, presumably for the same kinds of reasons as Kanigher and his work on the inner city, perhaps hoping to show his readers the normalcy and humanity of people that many would regard as outsiders and Others.  It’s a mediocre story and more than a little odd, but its appearance is worth noticing.

Of course, this month also saw the finale to this year’s JLA/JSA crossover, which was a fine if uninspiring pair of issues.  While Friedrich’s work on the book hasn’t been bad, for the most part, I am looking forward to getting to the end of his run.  Sadly, I’ve got a while to wait.  His efforts at adding drama and conflict to the League have been rather odd and poorly handled so far, but he is trying to add more of an emotional core to their stories.

Finally, Kirby’s Fourth World sees a very uneven set of books this month, with a creepy and compelling Forever People issue which was much better than I remembered on one hand….and the madness of ‘Goody’ Rickles on the other, with the solid but unremarkable New Gods somewhere in between.  In the Forever People book, Kirby’s surprisingly sophisticated reflection on the power of self-delusion and the illusions that we treasure is really striking in light of the previous issue’s focus on the lies we tell ourselves to justify our actions.  I’m not entirely convinced it was a conscious development of themes, but Kirby was an instinctive storyteller, and I think it is entirely possible that he wove those threads together subconsciously, even as he leapt from idea to idea.

The Don Rickles disaster, on the other hand, was, despite some genuinely fun moments, mostly just a waste of the powerful imagination and creativity that had been, for better or worse, pouring out of the Jimmy Olsen title.  All of the interesting material is shoved into the background to make room for the “funny” bits.  It’s a shame given that this confused mess shows up right on the heels of the bizarre but promising story arc with the Wild Area and the D.N.A. project.  The end result is that at this point I can see some of the signs that led to the death of the line.  What would you have thought as a kid buying the Fourth World books, only to hit two issues like those?  Yikes!

Taken all together, this was an eventful and interesting month of comics, with a pretty high proportion of socially relevant stories, especially compared to where this little journey began.  I hope that y’all enjoyed this stop on our voyage and will join me soon for the beginning of the next month of classic comics as I travel further Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: September 1971 (Part 3)

DC-Style-Guide-2.jpg
Hail and well-met Internet travelers, welcome to another edition of Into the Bronze Age!  We have three very different comics to cover in this batch, each intriguing and unusual in their own way.  I was surprised by each of these books, and I image they might have something unexpected in store for you, my dear readers, as well.  Shall we find out?

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.


The Flash #209


The_Flash_Vol_1_209

“Beyond the Speed Of Life!”
Writer: Cary Bates
Penciler: Irv Novick
Inker: Dick Giordano
Cover Artist: Dick Giordano

“Coincidence Can Kill!”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Dick Giordano

“Elongated Man’s Undersea Trap”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Joe Giella
Letterer: Gaspar Saladino
Editor: Julius Schwartz

Well folks, here it is at last, the return of the supervillains!  I have been eagerly awaiting this issue of The Flash, and I am sick to death of his unequal contests with the Generic Gang!  I’ve been watching this cover, with its promise of actual, honest-to-goodness supervillains, coming closer in my list, and hope for it has helped me endure the doldrums that preceded it.  It is a pretty nice image too, even outside of my desperate desires for some dynamite foes.  The cover copy is a bit much, but the central composition is nicely dramatic.  I’m pleased to say, I was not disappointed by my read either, despite the fact that the two cover-cons don’t play as much of a role as you might imagine.

The tale begins in media res, with the Scarlet Speedster already defeated!  What’s this?  Captain Boomerang and the Trickster arrive to admire their handiwork after triggering a cunning trap, all set to finish their fast foe for good.  Except, they find him already…dead!?  In a lovely and wonderfully wacky moment, the two villains stand in silence, honoring their expired enemy.

flash209-03

I love how sad Boomer looks.

Then we flash back to that morning, when Barry Allen was leaving home, late for work as usual (I love that perennial bit of characterization).  Just as he’s kissing Iris goodbye, the Crimson Comet gets a mental image of Captain Boomerang and the Trickster hiding out on the edge of town, and, despite knowing it is likely to be a trap, rushes off to check it out.  Meanwhile, in their hidden hideout, the dangerous duo get their own mental message, which shows them Flash’s rapid approach.  They suddenly discover a glowing rope and, thanks to psychic guidance, are able to time their attack perfectly, tripping the speedster up and sending him skidding across the desert sands.

Yet, his tumbling fall is more than meets the eye, as the Fastest Man Alive finds himself being paced by a speed-blurred shape, which begins communicating with him as it drags him through a dimensional barrier into a bizarre and alien world.  The new dimension, which his speedy escort describes as “beyond the speed of life,” is really nicely rendered by Novick, looking fairly unique and unusual.  His guide, who calls himself ‘The Sentinel,’ explains to the speedster that this is the dimension beyond the speed of all living things, and that normal physical laws don’t apply there.  Racing along together, the Sentinel tells his kidnapped companion that he has brought him to this strange realm for a purpose.

Back on Earth, the two villains begin to bicker as the Trickster wants to unmask the fallen hero, while Boomer says they should have respect for the dead, which is another fun little moment.  Just then, their mysterious benefactor arrives, and we discover the real villain of the piece, Gorilla Grodd!  This is pretty unsurprising considering that there were mental powers in play, but it’s always good to see Grodd.  The super-simian is full of contempt for these ‘lesser beings,’ and explains that he used them as pawns in case the plan failed, which they don’t take too well.  Yet, they prove no match for the mighty gorilla, who subdues them with ease.

flash209-13In the speed dimension, the Sentinel tells Flash that the strange place is being attacked by a being he calls the Devourer, which is trying to tear its way into the hero’s universe.  The being takes a number of random forms, shifting rapidly, including a giant rat, ram, blowtorch, and T-Rex.  All of the Scarlet Speedster’s attacks are ineffective, but he finally reasons that, since the normal physical laws don’t apply in this bizarre place, he should try something completely random that would be ineffective in his home dimension.

 

Thus, he runs through a host of random movements at super speed before discovering that bouncing up and down hurts the monster.  Ooookay?  The Devourer takes the form of Iris as it is destroyed, which makes it hard for Barry to keep up his ‘attack,’ but he finally annihilates it and asks the Sentinel to bring him home.

flash209-14

Yet, back on Earth, the Fastest Man Alive makes a startling discovery.  He has just become the fastest ghost not alive!  The Sentinel had to pull him out of his body for the trip.  Desperate to live again, the hero begs the other being to put him back, despite his protestations that it may be impossible.  While Grodd prepares to force his two former pawns to kill each other (!), the Sentinel races past Flash’s lifeless form.  Suddenly, the Scarlet Speedster lives again, and by rapidly vibrating his body, which is held by the super-gorilla, he sinks the mad monkey into the earth, before scrambling his mighty mind with some super-speed blows.  The other two villains are so stunned that they surrender, and the day is saved!

flash209-16

This is a fun story, with some delightful little bits of characterization, like with Boomerang’s insistence on respecting the dead and Grodd’s superior attitude.  It’s great to see some supervillains again, even if we don’t really get to see them in action.  Their mere presence makes the Flash’s world seem more interesting and colorful.  It’s a shame this tale didn’t get more room to breathe, as I’d have loved to see an extended fight between the three villains.  I think that could have been a lot of fun.  As is, the villain plot feels a bit short-changed by the dimension-hoping dangers.

The Devourer, for its part, is also a tad disappointing because the Flash’s method of defeating it is just silly.  If the dimension doesn’t obey the normal laws of physics, I can think of several more interesting ways in which that could have been used.  Ultimately, that’s a good concept, but the payoff speaks of a lack of imagination.  On the art front, Novick and Giordano make a really nice team, and they do a great work with both halves of this yarn.  I particularly like Novick’s portrayal of Captain Boomerang, so scrawny and distinctive looking.  So, all-in-all, this was an entertain read, and I’ll give it 3.5 Minutemen, largely on the strength of the Rogues that make an appearance.

Grodd is finally act a bit like the sinisterly superior super-simian that he would one day become, which is nice to see.  He’s one of my favorite Flash villains, being such a wonderfully, whimsically crazy concept.  As with most things, I feel like the Timmverse Justice League show captured him best, with his poised, cultured, and dignified portrayal being far better than the brutish and one-note version of the New 52.

minute3.5


“Coincidence Can Kill”


flash209-20

We’ve got another Kid Flash backup this month, penned by one of my favorite writers, Steve Skeates, which is a pleasant surprise.  The tale itself feels super brief, but it is fairly original.  It begins with our young hero, who is dressed in the finest of 70s threads.  Just look at that fashion disaster!  Well, when the groovy youth happens upon a bank robbery when coming home from school (isn’t he supposed to be in college by this point?), he is thrilled for the chance to get into action.  flash209-21In a fun bit of detail, he notes that when he started out he expected to be stumbling over heists all the time, but unlike in “comic mags,” such things have proven rare.  Yet, when he goes to eject his costume from his ring, a strange gas emerges instead, knocking him out!

Shortly thereafter, the young hero awakens, only to see the thieves being picked up by the law.  This leaves Wally without criminals to catch, but he still has a mystery to solve.  What happened to his ring!  He reasons that the accessory must have been switched, and he remembers that he and his lab partner, “Genius” George, had washed their hands at the same time, each taking off their rings.

flash209-23

Rushing to George’s house, Kid Flash discovers that the boy was picked up shortly before, supposedly heading to a meeting at school.  Realizing that there is no meeting that night, Kid Flash heads out in pursuit of the car.  He manages to trail it to a rough part of the town.  Meanwhile, “Genius” George has gotten himself in way over his head, volunteering to join a criminal gang and use his science skills to make gadgets and weapons for them, all as a blind to get him into their presence so he can capture them.  This was the purpose of the gas-filled gadget, but unfortunately he’s wearing the wrong ring!

flash209-24

When he presses the catch on the jewelry piece, out pops the Kid Flash costume.  Fortunately, Kid Flash himself is on the scene, and he takes out the thugs in no time flat.  With the gang K.O.ed, the Teen Titan and George compare notes, and lucky for the Fastest Boy Alive, George reasons that his ring must have leaked and, when the hero saw him in trouble, he threw out the costume to distract the criminals.  The story ends with Wally thinking that, hopefully, this experience will teach George to stay away from “dangerous stuff like gas…and criminals!”

This is a breezy but fun little tale.  The idea of a high school science buff taking it upon himself to capture a criminal gang is crazy…but then again, so are high school kids!  I never tried anything quite that wild, but in a world full superheroes and daring do, I suppose it is a little less farfetched that a starry-eyed youth might try to emulate his idols.  The whole story is built on coincidence, but it moves along with such energy, that you can just about forgive it.  I’ll give this brief backup a solid 3 Minutemen.  Oddly, Kid Flash himself is miscolored throughout the strip, being depicted with yellow legs.

minute3


The Forever People #4


Forever_People_v.1_4

“The Kingdom of the Damned!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

“The Amazing Dreams of Gentleman Jack”
Writer: Joe Simon
Pencilers: Joe Simon and Jack Kirby
Inkers: Joe Simon and Jack Kirby
Letterer: Howard Ferguson
Editor: Whitney Ellsworth

Welcome to more 4th World Madness!  Our new issue of Forever People is really a striking one.  It’s got a fair cover, with the heroes overcome, but the strange depiction of Desaad’s minions, with their weird, glowing colors, is an odd choice.  The desperation that the image portrays is fitting, however, as the tale within is one of hopelessness and despair for our young protagonists.  We begin with a panicked sea of humanity, surging against the glass wall of a bizarre prison and crying for help, only for the next image, a lovely two-page spread, to show us that their pitiful pleas have been converted into joyous laughter, which fills the air of a colorful, Disney World-esq amusement park.  Of course, it’s an amusement park as designed by Jack Kirby (shades of Sci-fi Land!), so you might expect it to be even more amazing than the Magic Kingdom, and just a bit creepier too.  Actually, the design is positively pedestrian for the King, but it does still feature flying cars and other sci-fi staples.

One of those airborne autos arrives, bearing a very special passenger.  Darkseid disembarks within the bowels of this park, Happyland, which serves as a wonderfully ironic front for Desaad’s cruel experiments.  The dark god has arrived at his underling’s request to observe the fates of the Forever People, who have been brought here following their capture by that hypnotic huckster, Glorious Godfrey.

We check in with the young quintet as they test their prison walls.  They discover that Mother Box has been stolen from them, though Vykin detects it nearby.  When their guards arrive, poor Serifan tries to resist them with one of his ‘cosmic cartridges,’ only to be felled, followed shortly by the rest of the team.  Meanwhile, Desaad is busy with Mother Box herself (itself?), as he tries to destroy the incredible device.  As the marvelous machine is tortured, it suddenly vanishes in a flash of light, and despite the fact that Desaad takes credit for driving it to commit suicide, Darkseid reminds his malicious minion that they don’t really know what happens to the devices  in such circumstances.

In a rather funny scene, Darkseid walks to his ship out in the open, passing through the park-goers and scaring small children.  His grotesque features are split by a grin as he chases off one pair, when a child realizes he is real but her grandfather insists he’s just a man in a costume.  It’s a weird little episode, and while it is fun, it feels a little incongruous with the gravitas of the character.

forever people 004 16Then Kirby’s inimitable imagination is on strange and unsettling display as he takes us on a tour of the torments Desaad has devised for our young heroes.  First, Mark Moonrider is locked in another glass prison, this one rendering him as an animated skeleton to the people passing below.  Big Bear, for his part, is in a shooting gallery where the park-goers see him as a robotic bear, and their each shot creates a cacophony of sonic chaos within his cell.  Beautiful Dreamer has a more sedate torture in store for her, as the uber-creepy master masochist paralyzes her and inserts her into a glass coffin, where the illusion works in the opposite way of the others, rendering the harmless civilians who regard her as hideous monsters waiting to devour the helpless damsel.

forever people 004 15

Finally, Seirfan and Vykin have a dual doom.  Vykin is trapped on the rollercoaster track, with his head thrust between the ties, while Serifan is strapped to a pedal which, when pushed, will lower his friend out of the path of the oncoming coasters.  He must be ever alert, or his helpless friend will meet a grisly fate.  Things certainly seem grim for the five from New Genesis, but the last page reveals that all is not lost, as the missing Mother Box rematerializes somewhere else, where a massive Asian figure picks it up and senses its plea for help.

I remember not being all that impressed by this issue on my first reading, but I really found it intriguing this time.  The torments Kirby devises for his five protagonists are really creative and unique.  They display the King’s limitless imagination, but more importantly, they all turn upon issues of perception and illusion, both of the possibility of escape and in more general (and more interesting) terms.  The victims are all constantly fed false impressions, and with them, false hope, which is a crushing blow for the soul, but these illusions also afflict the innocent inhabitants of the park.  On my first reading, I didn’t appreciate the cleverness or intricacy of what Kirby is doing here, playing with themes of perception, as well as, building on the themes of the last issue, like the willingness of the crowd to accept comforting lies rather than face the reality of the world or their own responsibilities for it.  While the scene with Darkseid and the park-goers may feel a tad out of character, it helps to cement the thematic thrust of the issue and the result is a surprisingly thoughtful tale.  I’m really quite impressed.

This issue doesn’t suffer from the unevenness of the previous offering, and though it still has some awkward dialog, notably from the Forever People themselves, that problem isn’t as noticeable either.  There isn’t a lot that really happens here, but it is interesting that Kirby indulges in an entire issue where the villains are ascendant.  There’s no triumphant escape, no heroic defiance, nothing but defeat and despair.  That’s very unusual, and it is effective at establishing the vicious evil of Desaad and the power of the Apokoliptian forces.  The art is also impressive, possessing Kirby’s usual excellence, but he really outdoes himself on Desaad’s cruel, leering visage in several spots, as well as his boisterous portrayal of Happyland.  I’ll give this surprisingly sophisticated comic 4 Minutemen.  It’s worth reflecting on what illusions might be distorting our own view of the world.

minute4

P.S.: Notably, this issue came during the infamous price increase of the early 70s, when DC books went from .15¢ to .25¢, many of them adding reprints to make it up to the readers.  Kirby’s book, for its part, added pin-ups of the Forever People which are fairly nice, as well as a Golden Age Sandman story penned by none other than Simon and Kirby, which is pretty cool.


G.I. Combat #149


G.I._Combat_149

“Leave the Fighting to Us”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor: Joe Kubert

“Last Man – Last Shot”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert
Editor: Robert Kanigher

Our issue of G.I. Combat this month is a very unusual one, featuring a subject not often tackled in Silver or Bronze Age comics, even war comics.  The cover gives no real hint of the type of tale waiting within, though it is a fair ‘imminent peril’ image.  The composition feels a bit unbalanced, though, perhaps because the tank is shoved out of center stage by the promotional box about Sgt. Rock.  And, of course, it features the notorious yellow skies of classic comic covers.

gi combat 149-04

The yarn with in starts with a bang, as Jeb and his crew discover a pair of G.I.s racing across a bridge in a jeep and falling prey to a Nazi fighter.  The Haunted Tank leaps into action, racing against the death-dealing German warbird, and they finally manage to knock it out of the sky in a pretty nice sequence.  Once they crash through the plane’s flaming wreckage (!), they discover that saved the jeep’s driver, but he is busy performing last rites for his passenger, and doing so in the Jewish fashion.  This type of portrayal of other cultures and faiths was still pretty rare at the time, so this is a notable moment.

gi combat 149-07

The driver, Sgt. Saul Levy, is a new tank commander for their unit, and he as saying the Kaddish, the Hebrew prayer for the dead over his fallen friend.  Once they all reach the camp, Levy doesn’t really fit in, and he’s picked on by some of the other men.  Fortunately, there are those who stick up for him.

gi combat 149-08

When they go out on a mission the next day, they encounter a striking sight, and one rarely seen before in comics: a concentration camp victim, a living scarecrow and temporary survivor of Hitler’s “Final Solution.”  That’s right, this comic actually portrays, in a Comic Code kind of way, the Holocaust, which is impressive and praiseworthy.  Unfortunately, the escaped prisoner has used all of his strength, and after he tells the tankers about a concentration camp nearby, he breaths his last.

gi combat 149-12

When they approach the camp, the two tanks are targeted by a pair of turrets, and Sgt. Levy makes a mad dash across the field to spike both guns.  It’s a dramatic sequence, and the heroic deed earns the young commander the respect of his crew.  They push their assault and destroy the guard towers protecting the camp, liberating the prisoners.  The pitiful figures, starved and barely able to walk, shuffle out to meet the tankers, and among them Sgt. Levy finds his own uncle, David.

Just then, another Nazi fighter drops out of thy sky, guns blazing.  Levy saves his uncle and knocks out the plane, but not before he is mortally wounded.  The book ends with the old man tearfully pronouncing the Kaddish over his body, honoring him in the tradition of his faith.  Meanwhile, Jeb prays for his fallen comrade in his own way.

This is a brief and bittersweet little tale, but it is remarkable for exposing, however slightly, the horrors of the Holocaust and focusing specifically on its impact on and importance for the Jewish community.  It’s really interesting and fitting that our perspective character for this story, the one who saves the day and liberates the camp, is himself Jewish.  For him, the camps are not some alien concept, a horror softened by distance and because it is happening to strangers.  In fact, he finds a family member among the victims within the compound, making the tragedy personal as well as profound.  Kanigher is employing a surprisingly light touch with Levy and with the subject matter in general, and the result is a striking and readable story.  It both introduces readers briefly to the nature of the Holocaust and engages with antisemitism, demonstrating the dangers of such ignorance and the heroism of the people it targets.  The only real flaw is that the Haunted Tank is pretty much a background figure in its own story, but that is acceptable every once in a while.  Russ Heath’s art is pitch-perfect, as usual, capturing both the ‘blood and thunder’ action as well as the quiet, emotional moments, like the heart-rending image of the concentration victim’s death.  I’ll give the story overall 4.5 Minutemen.

minute4.5


And with that unusual tale, we wrap up this batch of books.  These are a surprisingly worthwhile set of comics, each more than meets the eye in different ways.  I hope you enjoyed my commentary and that you will join me again soon, for another stop in our journey Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: August 1971 (Part 5)

DC-Style-Guide-1

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman’s Girlfriend, Lois Lane #112


Lois_Lane_112

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

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

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

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

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

lois_lane_112_10

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

lois_lane_112_11

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

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

lois_lane_112_16

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

minute2


“Rock and Rose”


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

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

lois_lane_112_41 - Copy

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

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

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

lois_lane_112_47

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

minute3.5


Teen Titans #34


Teen_Titans_v.1_34

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

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

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

teentitans34-02

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

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

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

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

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

 

teentitans34-19

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

 

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

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

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

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

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


World’s Finest #204


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

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

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

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

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

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