Into the Bronze Age: January 1971 (Part 2)

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Hello folks, and welcome to the next iteration of my investigation of Bronze Age DC comics!  It’s another beautiful day here at Grey Manor, the birds are singing, the sky is cloudlessly blue, and there are comics to be read!  We’ve got a double-dose of Batman today, with a side of something sinister, as well as the sensational Batgirl.  Please join me for a trip through these two books!

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 #396
  • Adventure Comics #401
  • Batman #228 (reprints, won’t be covered)
  • Brave and Bold #93
  • Detective Comics #407
  • G.I. Combat #145
  • Superboy #171
  • Superman’s Girlfriend, Lois Lane #107
  • Superman’s Pal, Jimmy Olsen #135
  • Superman #232 (reprints, won’t be covered)
  • Superman #233

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


The Brave and the Bold #93


brave_and_the_bold_93“Red Water Crimson Death”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Neal Adams
Colourist: Jack Adler
Letterer: John Costanza
Editor: Murray Boltinoff

Within this comic there is a solid and pleasantly subtle ghost story and mystery, but it’s framed by a device that seems more like Bob Haney than Denny O’Neil.  In fact, I had to double check the credits as I was reading.  This issue really drives home the fact that, although we’re getting closer and closer to the iconic portrayal of Batman that will come to define the character for decades to come, we are not quite there yet.  Even O’Neil, who will largely create the Dark Knight that I know and love, has not quite got the character sorted out at this point, and thus this story begins with a really off-beat moment that colored the rest of the book for me.

Curiously, the “guest star” for this issue of B&B is ‘The House of Mystery.’  Bit of a stretch there, DC.  I’m going to have to call shenanigans.  It is to this very house that a desperate criminal runs, pursued by none other than the Batman!  Inside, the House of Mystery host, Cain, plays narrator, a role he’ll continue by tagging along throughout our adventure.  Just as the Masked Manhunter is about to get his man, he trips, falling at the thug’s feet.  The would-be killer pulls the trigger of his pistol, but it jams, and the Caped Crusader lays him out.

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When Commissioner Gordon arrives, he insists that the Dark Knight has run himself ragged in recent weeks, and he argues that even the great Batman can’t keep going nonstop.  Gordon insists, quite pointedly, that the hero take a vacation, even giving him tickets for a cruise to Ireland and insisting he be on it.  The Masked Manhunter finally agrees and sets out on vacation…and the scene is just plain weird to me.  Can you imagine the modern version of Batman taking a vacation?

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Now, far be it for me to speak well of the modern, sociopathic version of the character, but this does seem a bit much.  Just up and taking a cruise and planning to be gone from Gotham for a month doesn’t really seem to fit the character of a man who is driven to pursue justice because of the murder of his parents.  brave_and_bold_v1_093_08It just seems a bit off.  Part of the trouble is the fact that it is Gordon playing the role of caregiver, which doesn’t suit him well either.  If this exchange had happened between Bruce and Alfred, I’d have been much more okay with it.  That could have actually been charming.  In this case, not so much.  What’s more, apparently the Commissioner hands Batman a ticket for a cruise ship, but Bruce Wayne shows up and climbs on board.  Real good work there, Brucie.  Say goodbye to that secret identity!

Anyway, on the cruise itself, the vacationing hero meets a boy named Sean, who is swept overboard during a storm one night.  Bruce dives in to rescue the child, who seems to call out to a face in the storm.  The pair are pulled back onboard, and Bruce discovers his costume in his luggage, despite the fact he told Alfred not to pack it.  Here we have another uncharacteristic moment, as he tosses it overboard, which just doesn’t jive with his motivations.

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More convinced than ever that he needs a rest, Bruce decides to get off the liner at a peaceful, isolated island that also happens to be the home of the boy he rescued.  They go ashore together, and the youth’s family welcomes their visitor very warmly.  Bruce learns that Sean’s parents died mysteriously years ago during an inexplicable red tide that doesn’t fit the usual patterns of the phenomenon.  That night, the billionaire awakens to the touch of a spectral hand, only to discover that he’s somehow dressed in his costume!  What’s more, he sees young Sean walking out of the house, apparently in a trance.  Fearing he’s losing his mind but unwilling to let the boy get hurt, Batman heads out into the night, only to be ambushed by the villagers!

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He quickly disarms them in a solid sequence, and after telling them he’s no threat in the most awkward way possible, (“I dress as I do for…personal reasons!”) they explain that the castle of King Hugh, a king from centuries ago, has become a source of terror for them, and they fear that spirits and worse may be abroad, originating from that ancient pile.  Strangely enough, that is where Sean was headed, and despite bizarre apparitions, the Dark Knight will not be deterred.  He smashes a giant screen which was the source of the visions and rushes into the castle, narrowly avoid the dropping portcullis.  Interestingly, he has a moment of doubt as he’s pursuing the boy, trying to talk himself out of getting involved, which once again seems off for the character.

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That’s some tortuous logic there, Cain.

The Caped Crusader begins to search the medieval fortress, receiving enigmatic, ghostly hints as he goes about it, which eventually lead him to a pair of thugs who helpfully provide exposition.  Apparently, their boss has bought the castle and is trying to drive the islanders out of the village so that he can control the fishing rights in the area.  It’s a bit Scooby-Doo, but they escalate things as well.  They are planning to poison the boy and leave his body for the natives to find in order to seal the deal.  Batman takes the pair out but receives a cut on his arm in the process.

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brave_and_bold_v1_093_24Finally, the Dark knight confronts the big boss himself, though as he saves the boy and takes out the hired help, some poison gets into his wound, and Aloysius Cabot, the somewhat unintimidatingly named villain, plays it cool, waiting for the venom to do its work.  Because this is O’Neil writing, the guy isn’t just a murderer and a crook, he’s also planning to pollute the environment.  The fiend!  Batman’s diatribe about these nefarious doings is super dramatic.  I wonder if he’s been hanging out with Green Arrow too much.  As the hero grows weaker, Adams tries an intriguing experiment, rendering the panels of the villain, representing Batman’s view, in a strange, unfinished fashion to portray the effects of the toxin.  I like, but it took me a moment to suss out.

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Cabot, toying with his victim, tells him that there are two beakers on the desk, one containing an antidote and the other water and offers to let the Masked Manhunter choose.  Losing his battle with the poison, Bats notices the portrait of King Hugh hanging behind the evil industrialist seems to be pointing, not to the beakers, but to a test tube.  Taking a desperate gamble, he drinks the liquid in the tube, and Cabot is incensed that he somehow figured out the trap, as both beakers contained more poisons.  He plans to shoot the still recovering hero, but that same heavy portrait just happens to fall off of the wall, killing him.  Batman is very confused by the events of the night, so many inexplicable, and when Sean awakens on the way home and asks what happened, all he can answer in reply is “I don’t think I’ll ever know!”

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This is a pretty good ghost story, told with a surprisingly subtle touch, other than the apparition in Batman’s room.  It makes for an interesting plot, and I enjoy that much of what happened and why is left unexplained.  The reader can piece some of it together from context, but O’Neil never spells it out.  The third act in the castle is suitably atmospheric and spooky, and of course, Adams’ art is lovely.  Cain’s wry, macabre narration throughout is a fun addition to the story, and I enjoyed his presence more than I expected.

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The only real problem with the story is that incongruous triggering event and the discordant moments of mischaractetrization.  Now, you can argue that they fit in perfectly with the version of Batman that Bob Haney has been writing in this book, but that’s not much of a defense in my opinion, as Haney is just in a world of his own.  At any rate, it isn’t enough to make this a bad story, just enough to keep it from being a particularly great one.  I’ll give this off-beat tale 3.5 Minutemen, as it is a fun read despite its missteps.

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Detective Comics #407


detective_comics_407“Marriage: Impossible”
Writer: Frank Robbins
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“One of Our Landmarks Is Missing!”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

The return of the macabre Man-Bat finally arrives!  It’s been a while since we last saw Man-Bat, way back in issue #402, which, interestingly enough, ended on a cliffhanger of sorts, as Batman prepared an antidote for his monstrous double that could cure him or turn him into a vegetable.  That cliffhanger has been left…well…hanging all this time.  The human-chiroptera hybrid makes his triumphant return in this issue, which really amps up the insanity of his concept in interesting and surprisingly effective ways.  This is a weird one, yet somehow it works.

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We don’t pick up where we left off.  Instead, the story opens with Batman reading the paper on what we can only assume is an exceedingly slow news day, as the headline proclaims “Bat Exhibit Opens at Museum of Natural History Today!”  It’s bad enough that the bat exhibit at the local museum is your front page story, but is it really worthy of the exclamation point, newspaper?  Anyway, the story catches his attention because the noted bat-expert Kirk Langstrom, a.k.a. Man-Bat, will be hosting the event, which will be followed by…his wedding!  Horrified by this news, the Dark Knight races to the church, desperate to stop this union.  Why?  Is Batman secretly in love with Francie Lee, Langstrom’s fiancee?  No, it’s because he fears she’s being duped.  The Masked Manhunter rushes into the cathedral and, in a great splash page, unmasks Langstrom, revealing the monstrous features of the Man-Bat beneath one of those incredibly life-like masks that are just everywhere in fiction.

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Man-Bat curses his human counterpart’s continued interference, and he takes off for the dark recesses of the Cathedral ceiling, a very fitting setting for this little drama.  The Caped Crusader then turns to the stunned Francie and declares that he couldn’t let her go through with the marriage, but she protests that she loves Kirk no matter what,and  still wants to marry him!  What is going on?!

Fortunately, just as we’re beginning to feel like we’ve missed an issue, Robbins provides us with a flashback.  Just as Batman was about to administer the antidote back in the Batcave, where we left things in #402, the mutated man recovered and escaped, hiding in the dark recesses of the cavern.  The hero brought Francie to the cave in order to try and reach Langstrom’s remaining humanity, but he was too late, as Man-Bat had already fled.

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The Dark Knight gave her a number at which to contact him if her former fiancee returned to her, and that very night, he did.  Yet, when Francie suggested contacting the hero,  her macabre man grew enraged, refusing to give up his powers and questioning her love for him.  He ripped up the number and persuaded her to do things his way.

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With her help, Langstrom disguised himself and completed his work, but that wasn’t the only goal he had in mind.  With another dramatic unmasking, Francie herself reveals that she and Kirk are now two of a kind!  That’s right, she has been changed as well, and with that, she flies up to join her freakish fiancee.

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Realizing that these two are definitely not in their right minds and more than a little concerned about having super-powered mutant bats just hanging around Gotham City (I mean, the place has enough problems already!), the Dark Knight sets out to cure them against their will.  Racing to the bell-tower, the Masked Manhunter is confronted by the flying freaks, and a desperate struggle ensues.  As the hero is being mauled by Man-Bat, he just manages to inject his opponent with the antidote.

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When Woman-Bat presses her attack, he manages to jab her too, and both of them transform back into their human forms.  Batman leaves them together, trying to pick up the pieces of their lives and recover from their horrific experiences.  The story ends on an interesting note, as Bats observes that the love which held them together had been corrupted as much as their bodies, transforming into “an evil obsession.”

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This is a crazy story, yet the Bat-Jekyll and Hyde angle, mixed with twisted love story actually makes for a fairly compelling read.  It moves a bit too quickly, and I would have liked to see how Langstrom managed to mutate Francie.  That would have really helped to establish just how far gone the Man-Bat was into his monstrous nature.   I think giving a page or two to that process would have strengthened the story, but the plot still works.  I find Francie’s devotion touching and more than a little creepy, and Batman’s willingness to put his life on the line to save their humanity is suitably heroic.

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The whole thing has the high-drama feel of one of those old, classic Universal horror films.  Adams’ art, as always, is great, but it is really effective here, evoking an appropriately Gothic and atmospheric feel to the story.  The horror elements come through well, with the grotesque visages of the Man/Woman-Bats and their uncanny revelations.  It’s a good story, even if it doesn’t quite have time to reach its full potential.  I’ll give it 4 Minutemen.  I’m definitely enjoying these Man-Bat appearances.

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“One of Our Landmarks Is Missing!”


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Our Batgirl backup for today picks up right where we left off last issue.  The hippy terrorist, Mal, as well as the hapless and stupid Shelley Simms, have trapped the Daring Dame in a mined basement.  The resolution to this story is pretty good, definitely a bit stronger than the first inning.  In particular, Babs’ escape from the sepulchral basement is quite impressive, as is her cool-headed planning leading up to it.

She realizes that Mal activated the bombs with the room’s light switch, and she refuses to panic, keeping a clear head and fixing her eyes on the spot where the switch was after the lights go out.  She memorizes its location even though she can’t see, and then she takes off her cape and tries to trip it, hoping that the fabric won’t be heavy enough to trigger the mines.  She comes close, but the cape is so light that it can’t flip the switch!

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Thinking quickly, the Girl Detective takes off her boot and uses it as a weight, which provides enough heft to successfully lift the switch.  It’s a nice sequence, and it emphasizes her intelligence and resourcefulness.  I do have to wonder why she didn’t use a batarang or the like from her utility belt, but that’s neither here nor there.

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Meanwhile, Edward G. Robinson apparently decides to make a cameo in this comic, as a fat-cat building owner in league with the maleficent Mal.  Apparently the heinous hippy has made a deal with this guy, Slavin, to destroy a Gotham landmark that is on the historic building registry so that the developer can build apartments there and turn a tidy profit.

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In exchange, Slavin pays Mal $10,000.  The domestic terrorist argues that he’s just using the bourgeois badnick to fund their activities and ‘the cause.’  Shelley objects, and when Batgirl arrives to break up the bomb bash, the girl actually intercedes to save the heroine.  She gets shot in a fairly striking panel for her troubles!

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In return, Batgirl utterly devastates Mal with a flying blow and a really lovely panel, dispatching the rest of the gang with ease.  Edward G….errr, I mean Slavin runs right into the arms of the arriving police, and despite his attempts to talk his way out of things, the Girl Detective is able to give the cops the whole story.  Fortunately, stupid Shelley survives, and the tale ends on an interesting note, as she doesn’t change her politics, in spite of her ordeal, but does gains a new respect for Batgirl.

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This is a fun story, the highlight being Batgirl’s very resourceful and steel-nerved escape, as well as her take-down of Mal.  The punk was quite hate-able, and it was satisfying seeing him get decked.  I’m intrigued by the story’s ending, which pulls back from condemning youth involvement and walks a finer line than I expected.  We’ve got Shelley perhaps a little less stupid and a little more realistic continuing to pursue her ideals, but in a more constructive way.

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Also, it struck me that Shelley indicated that she and Batgirl were from different generations, which seemed odd to me.  I know Batgirl is out of college, supposedly, since she’s already a librarian, but I would have though that she was JUST out of college, only a few years older than Dick Grayson, which would probably make her part of the same generation.  Anyway, it’s a good little adventure, and I’ll give it 4 Minutemen, which is about as high as a seven page story is apt to climb.

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And there you have it.  Thanks for joining me today, and I hope you’ll come back soon to see what the next batch of books bears for us.  My next post will include my first foray into Superboy, so…here’s hoping it’s not going to be as bad as I expect!  Until then, keep the heroic ideal alive!

Into the Bronze Age: November 1970 (Part 3)

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Hello my fair readers, and welcome to the next installment of my DC Bronze Age review feature.  Today we encounter another debut, but a much more profitable one than that of the last post.  Just as the Ten-Eyed Man is introduced in one Batman book, Denny O’Neil unleashes the League of Assassins in another.  One of these concepts would go on to great success and lasting fame.  I’ll let you figure out which one.  (Hint: It isn’t the guy with eyes on his finger-tips!)  Join me as we delve further into November, 1970!

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

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

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


Detective Comics #405


detective_comics_405“The First of the Assassins!”
Writer: Dennis O’Neil
Penciler: Bob Brown
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

“The Living Statue”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Frank Giacoia
Letterer: Ben Oda

“The Sleuth in the Iron Mask!”
Penciler: Bob Brown
Inker: Bob Brown
Letterer: Artie Simek
Editor: Whitney Ellsworth

Now we’re getting into some of the significant milestones of Denny O’Neil’s work on Batman.  We’re not quite into the really legendary runs just yet, but we’re getting closer.  Nonetheless, this issue features the first appearance of O’Neil’s League of Assassins, the deadly, shadowy organization that would feature prominently in many of his stories and prove to be of lasting significance to the Batman mythos.  Of course, this organization would reach its zenith of fame when its members served as the primary antagonists in the Christian Bale Batman films.  The League’s lasting potential isn’t necessarily completely obvious from this first story, but they do make an impression, and their returns will give us some of the best Bronze Age Batman stories.

detective405-04This particular issue isn’t quite as good as some of those that follow, but it’s a good, solid adventure tale, pitting the Dark Knight against a challenge that seems a bit more worthy of him than some of those *cough*Ten-EyedMan*cough* he’s faced recently.  I like the grim sense of adventure that the hero displays throughout the story.  O’Neil is channeling a bit of Sherlock Holmes, who relished a challenging problem.  This portrayal of the Caped Crusader seems to have a similar taste for danger and daring-do, which I enjoy. I like a grim avenger of the night quite a bit, but it’s also nice to have a character who has some sense of adventure as well.

Batman answers the summons of the Batsignal, and finds his old friend waiting for him.  Commissioner Gordon tells him that fifteen leading shipping magnates have been murdered, and the sixteenth, apparently marked for death, is in Gotham.  The man, K.C. Agonistes, is living on his heavily fortified yacht under tight security, but Batman agrees to look into the matter just in case.

detective405-07The hero arrives on the ship in disguise, only to be instantly spotted as a phony.  Agonistes’ security seems to be everything it is cracked up to be, but he is delighted to see the Masked Manhunter nonetheless and invites him onboard for the duration of their cruise.  When they get out to sea, Batman, vigilantly keeping watch from the bow, spots a pod of dolphins behaving strangely, and then we get a rather odd moment, as he grabs a rifle from a cewman and starts blazing away at the sea-mammals.  It’s weird to see Batman using a rifle, but I guess he isn’t firing at people.  Why was he shooting at dolphins, you may ask?  Does he just resent their smug, holier-than-thou clicking?  No, he recognized that they were living bombs.  These were trained dolphins were laden with plastic explosives, and despite the Dark Knight’s best efforts, they make destructive contact with the ship.

Batman manages to leap to safety, and he finds three other survivors in a lifeboat, Agonistes, his fiancee, and a sailor.  They land on a nearby island, only to quickly discover that it is covered in booby-traps.  The Masked Manhunter displays his skill and tradecraft as he protects the little group from multiple dangers.  After dodging a thrown knife, he surmises from the unique blade that their antagonist is a silek master.  This is actually a real martial art practiced in Southeast Asia, which is a neat bit of detail and realism.  Not content to stay on the beach and be a target, the Caped Crusader takes to the jungle to turn the hunter into the hunted.

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It’s at this point that the might hero makes some rather foolish mistakes.  He is tricked by a decoy planted near a fire, despite being suspicious of it, and then, thinking that Agonistes and company were in danger because he had been lured away, he rushed into a snare.  It does seem like maybe throwing a batarang at the mysteriously careless assassin sitting in front of his fire would have been a safer way to handle that, but ahh well.  While hanging upside down, he is confronted by the small, unassuming assassin, who introduces himself as Tejja.  The killer heads off to fulfill his contract, promising to come back and finish the hero afterwards.

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With a supreme effort, the Dark Knight manages to free himself, and he arrives in camp just in time to confront the assassin, who, oddly enough wields a blade with both hand and foot.  Once again, that’s a real thing, but how strange!  It’s a great detail to make the whole conflict more exotic and exciting.  The two masters square off, and Batman is wounded in the first exchange and has to employ a trick in order to turn the tide.  He falls through the campfire, his cape catching fire, and he uses it as a distraction in order to get his licks in.  He manages to put the assassin down, but he realizes that this was the work of more than just one killer, that there is an entire organization out there, efficient, secretive, and quite deadly.

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This is a good story, and the shadowy League of Assassins certainly comes off as dangerous and capable, though we get only a taste of their menacing presence.  Batman is well portrayed as well, given some solid characterization and a chance to display a range of abilities and skills.  It’s nice to see the character developing into the hyper-capable, yet still reasonably grounded, crime-fighter that I know and love.  The only real weakness of this issue is Bob Brown’s art.  It’s serviceable, but his action just doesn’t really capture the fluidity and dynamism of a good martial arts duel.  It has its moments, but there is some awkwardness to the figures that takes away from the excitement and drama of key moments.  This is an exciting first step into something greater, but it is still only a first step.  I’ll give it 4 Minutemen.

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“The Living Statue”


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BIG BROTHER IS WATCHING!

The finale of last month’s Batgirl story is pretty good, an action packed sprint that stands in contrast to the more sedate detective story of the previous issue.  We pick up where we left off, with the captured heroine slowly being entombed in plaster.  Her captor, the spurned actress Veda, accidentally triggers an image of the giant, Jor-El-like head of the murdered artist, Billy Warlock, who looms ominously over the proceedings.  The maddened murderess acts with wild abandon, destroying the film evidence of the murder and starting a blazing conflagration.  Gil Kane’s art is in rare form, and he really captures the scene in striking fashion, the blazing flames, the deranged dame’s dancing, and Batgirl’s helpless fear.  It’s really quite good.

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detective405-21Just then, when all hope seems lost, ‘Infra Red,’ the other leading actress in Warlock’s films, arrives.  She had suspected Veda, and she attacked the wild woman, accidentally freeing Batgirl in the process.  Babs disables Veda and drags both women out of the flames to safety, though it seems the evidence has been reduced to ashes.

Fortunately for poor Jason, it seems that creepy voyeur Billy Warlock had one more card to play.  He had another camera hidden in the eye of his giant image, and it captured Veda’s crazed confession.  That evidence, plus, you know, the whole attempted murder thing, Veda is arrested and Jason is freed.

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It’s a very brief but exciting story, and it nicely completes the tale begun last month.  It’s interesting that the fictional version of Andy Warhol maintains the real artist’s strange voyeuristic tendencies.  I wonder how much Robbins knew about the man in 1970 and how much of this portrayal was intentional and how much just lucky coincidence.  Either way, art imitates life in fascinating ways!  There’s really not much to this backup, which is understandable, as it is only seven pages, with one of those taken up with a re-cap.  Nonetheless, it is fun, and I am very impressed with Kane’s work on it.  I quite enjoy the mad abandon he manages to capture in Veda’s rampage.  You really get a sense of character through her destructive dance.  The one criticism I can really level at this story is that Batgirl really doesn’t get much to do.  She is only saved by someone else’s intervention, which doesn’t leave her in the best light.  I’ll give it 3.5 Minutemen, though it is too short to really rate higher.

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Flash #201


the_flash_vol_1_201“Million Dollar Dream”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Editor: Julius Schwartz

“Finale for a Fiddler”
Writer: Robert Kanigher
Penciler: Murphy Anderson
Inker: Murphy Anderson
Editor: Julius Schwartz

Another Kanigher story, but this one is better than I expected, like the last one.  While it crosses into bathos a few times with its overly earnest, overly melodramatic tone in the beginning, it actually manages to pull of an effective ending.  This issue also contains a new Golden Age Flash story which is goofy but rather charming.  That tale actually gives us an honest to goodness supervillain, unlike the main Flash title, which remains steadfastly supervillain-free.  Sadly, we’re in the middle of a huge supervillain drought, one that is due to last for a long while yet.

Anyway, on with the issue at hand!  It begins in an unusual way, with the Flash desperately urging a young man in a wheelchair to get up and walk, like some garishly clad physical therapist.  The kid, named Pablo, gets up but collapses shortly thereafter, and we discover that he is physically healthy but has a mental block that makes him believe his legs don’t work.  We also learn that he blames the Scarlet Speedster for this predicament and that the hero blames himself as well.  Before we learn just what is going on, the hero, who is just casually strolling through the streets with Iris (secret identity, what secret identity?) is ambushed by the Generic Gang!  Now, you have to admire both the courage and the unbelievable stupidity of these guys.  They’re just a trio of regular gangsters, and they try to run the Flash down with a car, then try to shoot him.  The Flash Who can dodge bullets.  That displays a suicidal level of overconfidence.

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Their attack isn’t immediately disastrous because the Fastest Man Alive is apparently lost in thought, so much so that he just stands there while people shoot at him and Iris screams for him to snap out of it, which is at least a bit too much.  On the plus side, Iris takes it to one of the thugs with her purse, which is pretty entertaining.  A shrinking violet she’s not, this Iris.  When the hero snaps out of it, he quickly trounces the troublesome trio, ending the fight.

He and his lady love continue their walk after this rather pointless interruption, and they pay a visit to ‘Spanish Village,’ the Latino quarter of the city and home to Pablo.  He’s a local hero, a basketball star that the whole community was pulling for, so Barry reflects on how he dashed, not just the kid’s hopes, but the hopes of all of his people as well.  It’s then that we find out what actually happened.

The Flash visited Pablo when Iris told him she was going to write a story on the kid being called ‘the Spanish Flash.’  Being the friendly neighborhood hero that he is, Barry wants to do something for the kid, so he promises to zoom him over to Puerto Rico to visit his grandparents.  Yet, on the way, they spot a ship afire at sea.  The Scarlet Speedster leaves Pablo in what should be a safe spot and rushes to fight the flames, only to have the kid struck by falling debris while he’s busy.  The hero rescues him, but the boy suffers from shock and develops a troublesome mental black about his legs.

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So, yeah, it actually is pretty much the Flash’s fault.  His endangering the kid would seem like a more reasonable choice if Kanigher didn’t have the speedster casually mention that, if he had thought about it, he could have zipped to Puerto Rico, dropped the boy off, and been back at the ship in no-time.  Sheesh, the Silver Age Flash is ridiculous.  Anyway, mired in guilt, the hero continues to do his job, taking on a set of criminals in a helicopter and getting his hair parted by a bullet for his troubles.  And therein lies a problem with the character’s portrayal.  He can run across the world before you can blink, but he can still be hit by a bullet.  Ahh well, plot will out.

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The bullet temporarily paralyzes the Flash, and he finds himself in the same doctor’s office as young Pablo.  Talk about awkward encounters.  Just then,there’s an explosion in the chem lab, because of course there is.  A blaze begins, and the Fastest Man Alive can’t quite live up to his name.  He encourages the kid to get out on his own, but with supreme effort, the boy picks the hero up and, together, they get to safety.  It’s actually a pretty good scene and a solid ending to the issue.

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The ending rescues the story, as it is weak in some of its other points, but it goes out well.  The Flash’s selfless insistence that Pablo leave him behind is effective, and the boy’s uncertain heroism, panicked prayer, and sudden escape make for a nice combination.  The end result is a solid issue, despite the idiotic bravery of the local branch of the Generic Gang.  Once again, we’ve got a really interesting concept of which Kanigher doesn’t really take advantage, just like last issue.  In this instance, we have the idea of what happens when a hero’s mistake costs an innocent something dear, which will be explored to better effect in the future.  Still, this isn’t really a bad treatment of the concept, despite the heavy-handed portrayal of Barry’s grief.

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One notable feature of the issue is the diversity of the cast.  We’ve been seeing an increase in racial diversity in our books recently, and here is another example.  Both Pablo and his neighborhood inject some different personality into the Flash’s world, which is a neat addition.  We’re definitely seeing something different from the homogeneous DC Universe of the 60s, even if only slightly.  That’s nice to see.  I’ll give this issue, flaws and all, 3.5 Minutemen.

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“Finale for a Fiddler”


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This back up is actually a new story of Jay Garrick, the Golden Age Flash, which is a great treat.  I was pleased to see that Jay was starring in this tale, as I’ve read very few of his stories, though I like the character.  Unfortunately, this particular offering was written by Robert Kanigher, so its quality is in doubt.  Dubious authorship aside, this is a fun, if silly, little adventure.

It begins with our favorite veteran Flash taking on the Turtle and his goons.  Remember when I asked for supervillains?  I had hoped for something better than the Turtle.  This guy’s gimmick?  He’s slow.  That’s it.  He’s slow moving, slow talking, and somehow that makes him good at fighting a super-speedster rather than, you know, making him worse than literally anyone else.  Look out Ten-Eye, you’ve got competition at the bottom of the heap!

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The goofiness of the concept aside, the scene where Jay takes this loser out is actually fairly entertaining, though the hero reveals that perhaps senility is setting in, as he tries to block bullets with a trashcan lid!  He comments that “they don’t make things as good as they used to,” though I’m pretty sure that tin tops never stopped bullets.  The complication of the fight is that the hero is starting to feel his age, and he’s running out of steam rounding up the crooks.  When he finally finishes them off, he’s done in, and we get a charming little scene of Jay and Joan, with his wife taking care of her exhausted husband.

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However, the hero can’t rest on his laurels for long, as he’s promised his lovely lady that he would take her to a concert.  On the way to this outdoor rock festival, we encounter the Fiddler, casually driving down the road in a car mad in the shape of a giant fiddle!  It’s delightfully silly.  I actually like things like this as, in the setting of the DCU, they more or less work.  This is a wonderfully whimsical world where the fantastic is the commonplace.  This is a world where men can fly and where the ability to shrink is enough to make you a superhero.  In this setting, criminals regularly dress up in bright costumes, and heroes are just as fashionable.  Why wouldn’t these types of folks have ridiculously customized modes of transportation?

Well, as you can probably guess, the Fiddler, who, despite being a bit goofy, is a more legitimate villain the the opening act, has planned to rob the concert that the Garricks are attending.  As he’s getting into position, Jay himself is also looking for some prime real-estate, and he changes into the Flash to bag a spot close to the stage for Joan.  Apparently Kanigher thinks that secret identities are overrated, as both of his heroes just parade around with their partners in public.  Nobody could ever crack that code!  Anyway, this is apparently a hilariously 60s concert, complete with love beads and hippies galore.  The panel where the couple are greeted by the concert-goers is just odd, but entertaining.

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When the Fiddler begins his act, things get psychedelic in a way the concert-goers weren’t anticipating, and even the Flash has a hard time of it.  The waves of sound send him reeling, and then the villain reveals that he’s too  dumb to succeed, as he stops playing in order to gloat, with his foe on the ropes.  Of course, the fastest man on Earth 2 takes advantage of the pause to capture the crook, ending the show.

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This is a silly little story, but it’s fun, with lots of color and even some characterization.  Kanigher gives each moment of the book something interesting to fill it out, whether it’s the hero’s creeping awareness of age or the ‘groovy’ tone of the concert crowd, there’s a ton of personality packed into a few pages.  I enjoy the subplot, if it could be called that, about Jay’s increasing age.  I’m getting to the point in my life where I am starting to identify more with the aging veterans than with the brash young pups, and it’s neat to see even a hero wrestle with the march of time.  There’s plenty here that is goofy, but the overall effect is so much fun, and the setting seems to fit some goofiness, so I really don’t mind too much.  I’ll give it 3.5 Minutemen.  It’s fun but brief.

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That will do it for this set of comics.  It was overall a fun batch of books, with a very interesting first and a few nice surprises.  Next up, we’ve got more JLA, which I’m looking forward to!  We’ve also got an issue of Lois Lane that, judging by the cover, is going to be nuts.  Don’t miss the next edition of Into the Bronze Age!  Before I bid you adieu, however, I’ve got a question for you, my good readers.  What do y’all think of the current format of this feature?  I’m aiming to do 2-3 comics each post.  Does that seem like a good fit to y’all?  I figure that is a bit more bite-sized than the massive posts I had started out doing, but I’m happy to adjust my practice if the is a consensus about what style y’all would like best.  Please let me know in the comments if you have a preference.  Well, until next time, keep the heroic ideal alive!

Into the Bronze Age: October 1970 (Part 3)

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

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

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

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

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


Detective Comics #404


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

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

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

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

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

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

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

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Apparently while in Spain Batman learned how to fly…

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

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

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

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

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

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“Midnight Doom-Boy”


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

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

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

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

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

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

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

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

 

Into the Bronze Age: September 1970 (Part 3)

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Well, let’s try and squeeze a few more of these features in bef0re Christmas, shall we?  Join me today for some Zaney Haney madness, and some more Bat-adventures!

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

  • Action Comics #392
  • Batman #225
  • Brave and the Bold #91
  • Detective Comics #403
  • G.I. Combat #143
  • Green Lantern #79
  • Justice League #83
  • Showcase #93
  • The Flash #200
  • World’s Finest #196

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

Brave and the Bold #91

brave_and_the_bold_91“A Cold Corpse For the Collector”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

We return once more to the land of the wacky, the private demesne of ‘ol Zaney Haney, Earth-H.  Haney’s work has been very hit or miss for me, some of his stories being outlandish but exciting fun, while others were just too goofy and too far out there for me.  This one, though, is definitely a hit.  It fits the Haney formula of casually introducing a world-shattering change to a character while giving absolutely zero thought to how the given revelation will be handled going forward, but unlike some of the offerings we’ve encountered, this one makes a fair amount of sense, and the characterizations aren’t really all that far off from what one might expect from the characters involved.  The final result is actually an interesting tale that, while lacking any real impact on the universe, easily could have been an important milestone for the Justice League’s newest dynamite dame, Black Canary.

She, of course, is our guest star for this issue, and it is her backstory, not yet twisted and retconned beyond all recognition, that provides the dramatic weight for the yarn.  The core of the story is a standard villain identity mystery, with an enigmatic mob figure secretly pulling the strings in Gotham’s shadows.  The book opens with a mob exchange gone wrong, resulting in one dead bagman and one stolen score.  This event causes consternation to the gathered crimebosses of Gotham, who are meeting in a darkened, smoke-filled room, with a rather surprising guest.  It seems Batman shares a seat at their table!  It is shortly revealed that this masked manhunter is a fake, a plant hired by the shadowy mastermind known as ‘The Collector’ (because he always ‘collects,’ ‘natch), to sit in on their meetings and give them Batman’s perspective on their dealings so they can anticipate him.  Riiiiiigggght.  Foolproof, I’m sure!  A cape and cowl do not a detective’s mind make, methinks.  This is an odd gimmick, made all the odder by the fact that Haney did the exact same thing in World’s Finest just last month, with a crime boss (who actually was Batman, strangely enough) dressed as the Bat.  I guess he thought it worth repeating.

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At any rate, the Collector promises to solve the problem of the rival gang without a war, and in the interim, the real-and-for-true Dark Knight is busy helping Commissioner Gordon identify the bagman who took the long last dive.  They are joined by private eye Larry Lance, a name you more astute DC fans might just recognize, except, this is not THAT Larry Lance.  That’s right, we’re on Earth-1, and surprisingly, Haney actually bothers to make that clear.  It’s rare for the Zaney One to actually specify where and when a story was taking place, or give continuity anything but mostly benign neglect.  Well, this universe’s Larry is also investigating the Collector, and though Gordon has no time for him, the Caped Crusader is willing to work with the shamus.  It is very strange to see Batman playing good cop to Gordon’s bad cop.  That’s just unnatural.

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Back in Lance’s office, he encounters a lovely lady, a lady going by the name ‘Myra Kallen,’ but who we likely recognize as Dinah Lance.  That’s right, this is Earth-2’s Black Canary.  She apparently has found the Earth-1 counterpart of her dear, departed husband, and despite the hugely problematic and complicated philosophical and psychological implications of the relationship, has determined to win Larry-1’s heart to replace the Larry she lost.  From the beginning, it’s clear she’s not thinking too clearly about this whole situation, but that actually makes pretty perfect sense.  How could she be objective about such a thing?  How could anyone?

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Later that night, a disguised Collector ‘collects’ from the rival gang, killing their leader at an illegal casino while posing as a dealer.  Batman has anticipated this move, and he’s hard on the killer’s heels, only to catch the gumshoe, Lance, instead.  I imagine we’re all likely genre-savy enough to see where this is going, but unfortunately for the love-struck lady in the leather jacket, the plot continues to barrel towards its inevitable conclusion.

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The P.I. hands the hero a line about how he was chasing the guy and was clocked on the head right before the Dark Knight grabbed him.  They find a discarded disguise that seems to confirm his story, but, and I enjoyed this, the master detective remains suspicious.  I like that Batman isn’t entirely taken in by the subterfuge here.  When the pair meets up with ‘Myrna,’ the Masked Manhunter recognizes the Canary, and when they are alone, he warns her away from Lance.  She rejects his advice, insisting that she has to run her own life, but she sticks around just long enough to save him from an assassination attempt.

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That takes ‘yellow journalism’ to a whole new level…

The next day Batman and Gordon are apparently just hanging out, drinking coffee, which makes for an image I find quite humorous and a little charming.  They get a tip from the suspicious shamus that the Collector will be holding a meeting at the Gotham Museum, but when the Dark Knight arrives, all he finds is an ambush.  Just as he’s about to grab the gunman, the hitman gets hit from behind, by Lance!

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This looks like a setup for the greatest version of the Odd Couple ever.

Once again, his story seems plausible, but the Caped Crusader isn’t entirely sold on it.  Unfortunately, he cannot convince Black Canary to share his doubts.  She accuses her Justice League colleague of being jealous, and interestingly enough, he admits to himself that he does have some feelings for her.  I thought that was a nice little touch, and let’s face it, basically everybody in the League except for the married guys made a play for Canary at one time or another.  Who could blame them?

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The Pretty Bird’s problems don’t end there, though, as Larry-1 arrives just then and overhears enough to figure out who she really is.  He proclaims his love for her, and Haney does a good job of making him seem fairly earnest, if just a touch greedy.  It’s a surprisingly subtle handling of a scene that couldn’t have borne anything more than a light touch.  It’s pretty solid characterization.  The sweet-talking shamus convinces the fighting female to help him catch the Collector…or at least, that’s what he says.

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The next night, Lance contacts the Dark Detective with another tip.  He claims the Collector will be at a deserted racetrack, but when he arrives, the hero is sideswiped by a sonic scream.  Black Canary is using her powers against her former friend!  You guessed it; time for the big reveal.  Larry-1 shows his true colors, preparing to murder Batman and announcing that he was the Collector all the time (gasp!).  Canary puts herself in harm’s way to save her teammate, but she’s too stunned to take Lance down.  Fortunately, the Caped Crusader is still fast with a batarang, and he disarms the crime boss.  The two heroes chase after him when he flees on horesback, and we get a nice, dramatic chase sequence, with Canary showing off her motorcycle riding skills, vaulting over and smashing through obstacles.

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Batman tackles Lance, and the two fall, still struggling, into a pond.  In classic ‘hoisted on your own petard’ fashion, the villainous gumshoe impales himself on his own knife (or at least, that’s what Batman says when Canary shows up.  Sure Bats. Sure.).  The story ends with Canary’s lament about the loss of her old life and the challenges of building a new one on Earth-1.  Fortunately, she will have friends like Batman.

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This is actually a very solid story.  It’s definitely Haney, but it’s enjoyable Haney.  He hit on a really great concept here.  If there was a Larry Lance on Earth-2, chances are there would be one on Earth-1, but what if he wasn’t what his counterpart had been?  It’s a good idea for a story, and while it could probably have benefited from a bit more development, it was a fun and interesting read.  Canary doesn’t come off great, but her equivocation about Larry is actually quite believable.  Who wouldn’t jump at the chance to get back someone we’ve lost, even if it wasn’t exactly the same?

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We’re still seeing the kinder, gentler Batman that Haney prefers in these books, and the character here really bears fairly little relation tothe grim avenger we encountered in the other Bat titles lately.  Canary is also a little less the capable heroine we have seen elsewhere.  Nonetheless, this is, in the end, a good story, made extremely creepy by the retcon that’s coming to her backstory in a few years (we’ll get there, eventually).  Good thing it could easily lift right out of her history because it’s a Haney tale.  I’ll give it an above average 3.5 Minutemen.  I love Cardy’s art, but I don’t think he’s quite right for Batman.  His style is a bit too soft for the Dark Knight.

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This comic also had a rather neat little gem hidden in the letters page, a story of the real-life heroics of artist Nick Cardy.  Apparently he piloted a tank in World War II, where he met the editor, Murray Boltinoff.  In a fun little touch, Boltinoff relays a short adventure from the Big One.  Check it out below:

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Detective Comics #403

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“You Die By Mourning”
Writer: Frank Robbins
Pencilers: Carmine Infantino, Bob Brown
Inker: Frank Giacoia
Letterer: John Costanza
Editor: Julius Schwartz

“Break-Out!”
Writer: Mike Friedrich
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

Time for yet more Batman!  The Caped Crusader being overexposed is definitely not a new phenomenon.  It’s a good thing he’s a great character, otherwise this might get old.  It’s also fortunate that his stories tend to be above average, though that isn’t really the case for this issue.  Both of this month’s Detective yarns suffer from brevity and a resultant lack of development, and as we’ve seen from the Legion backups, that doesn’t have to be the case, even for these short comics.  The headline tale, with the wonderfully melodramatic title, “You Die by Mourning,” is a bit odd.  It’s nicely atmospheric, but the individual elements don’t really come together in a satisfying whole.  I’d bet this is another story conceived of for the purpose of a particular image or moment.

Our drama dawns with the arrival of a veiled woman dressed in mourning clothes in Bruce Wayne’s V.I.P. (Victim’s Inc. Program) offices.  Calling herself, Mrs. Randall, she meets with the man himself, and frantically claims she’s there in relation to the death of her husband, a death which has yet to occur!  A gun falls out of her purse when she reaches for a handkerchief, and she flees the office, leaving a mystery in her wake…a mystery that piques the curiosity of Wayne’s alter ego, the Batman!

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That night, the Masked Manhunter heads to the Randall home, where he sees Mrs. Angela Randall and her husband, the unlikely named ‘Laird’ Randall (is he Scottish nobility?) getting ready for a costume ball at a haunted house.  The hero suspects that Angela is plotting her husband’s demise, but he can’t figure out what brought her to V.I.P.  He stows away aboard the eerie horse-drawn coach that arrives to transport them, and along the way they are attacked by a car full of gunmen.  The coachman, apparently in on the job, leaps clear, but the Dark Knight saves the Randalls with a smoke bomb and some quick action.  The gunmen’s car wrecks in the smoke, and we get a nice scene where Batman quickly and efficiently disposes of them.

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I love the moody effect of that last panel.

He sends the Randalls on ahead with the coachman, which turns out to be something of a mistake.  The muffled figure pulls a gun when they arrive at the “party” house, empty save for the three of them.  We then get a couple of pages of exposition that pass for the resolution, as Robbins packs all of the story he neglected earlier into his last few pages.  The coachman reveals that he is a mobster named Van Paxton, who runs a paving company that Randall was bidding against.  Just as he prepares to kill the couple, a dead ringer (pun only partially intended) for Mrs. Randall leaps in the way.  In a twist that comes mostly out of nowhere, it is Angela’s estranged twin sister, who also happens to be Paxton’s wife.  She married the no-goodnik, and she was so ashamed of what he was that she cut all ties with her sister.  When she learned that Paxton was going to kill her sister’s husband, she visited V.I.P. in the hopes of raising a red flag about the whole thing and…somehow…saving him.  Oookay.  That’s a lot of convoluted plot to cram into just two pages.

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Just then, Batman arrives and tackles the killer.  Brown isn’t always my favorite artist, but his work is usually just plain solid.  His action looks good, and he often does some pretty good layouts.  This story is no exception, and the confrontation between the Dark Knight and Paxton, though not jaw-dropping, is good, clean four-color art.  We get yet another story where the villain is hoisted by his own petard, as the mobster falls through a floorboard and…strangles?  It isn’t super clear, but he is totally dead.  That’s the important part.  The poor twin sister is mortally wounded as well, and the story ends with her prediction to Bruce Wayne having come true in a way she never anticipated.

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This is an entertaining enough tale, but it isn’t of the quality we’ve been seeing from the Bat-books lately.  The ending is rushed, and the setup is far too brief to be effective.  All of that exposition shoved into the last pages means that we don’t actually get invested in any of the characters.  It doesn’t help that our hero’s climactic struggle is against a single average guy.  The stakes aren’t really impressive enough to make the fight exciting, though Brown’s art helps matters.  The overly complicated plot with the unlikely twists just sort of leave a reader cold.  It seems that Robbins really had a bit too much story for his venue, and the result is not good, though it isn’t actively bad like some we’ve read.  I’ll give it 3 Minutemen, since it is enjoyable, if unimpressive.

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“Break Out!”

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The Robin backup faces similar problems to the headliner, and once again, the Teen Wonder doesn’t come off too well in his own feature.  This is becoming a sad tradition.  This story, weighing in at only 8 all-too brief pages, just doesn’t have the space it needs to accomplish its purpose well, even building on the previous issue as it does.  If we remember, in the last Robin tale, the younger half of the Dynamic Duo broke up a fight among juvenile delinquents from a detention farm, only to pick the wrong pigeon and belt the innocent party.  After those events, our teenage hero has set out to visit that farm in order to get a better idea of what conditions are like on the ground there.

We find him lost and having run out of gas in his groovy Volkswagen van, stuck in the pouring rain.  Not the most auspicious of beginnings.  He’s passed on the road by two kids in a truck, but he eventually gets some help from an older couple, and we get the hilariously 60s line from our protagonist that this “goes to show our ‘over-30s’ can’t be completely written off.”  At least he’s not too angsty to realize that, which puts him ahead of some teen heroes, so I’ll take it.

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When he finally arrives at the farm, he finds it covered with police, so he switches to his battle togs and breaks out his brand new Robin cycle.  Now, don’t get excited.  While you might be expecting all kinds of cool new gadgets and maybe an exciting car chase to accompany this debut, all we get is a line of dialog about the super swanky license plate changer that this bike features.  That’s a bit of a wasted opportunity, it seems to me, especially with the focus on Robin building his own identity and career as a solo act.

The cops tell him that two of the kids from the farm have escaped in an old truck, and they show him the strange message that was left scratched into the floor of their barracks.  It reads ‘Forced to go–guns buried-help me.”  It turns out the missing kids are the same two from the previous donnybrook, and, determined not to make the same mistake again, our Teen Wonder jumps to the opposite conclusion, and decides the the bigger of the two boys, Ed, must have kidnapped the smaller one, Frank.

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Recalling the truck that passed him on the road and performing a nice bit of deduction, he tracks the kids to an abandoned barn and finds them both loading shotguns.  Robin jumps the smaller kid, and belts him, ignoring his pleas of innocence, only to narrowly avoid a blast from the other boy’s gun.  The junior detective takes out the gunman, and then gets the story from a rather bitter Frank.

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Man, whatever Gil Kane’s strengths are, he cannot draw a gun to save his life!

The kid relates how ‘Big Ed’ was working for a mobster who wanted him to recruit a ‘teen-age’ gang for him.  The would-be teen-boss had even stashed some guns and supplies out by the farm.  Frank had pretended to go along with Ed in order to bust him in hopes of earning some time off his sentence.  It was he who left the note on the floor.  There’s a bit of a message crammed into the last little bit about playing by the rules, not because it’s the right thing to do, but because no-one wants to spend their life looking over their shoulder.  That’s a fairly cynical view, really.  I suppose this kid will go far in this dirty world of ours.

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So, as you can see, this story just isn’t all that much to write home about.  It’s a teen problem, which they seem to enjoy putting Robin up against, but the stakes just aren’t too high and the plot and characters aren’t developed enough to make it work.  If we had gotten to know the two kids just a bit in the previous story, this could have worked much better.  As is, the very first time we start getting to know them, we’re already in the denouement with exposition flowing fast.  This just felt a bit boring and bland, in addition to being underdeveloped, and that’s never a good thing for an adventure tale.  I’ll give it 2.5 Minutemen.  There’s a bit of evidence of the generation gap here, but nothing particularly noteworthy.

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These two issues were a mixed bag, but none of them were particularly impressive.  They were enjoyable enough, though.  I think the most interesting part of both books was the letter column feature about Nick Cardy’s war service.  Who knew?  That was a neat surprise, and it also says something about the difference in the generations that populate the ranks of DC at the time.  I was struck with the thought that Cardy was part of the old guard, the professional writers and artists who, along with the rest of their generation, shared an almost universal experience of war service.  They had experienced privations, hardships, and much more, and most of them were also children of the Depression in one form or another.  The upcoming generation hadn’t had those experiences, but they had grown up on the comics the previous generation had created, and now they were beginning to take a hand in the field.  I’m curious what differences will be revealed about the two generations through the work that they produced.  We are, here in the 70s, going to see the change over taking place.  It should be interesting to observe.

 

Into the Bronze Age: August 1970 (Part 3)

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Thank you for joining me for the third set of books from August, 1970, as we travel Into the Bronze Age!  This post we cover the second appearance of Man-Bat, which is an interesting landmark.  I hope you enjoy my musings on these two issues!

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

  • Action Comics #391
  • Aquaman #52
  • Batman #224
  • Teen Titans #28
  • Detective Comics #402
  • The Flash #199
  • Justice League #82
  • Phantom Stranger #8
  • Showcase #92
  • Superman #229
  • World’s Finest #195

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

Detective Comics #402

detective_comics_402“Man or Bat?”
Writer: Frank Robbins
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“My Place in the Sun!”
Writer: Mike Friedrich
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza

This issue features two solid tales, though the Man-Bat story is definitely the prize, as you might imagine.  It’s great fun to see this character coming back and to see what will be the recurring themes of his story taking shape, with the worried fiance, the quest to become human again, and the conflict between his animalistic and rational natures.  I never thought about it before, but in that sense, this character can serve as something of a metaphor for the basic struggles between body and soul in all of us.  I suppose that’s the source of the archetypal draw of these kinds of stories, the Jekyll and Hyde tales.  They reflect a primal part of the human experience, the feeling that we’re at war with a part of ourselves.  That’s no great revelation, I realize, but I was struck with it particularly on this reading.

This is only Man-Bat’s second appearance and, as before, it still very much feels like the kind of fresh concept that the Bronze Age is only starting to produce but which will soon become indicative of the period.  There are horror elements that distinguish this book from many of the others on the shelf at the time, as well as a generally more serious, melodramatic tone.  Of course, it hardly needs to be said that Neal Adams’ artwork is just plain gorgeous.

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Our tale begins with a gang of thieves preparing to rob a biochemical company.  Unbeknownst to them, they are being observed by a very nervous Man-Bat.  The unfortunate Dr. Langstrom needs something inside the safe, but his plans are interrupted when Batman bursts in through the window and starts kicking butt.  When it seems like one of the thieves has the drop on the Dark Knight, Man-Bat intercedes, and the two chiroptera-themed combatants quickly dispatch the rest.  The Caped Crusader is quite pleased to see his one-time ally again, even grinning in most un-grim avenger-ly fashion, but Langstrom is desperate to get what he needs.

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He tells the hero that he is no thief, being prepared to pay for what he needs, but Batman refuses to budge.  Here we see a weakness in the issue, a misstep in characterization.  Once the Dark Knight realizes that Man-Bat is wearing no costume, that he is the monster he appears to be, the hero still refuses to let him buy the chemicals, effectively just because it is after business hours.  Come on, Bruce!  Sure, ideally you’d seal the crime scene and wait for the police, but this is clearly not an ideal situation, what with the horrible mutation and all.  I like Batman being inflexible and relentless.  I think that’s a very fitting character trait, but this is more a matter of him being unreasonably obtuse.

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detective comics 402 007.jpgAccidentally disabling his idol, Man-Bat takes what he needs and flees into the night.  When the Masked Manhunter recovers, he lives up to that particular nom de guerre, and tracks the frightful fellow to the location of their first meeting, the museum.  There he encounters Langstrom’s frantic fiancee, who hasn’t heard from her husband-to-be in days.  They go to investigate this disappearance, Batman with grave suspicions, and they interrupt Man-Bat just as he prepares to take his antidote…and the interruption causes him to drop it!  It’s one of those tragic twists of fate that makes this little drama work.  Things could so easily have been otherwise, and it imbues the story with a certain amount of gravitas.

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Man-Bat flees once more, and the mystery partially solved, a remorseful Dark Knight sets out to synthesize a new batch of the antidote.  He heads to his lab in the Batcave, and we’re forced to wonder if he doesn’t have such a setup in Wayne Tower.  I suspect that the truth about this sudden return home is a matter of plot convenience combined with the fact that the Batcave is just objectively cooler than Wayne Tower.  At the same time in a convenient twist that actually makes a certain amount of sense, Man-Bat, now fully transformed and losing his mind fast, follows a regular bat home…to the Batcave!  I suppose that, if you’re a bat living on the outskirts of Gotham, you probably live in the Batcave.  I’ll buy that.  Our plot threads rush to a convergence as Batman arrives there as well, unaware of his uninvited guest.

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When the Caped Crusader opens the garage door to the Cave, Man-Bat realizes where he is and tries to escape.  During a desperate struggle, in which our hero takes a bad-looking fall, Batman manages to trap his opponent, who knocks himself out against the Batcave door.  He quickly checks to make sure that the man-monster is unhurt and sets out to try and reverse his mutation.  To be continued!

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This is a good issue.  Langstrom is sympathetic, and his slow descent into a more beastial nature is decently compelling.  The story moves quickly, but it fits a good deal in, plenty of action, good character moments, and plenty of tension.  Other than Batman’s intransigence about the antidote in the beginning, the characterization was effective.  The natural anger that Langstrom feels towards Batman after the Dark Knight ruins his chance at a cure is fitting and well handled.  It doesn’t turn instantly into hatred, but it does color the mutated scientist’s actions for the rest of the issue.  I particularly enjoy Batman’s deliberation at the end of the story about whether or not to try to create an antidote, knowing that Langstrom’s mind may be permanently corrupted by the transformation.  It’s a good, thought-provoking moment, and it is another fairly compelling moral question without an entirely clear-cut answer, like the one from this month’s Aquaman.  Is it more merciful to restore him to the semblance of humanity if he is to remain, at heart, a monster?  That’s an interesting question, and the fact that it gets asked is indicative of the higher tone and tenor of the storytelling Robbins is doing here.

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It is, of course, beautiful, and Adams does some great work with light and shadow.  His Man-Bat looks fantastic, human, yet monstrous, and he puts an incredible amount of emotion expressiveness in the creature’s face.  You can really feel the impact of his internal struggle in some of these panels.  It’s just a good, moody Batman tale, with a healthy dose of mystery and drama, certainly worth the read.  I’ll give it 4.5 Minutemen.

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“My Place in the Sun!”

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This Robin backup features a guest appearance (one could hardly call him a guest star) from Speedy, the Boy Bowman.  It’s a solid, though short of course, character piece.  I’m curious to see what, if anything it will lead to.  Interestingly, in my copy, at least, Speedy is mis-colored, with his scheme inverted.

Our little tale begins with a certain arrow slinging teenager (or teen-ager as the comics sometimes refer to them) arriving in the awesome Arrow-Plane.  I enjoy this little scene with the two friends meeting and discussing recent events.  As I hinted last post, this Robin yarn actually follows in the footsteps of the previous issue of Teen Titans, #28.  Apparently Aqualad’s impassioned speech has had an effect, and Robin is back with his team.  I quite like that type of mild continuity, reminding us that these characters are part of a larger universe.  It doesn’t require any specific knowledge to enjoy this story, but a reader in the know is rewarded just a bit.

Well, the Teen Wonder gives his visitor a tour of campus and his dorm, and Roy drools over the local ladies.  It’s a nice, quiet little character moment, and I enjoy watching these two guys just palling around.  Their friendly tour is interrupted in the cafeteria where visiting kids from a nearby juvenile detention farm break out into a fight.  One of the biggest guys belts one of the smaller ones.

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Robin shows surprisingly good sense when he realizes that Speedy suddenly showing up when Dick Grayson just happens to have a guest from out of town might endanger his secret identity.  He then immediately makes up for that moment of good sense by changing into his costume in “a corner of the kitchen.”  Meanwhile, poor Roy is a ‘casualty,’ catching a pie to the face.  He retaliates in kind in a funny beat.

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Robin leaps into action and lays into the bigger kid, but one of the guards tells him that he’s picked the wrong pigeon.  Apparently the little fellow started things.  As the day goes on, Roy and Dick hear people around campus badmouthing the Teen Wonder, spreading the story of his mistake and questioning his character and future.  The Boy Bowman shows surprisingly good sense when he reminds his friend that when they put on their costumes they become symbols, and that means that people judge them much differently and have less patience for mistakes.

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Speedy heads out to keep a date with Wonder Girl, and Robin is left to ponder his future.  In an interesting scene, he wonders just who he is and what his role is going to be as an adult.  After some reflection, Dick rededicates himself to his calling, swearing that he’s going to make a name for himself on his own.

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As you can see, there’s not too much to this tale.  It has some good character beats, and it is fun to see Dick and Roy just hanging out together.  The central conflict isn’t really the action scene, but the existential reflection that follows Robin’s mistake.  One does wonder why a superhero, even a teenage superhero, would really feel the need to intercede in a simple fistfight.  It seems something of a waste of talents, but I guess even Superman sometimes stops a purse snatcher.  If I remember correctly, Friedrich is setting something up, so perhaps it will end up being worthwhile in retrospect.

The idea of a teenage Dock Grayson dealing with some uncertainty about his place in the world is a good one.  Ideally, this would be the first step to the character making some changes in his identity, most especially in his costume!  Notably, at least one of the voices he overhears on campus makes fun of Robin’s costume, so clearly the folks behind the scenes realized how ridiculous that outfit was for a guy his age.  It’s really rather inexcusable that they have him wearing it while he’s in college.

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I’m not one who cares much for the whole Nightwing identity (I vastly prefer the Earth 2 angle, with him as an adult Robin or the Kingdom Come Red Robin identity), but, for Heaven’s sake, just giving the poor kid some pants would have done wonders.  Unfortunately, I’m quite sure we see no such change any time soon, but perhaps there will be some good stories that will come out of this direction nonetheless.  Either way, this particular issue doesn’t have quite enough going on to raise it above an average score, so I’ll give it 3 Minutemen.

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Flash #199

the_flash_vol_1_199“Flash?– Death Calling!”
Writer: Robert Kanigher
Penciler: Gil Kane
Inker: Vince Colletta

“The Explosive Heart of America”
Writer: Robert Kanigher
Penciler: Gil Kane
Inker: Vince Colletta

Ohh man, this confusing, pointless mess of a story doesn’t have much to recommend it.  Surprisingly enough, the letter writers seem to be full of praises for Gil Kane’s turn on the book, but even if you like the art, and I’m pretty ambivalent about it, the writing in these last few issues has been pretty lackluster.  We’re also in the middle of a supervillain slump, with no Flash issue in the last several months and none for months to come featuring any of his foes.  I’m pretty sure that it has been an entire year, a full twelve months, since the last story featuring a supervillain in this book.  It’ll be OVER a year (judging by covers) until the next one!  That is a crying shame.  After all, the Flash has, objectively, the second best rogue’s gallery (after Batman, obviously) in all of DC Comics.  Why the heck would you waste time month after month with generic gangsters and thugs when Captain Cold is just sitting around waiting for a call?  Not every story needs to feature a supervillain, but come on, at least SOME should.  I really love the Flash, but I’m definitely not enjoying these comics.

This particular tale is one of the worst.  Kanigher seems to have no idea what he’s doing or why.  I have to say, I’m really beginning to dread seeing his name in a writing credit.  I don’t think I’ve given a single one of his stories higher than a 2.5, and this one isn’t going to get any better.  It wanders aimlessly from one plot driven coincidence to another.  We start with the cover image, a man who is apparently the Flash sleeping on a park bench, covered with a newspaper article proclaiming the death of the Scarlet Speedster.  This fellow is awoken by a beat cop who chases him off, and then he encounters a robber fleeing from a store.  His efforts to stop the fleet-footed fellon are for naught, and the guy cleans his clock.  Clearly this is not the fastest man alive.

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The crook is captured by a few little leaguers (seriously), and this faux-Flash continues wandering aimlessly, much like the plot.  He encounters Iris Allen, the hero’s wife, and she flashes back (no pun intended) to the events that led to his apparent demise. We briefly see Barry leaving the house for a JLA meeting and then the League burying the Fastest Man Alive, now not so quick (sorry!).  She snaps out of her reverie, and jerks the cowl off the Pseudo-Speedster’s head, revealing a random guy.  He is apparently a scientist named Dr. Hollister, who, stay with me now, was on a TV show with the Flash the day he “died.”  Hollister was being interviewed about his new cryogenic process, which lead him to being threatened by gangsters.  Still following?

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Anyone else wonder who the other pall-bearers were?

They try to force the doc to put them on ice, and Flash shows up to stop them…somehow.  He is accidentally exposed to Hollister’s formula, and though he chases off the would-be crook-cicles, he seems to die afterwards.  Next, we see Iris donating one of Barry’s uniforms to the Flash museum, which Hollister, feeling guilt over the hero’s demise, steals…for…reasons.  *sigh*

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He snaps out of…whatever was going on with his dressing in the costume, and steals the Scarlet Speedster’s body in order to run more experiments and try to revive him.  One step forward, two steps back there, Doc.  During the attempt, while nothing is working, the Generic Gang breaks in again, and lightning happens to strike one of their guns, reflecting onto the hero’s body and bringing him back to life.  There is one moderately clever moment, where the gangster seems to be struck by lightning, but it is revealed in an “instant replay” that it was actually the Flash reviving and smacking him at super speed.  We get a nice reunion with Iris that, like everything else that actually has some value in this story, is not given nearly enough space.

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This story is just confused, as you know from trying to keep up with that summary, and unnecessarily convoluted.  It is not terribly interesting.  The mystery of Flash’s apparent demise could have been decent fodder for a story, but this one just limps along awkwardly with no clear idea of what it wants to do or how it wants to do it.  The actually interesting elements, like Iris’s reaction to her husband’s sudden demise and return are glossed over.  Hollister’s guilt over the hero’s fate could also have been compelling fiction.  Instead, we see him dazedly wandering around in a Flash costume.  We get neither entertaining action, nor enjoyable drama.  It definitely doesn’t deserve more than 1.5 Minuteman.

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Someone please tell me why Gil Kane was so popular…

“The Explosive Heart of America”

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This…odd story is at least more coherent than the previous one, though that isn’t saying much.  It introduces a fairly big complication to Barry’s setting without any real justification, as it begins when a secret agent, who looks a bit like Doc Ock in disguise (maybe he’s moonlighting!), walks into Barry’s lab and announces that he knows the hero’s secret identity.  This mysterious operative, who introduces himself as “Colonel K,” hands the Flash a map and tells him that there is an experimental missile being prepped somewhere in a hostile country, and only the Fastest Man Alive can find it in time to disable it.

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How does this random guy know the Flash’s secret identity?  No clue; Kanigher doesn’t bother to tell us.  He just does, because plot, apparently.  Now, in terms of the plot itself, the basic concept is not a bad one, and it certainly fits the character.  At first, I thought, ‘hey, he’s giving the Flash a list of places to search, sure,’ but I was wrong.  In fact, the map is just a map of China with a search grid on it.  That’s right, the Flash has to search the entirety of China for a hidden missile base.  *sigh*  Hello Silver Age excess.

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Fortunately, the plot gods are kind, and the Scarlet Speedster just happens to stop to rest on the mountain that contains the base.  In a surprising and neat little scene, he meets a young Chinese boy who greets him enthusiastically.  The boy tells the hero that he and many of the younger generation like and respect the Western heroes, not believing everything the powers that be tell them.  It’s actually a surprisingly optimistic and realistic take on the citizenry of a hostile foreign power, treating them as thinking individuals who might not believe everything the guys in charge say, so credit where it is due.

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Well, Flash vibrates into the mountain and finds…a missile, I suppose.  It’s more like a pillar of energy, and his arrival triggers it.  So, not knowing what else to do, he climbs on top and rides it all the way to the U.S.  In another odd touch, it happens to be homing in on the exact geographical center of the country, which is marked by a giant metal x, so Flash hops OFF the missile and wrecks the x, assuming that there is a homing device in it.  This…somehow…fixes things.  The missile just evaporates, and all is well…except that some spooky government spy knows our hero’s secret identity.  I’m sure that could never turn out badly.

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This is a mediocre tale with a rushed resolution and nothing particularly great about it.  The conversation with the Chinese boy is really the highlight, and the random agent who magically knows Barry is the Flash is the low point.  We do see more evidence of the Cold War here, so that’s worth noting, especially since this one focuses on China rather than Russia.  The story isn’t terrible, but it displays what I’m coming to expect from Kanigher, sloppy writing and a lack of imagination, or at least the creative fortitude to fully realize ideas.  I’ll give it 2 Minutemen.  Apparently, as far as I can tell from a little research, Kanigher is responsible for a lot of fantastic work.  Perhaps this is just a slump in his career.

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Into the Bronze Age: July 1970 (Part 2)

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Welcome to the second issue of Into the Bronze Age for July, 1970!  I’m looking forward to getting back into some Bronze Age-y goodness, as I’ve been busy with many other things, including a lot of pulp stories as I was working on my Pulp Adventures mod.  So, without further ado, let’s celebrate the beginning of the semester with some classic superheroics!

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

  • Action Comics #390
  • Batman #223 (reprints, won’t be covered)
  • Brave and the Bold #90
  • Challengers of the Unknown #74 (Final issue!)
  • Detective Comics #401
  • G.I. Combat #142
  • Green Lantern #78
  • Superman #227 (Reprints)
  • Superman #228

Detective Comics #401

Detective_Comics_401“Target For Tonight!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Joe Giella
Letterer: Ben Oda
Editor: Julius Schwartz

“Midnight is the Dying Hour!”
Writer: Dennis O’Neil
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

Our headlining feature here is a fairly mediocre Bat-tale, very much a by-the-numbers story.  It’s the standard ‘most dangerous game‘ trope where a disillusioned big-game hunter decides that the only way he can get a challenge is to hunt a man.  Of course, he decides to hunt the most dangerous of the most dangerous game, Batman!  I wonder how many times this story has been told in comics in general and with Batman specifically.  Surprisingly enough, this story is the only Batman example listed on TV Tropes.  I’m almost sure there are others, though, as almost every serial adventure character has a few of these encounters over the course of their career.  Despite its cliched nature, or perhaps evidenced by it, this trope can produce great stories.  This isn’t one of them.  It isn’t bad, per se, just not terribly interesting or exciting, and Batman really doesn’t come off as all that impressive.  There are many, many better examples out there.

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This tale opens with Batman in Commissioner Gordon’s office receiving a strange and threatening note which boldly declares that some nut named ‘The Stalker’ has made the Dark Knight his prey.  Apparently the note was delivered by a hunting falcon, right in Gordon’s window!  Just at that moment, a bullet zips in the window and ‘bullseyes’ the page, a potent warning of the hunter’s intent and skill.

The Masked Manhunter heads home to his apartment (I’ll never get used to that), where he relaxes by watching an interview with a famous big-game hunter named Carelton Yager (“jager” means hunter, in German, in case you didn’t catch that he was…you know…a hunter) who has just arrived in Gotham.  This sportsman, who is totally not our mad Stalker, has a hunting falcon and talks menacingly about how there is no thrill in the hunt anymore, thus he has come to town to hunt “the most dangerous game.”

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Just then, crossbow bolt flies in a smashes the TV.  It bears a note warning Bruce Wayne that this ‘Stalker’ knows his secret and the hunt is on.  How did this random hunter discover the secret identity of the master detective, Batman?  Well, don’t worry your pretty little head about that.  He just totally did.  Because…plot.  Well, not one to take such things lying down, the Caped Crusader sets out to do some stalking of his own, warning Gordon to keep the cops clear because “this is a matter of honor — and pride.”  Really?  I mean, it makes perfect sense that Batman would want everyone else to stay out of such a conflict for fear of any innocents getting hurt, but it does seems a bit out of character for him to be so pig-headed as to play this guy’s game just for pride.  This is another one of those little examples that we’re still not dealing with the fully developed ‘grim avenger’ Batman yet.

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Our hero is on the case less than five minutes and he commits his first blunder, stumbling into a trap in Yager’s rooms as he searched for clues.  He triggers a crossbow trap and a recording that taunts him and invites him to a showdown on an island off the coast.  Batman throws a tantrum and smashes the tape recorder with the most awkward looking, Rockettes-esq, high-kick ever, then heads straight into the obvious trap.

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At least the Dark Knight has the sense to approach the island covertly, underwater and then through a drainage pipe, but once arrived he once again immediately falls prey to one of the Stalker’s snares, this time a net that hauls him helplessly into the air.  For the third time, the hunter lets his quarry live to add spice to the chase.  That’s three separate times our hero should really be dead if the villain wasn’t just letting him win.  Real impressive, Bats.  I think this Stalker fellow might have a more challenging hunt with Robin.

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When the Caped Crusader gets free, he pursues his tormentor across the island, and eventually tackles him when he finally manages to see through one of the sportsman’s traps.  Yager is standing in the middle of the room, dressed as Alfred, but Batman realizes its a fake when he sees that the man’s shoes aren’t muddy, despite the fact that the entire island is a quagmire.  During the fight, the villain handily hoists himself on his own petard by falling into his own dead-drop and conveniently expires, taking his knowledge of our hero’s secret identity with him to his grave.

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It’s a moderately entertaining story, but not a terribly memorable one.  In fact, I read it about a month before I got the chance to write this entry, and it had COMPLETELY fallen out of my head by the time I sat down to write the summary.  It’s a trope that has lots of potential, as can easily be recognized by how often it gets used, but this one doesn’t make much of it.  The villain lacks any real personality and Batman just comes off as rather ineffectual and bad at his job.  He survives solely because of his foe’s arrogance, but not in the standard and enjoyable ironic treatment of such a trope that would indicate that Robins was even aware that this was the case.  I’ll give it 2.5 Minutemen out of 5.

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“Midnight is the Dying Hour!”

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The backup feature is the continuation of our Batgirl story from the previous issue, and it is passable if not exactly good.  I’m afraid it definitely suffers from its brevity.  It does have a nice setup, with the story being handed off to Robin, who is following the same mystery from a different direction.  It’s a nice idea, even though there isn’t much room to develop it.

We begin with a quick one page recap of the previous issue, and then we pick up with Robin investigating the crime scene.  He discovers that the murdered man, Willard, with his hand pointing at a volume of poetry, specifically the first three letters of the title, “poetry.”  This strikes the Teen Wonder as strange, since the deceased thought poetry was “sissy stuff.”  A real winner, this guy.  Anyway, aggressive ignorance and atrocious taste aside, Robin, unable to make heads or tales of the case, decides to review the evidence and has a flash of inspiration.

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He heads to the construction site, looking for his suspect, and he interrupts the killer in the middle of his reenactment of “The Cask of Amontillado.”  The punk throws some of his cement in the young hero’s eyes and makes a run for it.  Dick frees Batgirl, who exclaims that she’s never had to thank anyone for saving her life before, and she doesn’t know how to do it.  This strikes me as rather strange, because I’m pretty sure she’s had her life saved dozens of times at this point.  Ahh well.

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They compare notes and discuss how they each solved the mystery as they pursue the killer.  It turns out to be the barely mentioned drama-major, Jack Markham, who murdered Willard, his ally in the campus debate, in order to discredit the opposing side.  According to Robin, the young weirdo was set to play Edgar Allen Poe in the school play, and he identified with the role so much that it broke his mind and turned him into a killer.  That’s…a bit of a stretch.  Poe may have been a gothic author and a fairly gloomy character.  He may have had his own demons (glug glug!), but I don’t recall him ever murdering anyone.  Not even a little bit.  Robin also solves this mystery because of the corpse’s finger pointing to “Poe” and deciding that it was a clue pointing to the actor playing the poet.  That’s a bit of a stretch as well, methinks.

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Detective401-31.JPGThe two titanic teens chase this kid into the theater and have a brief battle with him in the rafters.  He is, of course, no real threat to the heroes when they see him coming, which is fitting.  The tale ends with a rather ambiguous note, as Robin asks Batgirl if she will tell him how she got involved in all of this, and she replies “Maybe I will!  Maybe I will tell you a lot of things…”  It could be a nice, flirty moment…but it needed a bit of setup earlier in the adventure, so it just seems out of place here.

So, in the end, there is a mystery here that just didn’t have quite enough room to grow.  I like the idea of seeing both Robin and Batgirl chasing a killer from different directions.  Fortunately, though the Markham manages to momentarily elude the trained crimefighter chasing him, he doesn’t make a monkey out of the Teen Wonder, unlike some of the earlier Robin solo stories we’ve encountered.  At least this one doesn’t add another spot on the wall of shame with the Head-Blow Headcount for the high-flying hero.  I would have enjoyed the note of romance between our two young heroes…if it had been a bit more developed and certain.  In the end, I’ll give this ending backup 2.5 Minutemen as well.  It just didn’t quite have enough space to make its mark.

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G.I. Combat #142

GI_Combat_Vol_1_142“Checkpoint…Death!”
Writer: Robert Kanigher
Artist: Russ Heath

This Haunted Tank yarn is not one of the best.  It’s plot is just a bit…odd.  It’s like Kanigher had several set pieces he wanted to build a story around, but he didn’t really have a story in which to embed them.  As is, it’s a beautifully illustrate tale in the DC house style, and it has some nice action…and that’s about all that you can say about it, because it doesn’t make much sense.  As per usual, this issue doesn’t take much advantage of book’s conceit.  In fact, this one takes far less than the norm, with our titular haunting specter showing up for exactly two panels, where he doesn’t even offer his customary cryptic warnings.

As the story opens, the crew is commenting on Jeb’s strange habit of talking to “himself,” as they can’t see the ghost, but, as they often do, they decide that he’s a good enough tank commander, they don’t care if he’s a little crazy.  Meanwhile, Jeb asks J.E.B. if this mission will punch their tickets, and the ghost replies he can’t reveal their fates…then he promptly disappears completely from the issue.  This may as well have been a straight war comic with those two panels removed.  Just then, they spot explosions in the distance and head into action.  We get treated to a nice double-page spread of a big tank battle going on, with what look like Pershings going toe-to-toe with the Hun armor.  That would make this the late days of the war (1945), so that’s probably an art mistake.  Still, it’s a lovely spread.

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Jeb and crew are ordered to reinforce Checkpoint Able, and they, unwillingly, scoot out of the action.  Unfortunately, when they arrive, they find Able manned by no-one…but dead men!  The entirety of Able Company has been wiped out, and they are all dead at their posts…and here we meet the first moment of the tale that makes no freaking sense.  If they’re all dead, why aren’t the Nazis just strolling merrily through the lines?  Better yet, why haven’t they ALREADY done so?

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We get no answers, but we do get some nice, poignant moments as the Haunted crew deals with this grim sight.  That leads us to another nice passage, and this issue is nothing but a string of these, where, as they head out on recon and pass some wildflowers, Slim gets out and picks some for Able.  It’s a sweet, strange little scene, and it really adds some humanity to the story.

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Just then, a freak blizzard blows up, and the tank is ambushed by a German infantry unit, inexplicably kitted out for snow operations in all white uniforms, despite the fact that it is emphasized that this is a FREAK storm.  Once again, it makes no freaking sense, but the action sequence is really beautifully illustrated, and the silent (dare I say ‘ghostly’?) intensity of the Nazi troops in their assault is rather chilling (sorry!).

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The crew attempt to break out of the ambuscade, but their engine freezes up.  Here we encounter the third ludicrous story beat.  Instead of, you know, shooting the giant sitting steel duck with the panzerfaust that we see they still have, the German infantry just…wait.  They just sit and wait, allowing the tank crew to figure out what to do.  Their solution is actually quite clever and visually spectacular, though.  Jeb pulls some gas from the fuel tanks and, under cover of the storm, he carefully splashes it near the engine, then lights it ablaze.  Now, this would almost certainly suffocate the men inside the tank in real life, but it’s a great, adventure story-esq innovation.  It’s solid comic logic.  The fire warms the engine enough to get it started, and the Haunted Tank breaks away, arriving back at Checkpoint Able in time to meet the reinforcements.

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So, as you can see, this is a really uneven issue.  It has several nice set-piece moments, the usual lovely art for this book, and even some good, if brief, characterization.  Nonetheless, it is also completely ridiculous in three separate ways.  The end result is a bit baffling.  It’s a fun issue to read, but it is apt to leave one feeling rather confused.  I’m really torn on what to rate it, but I suppose I’ll also give this one a 2.5 Minutemen out of 5.  The goofy, senseless elements knock it down from a higher score, and the fun of the action combined with the beauty of the art save it from a worse one.

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Green Lantern/Green Arrow #78

Green_Lantern_Vol_2_78“My Kind of Loving, a Way of Death!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Frank Giacoia
Letterer: John Costanza
Editor: Julius Schwartz

Ahh…back to this book.  It’s probably not great that we’re only three issues in and I’m already dreading each new story.  Well, on the plus side, this issue is not nearly as insufferable as the previous two.  It’s probably a worse story, as far as unity of action and the measure of the plot goes, but there’s less (though of course not no) pontificating.  The heavy hand paints a touch more lightly, but only a touch.  The setup for this issue is an interesting one, and relatively timely, especially in comic terms.  This issue centers on a charismatic cult leader brainwashing a bunch of disaffected kids and using them for his own nefarious purposes.  Sound familiar?  Well, the horrors of the Manson Family murders were less than a year old at this point, and Manson himself had just been arrested a few months earlier.  There was a great deal of fear and uneasiness throughout the culture following those events, and it is interesting to see that being worked through in comics this way.  Of course, O’Neil’s cult leader uses actual mind control to dominate his victims, and the whole horrid mess is flattened out and treated broadly, but the similarities are unmistakable.  I don’t know if this is the first time that this concept was used in a comic, but I am quite certain it was not the last either.  I can’t imagine it is the best.

Whatever it is, this particular treatment begins with the lovely Black Canary, having taken to the road to track down the way-luckier-than-he-deserves Green Arrow.  She is accosted in the Washington wilderness by a generic biker gang, doing generic, scuzzy biker gang things.  They try to steal her motorcycle and threaten her, but of course, the Canary is no shrinking violet (no offense to Shrinking Violet).  She handily wipes the floor with them before being knocked unconscious by a desperate biker who ramms her with his cycle.  They steal the bike and leaver her for dead, but she is rescued by a shadowy figure.

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It’s a beautiful montage. Take note, Gil Kane, this is how it is done.

Meanwhile, our hard-traveling heroes arrive in the nearby town and have a completely pointless encounter with a bitter young Native American man.  Now, there’s tons of bitter folks in this book, but, to be fair, if anyone’s got a right to be bitter about their treatment in this country…it’s probably the Native Americans.  Fair enough.  His role in the comic is still fairly pointless, serving only to provide a face to identify with the subject of the cult leader’s hatred.

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green lantern 078 015.jpgHis shop is attacked by the generic bikers, who do more generic biker things, like trash the place.  Our heroes immediately endanger their secret identities by just stepping outside to put on their costumes, despite the fact that they were the only strangers in town.  As you would expect, they utterly trounce these low-rent thugs, who pose no real threat to two Justice Leaguers.  And here is our return to the perennial problem (other than the heavy-handed, tone deaf characterization) with this series.  The protagonists are just a poor fit for the tale that O’Neil is telling.  Green Lantern and Green Arrow beating up on these punks just seems…unnecessary.  The heroes are in no peril to speak of, and there is no actual tension and nothing at stake with this little encounter.

Nonetheless, the traveling-twosome makes short work of them, and seems to do it with great relish.  There is actually a fairly good moment of characterization here…that is more or less completely glossed over.  Hal really enjoys this conflict, being a very straight-forward case of good and evil, a simple, unequivocal situation that has none of the complicated morality and deep significance of the last few adventures.  These are bad men doing bad things to an innocent, and a bit of a trouncing is richly deserved.  It would be a good moment if it were given a little more development, but it is left entirely to the reader to make the connection, as O’Neil spends no time on it.  He may not even be aware of it.  I do enjoy the sense of whimsy that the Emerald Gladiator brings to his ring-slinging this issue.  It’s a nice change from his dreary existential doubt from the past two issues, and it points to a more interesting and enjoyable character.  I doubt it will last.

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Well, the Emerald Archer notices that one of the bikers has Canary’s motorcycle, and they get the story out of the punk, GA losing his mind and nearly beating the guy to death in the process.  It’s a good moment, with Hal having to restrain Ollie who is beside himself with worry about Canary.  The heroes go to look for her and find the lost lady seemingly hale and healthy, but in the company of a mysterious “prophet” named Joshua.  He is running a commune of some sort, and he claims that Dinah is now one of his ‘children.’  She, though obviously conflicted, refuses to come with them.

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Adams does a fantastic job of making this Joshua fellow eerie and disturbing.  That man has crazy eyes.

In desperation, the Emerald Archer grabs his lady love and plants a passionate kiss on her lips.  It’s a nice moment, especially considering that, since she’s been around, he’s never gotten any real encouragement from her.  He’s clearly been head over heels for her, but she’s rebuffed him.  This is a pretty big and bold step.  It would be a lot stronger if this plot had been given room to breath, but even just jumping out of nowhere, the scene, where she pulls away and tells him to get lost has a little power, largely thanks to Neal Adams, most likely.

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Ollie is crushed and frustrated, and Hal’s fairly blunt declaration that “she just doesn’t dig” him (way to let your friend down easy, flyboy), doesn’t help any.  Arrow belts his partner in green, and then stalks off into the woods where he, at least, realizes he’s acting like a child.  It’s good to see O’Neil finally acknowledge some of Ollie’s silliness, though he’ll get back to using him as a mouthpiece shortly, don’t worry. Hal, for his part, comes off much better in this issue.  Instead of bowing up and getting in his friend’s face, the Emerald Gladiator merely shrugs it off, knowing that Ollie isn’t himself.

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Meanwhile, the creepy Joshua arms his clearly mind-controlled ‘Family’ and tells them that they are going to slaughter the nearby Indians to start off a race war and reclaim the country for the whites.  Urg.  O’Neil really wants to make his evilness unmistakable…though, to be fair, I suppose this is actually pretty close to Manson’s own motivations (though with opposite goals).  The Emerald Archer encounters the Family in the woods during target practice and decides that he better call for help because he can’t take them all without killing them…really?  Green Arrow, superhero and Justice League member, who has managed to fight crime for years without killing ANYONE can’t manage to take out a bunch of brainwashed kids with pistols and no training without killing them?  It’s fine for Ollie to have called for help.  Sure, I can buy that, but his statement is just patently ridiculous in the context of the story.  Heck, in the last issue, he stormed a freaking fortress and took on trained soldiers.  *sigh*

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Anyway, surprisingly, firing a flare in the middle of the darkened woods attracts attention, and the Family opens fire on him, winging the hero.  They charge after Green Lantern but…he’s a freaking Green Lantern.  Oddly, he ALSO worries about being able to stop them without killing them, despite the fact that he’s wearing an honest-to-goodness wishing ring.  What’s with all this concern about killing the bad guys all of a sudden?  Since when have these two ever DONE that?  Fortunately, he performs better than Ollie (he could hardly have done worse), and easily disarms and traps the kids.

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It’s almost as if random brainwashed kids with guns aren’t actually worthy antagonists for a man armed with the most powerful weapon in the universe….

UNfortunately, Joshua and the Canary escape and come across the injured Archer.  Despite the cult leader’s orders to shoot the helpless hero, Dinah can’t bring herself to do it and overcomes his control.  Hal holds back his aid, letting her break the brainwashing on her own so she’ll have no doubts in the future.  It’s a nice gesture…until you think about the fact that he’s gambling (as he admits) with the Archer’s life.

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Well, I know what you’re thinking.  All of this, and we haven’t had any pretentious preaching from Ollie all issue.  Maybe we dodged the bullet!  Don’t’ be silly; O’Neil wouldn’t pass up an opportunity to talk down to his audience and make Green Arrow come off like a self-important, holier-than-though windbag.  As the heroes are reunited, Ollie takes the opportunity to browbeat a still reeling and emotionally drained Black Canary, telling her that it’s her fault she was brainwashed because there is something bad in all of us that allows monsters like this to bring people to their side.  Classy Arrow.  Real classy.

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Nothing says “I love you” like accusations of secret racism.

This comic has some potential, like most of the others, but it simply has the wrong stars.  There is a good story to be told, and it will be told elsewhere, about the unsettling and sinister nature of a charismatic madman’s grip on impressionable minds.  Try this setup with someone like Batman, the Question, or another more investigative type, and you’d really have something.  Unfortunately, that interesting plot isn’t given enough room to grow, with the unnecessary secondary elements with the bikers and the random kid crowd it down to insignificance.  The central conflict with Canary and the emotions she’s been fighting is interesting, and, once again, given more space, it could have made for a moving turning-point for her romance with Ollie.  This too gets short shrift.  Still, it is really fascinating to see the comics dealing with contemporary history, struggling with the questions we all have about what makes monsters like Manson able to work their dark wills.  It is noteworthy for that, if not for the quality of the issue itself.  As always, Adams’ artwork is spectacular and really gives the book more gravitas and interest than it probably deserves.  In the end, I give this issue 2.5 Minutemen, making this week’s scores unanimous.

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Well, let’s see if we can’t finish up our trip into July 1970 soon and get on with our adventures Into the Bronze Age!  Please join me later this week for the final post in this month of comics.  Until then, remember to tell your significant other that they are really awful inside!

Into the Bronze Age: June 1970 (Part 2)

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Welcome, and thank you for joining me as we write another chapter in this history of the Bronze Age!

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

  • Action Comics #389
  • Aquaman #51
  • Batman #222
  • Detective Comics #400
  • The Flash #198
  • Green Lantern/Green Arrow #77
  • Justice League #81
  • Phantom Stranger #7
  • Showcase #91
  • Teen Titans #27
  • World’s Finest #194

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

Detective Comics #400

Detective_Comics_400.jpgExecutive Editor: Carmine Infantino
Cover Artist: Neal Adams
Writer: Frank Robbins
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“A Burial for Batgirl!”
Writer: Dennis O’Neil
Penciler: Gil Kane
Inker: Vince Colletta
Editor: Julius Schwartz

Ahh, Neal Adams back on Batman.  This is how it should be.  And in addition, we get a great, classic Bronze Age character introduced in this issue!  Prepare to meet the macabre, menacing Man-Bat!  The introduction of this grotesque mix of monster and man is something that really wouldn’t have flown in the Silver Age.  He’s a bit too much of a horror character, but his advent represents the loosening reins and the increasing creativity of the Bronze Age!  I really do like this character, having first met him on that greatest of Bat-worlds, Batman: TAS, in an excellent set of episodes.  His first appearance here isn’t quite so awe-inspiring as that desperate flight across Gotham from the inaugural episode of the show, but it’s still pretty good.

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This milestone issue (I bet Bob Kane and co. had no clue that their creation would go on to headline a book for anything close to 400+ issues!) starts with the quiet eerie looking scientist, Kurt Langstrom, working on an oversized display about bats in the Gotham Museum of Natural History.  Once the curator leaves, Langstrom begins his real work, experimenting with the genes of bats in an attempt to give himself super senses and the ability to “see” in the dark through sonar.  This whole setup is a bit odd.  Why exactly is this guy working at the Natural History Museum?  The TAS setup with him working at a zoo made a bit more sense to me, as did his motives.  In the show, he’s after a traditional mad scientist end, trying to ensure mankind’s survival through acquiring the characteristics of bats.  In comic logic, that’s about as common as a sunny day.

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This is a wonderfully creepy sequence where Adams economically communicates a lot about the unhealthy fixation of the doctor.

Either way, Langstrom is not the only one seeking an advantage in the dark.  Our scene shifts to an underground location elsewhere in the city where the ‘Blackout Gang’ are looking for a score!  They wear thermal goggles and practice silent tactics for their cappers, but Batman still manages to find them when one of them drops a tool and sets up a clatter.  Though Batman is used to fighting in the dark, the punks can see, whereas he has to rely on his training.  They scatter, and he only manages to recover the device, an “ultra-sonic cutting tool,” which can carve through concrete silently.

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The crooks are disheartened, as they figure that Batman will find a way to trace the signal from such gadgets, endangering their plans.  Their leader decides to turn this to their advantage by laying a trap.  Meanwhile, Dr. Langstrom’s experiments have borne unexpected fruit!  He suddenly finds his hearing and sight grown to painful sensitivity!

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If you’re a scientist and you wear a cape, chances are your future isn’t going to include a healthy social life…

He realizes that he’s succeeded, giving himself a natural sonar as well, which, interestingly enough, is exactly what Batman is working on.  The Dark Knight creates an artificial sonar system to guide him in the dark, preparing for his next encounter with the gang.

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Unfortunately, our resident mad scientist has discovered some rather…unpleasant side effects.  He is turning into a….Man-Bat!  Dun, dun DUN!  He panics and begins working on a way to reverse his condition, but he’s interrupted by the collision of our two plots.

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That’s a beautifully creepy reveal.

The Masked Manhunter tracks the gang to their new target, the Natural History Museum!  He confronts them with quite a surprise when he can suddenly “see” in the dark.  Yet, the Blackout Gang is unreasonably clever.  Their leader deduced that Batman might develop some type of sonar device, so he brought along a secret weapon…ping-pong balls.  That’s right, ping-pong balls.  They toss the balls into the air, and their chaotic bouncing and rebounding deafens the Dark Knight.  The gang dogpiles the detective while he’s “blinded.”

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Detective400-18.jpgJust as it seems that they will do what any number of supervillains have failed to do, an eerie screech is heard ripping through the night, and horrifying help arrives.  Man-Bat smashes into the gang, tossing them around like ragdolls and giving Batman a chance to catch his breath.  The two make short work of the hoods, and the Caped Crusader thanks his unlikely savior.  Yet, when he turns his penlight on the monstrous Man-Bat, he sees his terrifying visage, taking it for a mask.  Ashamed, Langstrom, still in possession of his faculties, smashes the light and disappears in the night!

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This is a beautifully drawn tale, of course.  I love a lot of the shots of the Man-Bat, and I really like the all-black design of the thieves.  They make for a nice contrast with the other characters.

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The story itself isn’t quite as strong.  It’s a fine adventure, but the ping-pong ball deus ex machina is a bit silly.  That’s a very specific guess on the part of the gang leader.  Langstrom’s motivations are also fairly weak.  He’s trying to grant himself an ability that Batman doesn’t have?  Really?  Well, seeing as Batman has no abilities, that shouldn’t be that hard!  Either way, it’s a slightly uneven story, notable mostly for the introduction of a really neat character rather than the plot itself.  Adam’s design for Man-Bat is just excellent, evoking the horror comics of yesteryear with a wonderfully creepy realism, insofar as a giant man/bat monster can be realistic.  I’ll give this 4 Minutemen, largely on the strength of the art and the concept.

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“A Burial for Batgirl!”

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We have another Batgirl backup this month, and it is an interesting enough beginning to a tale.  This chapter finds Barbara Gordon pulling up to the library of Hudson University, having just arrived in town to attend a Edgar Allan Poe festival, when she suddenly hears a cry for help!  She quickly darns her ‘working clothes’ and races to investigate.  Inside, what should she discover? Why it’s a dirty hippy in love beads running for the exit!  That’s quite suspicious, if I do say so myself.  He lunges out with a desperate punch, but Batgirl is not so easily stopped, so she flips him against the wall.  Gathering her thoughts, she takes note of a strange smell, something that could be ether.  Unfortunately, while she is trying to identify the tell-tale odor, the hippie regains his feet and blinds her with a nearby fire extinguisher.

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Once recovered, our heroine rushes outside, only to see her escaping hippy having encountered some other pursuers.  A number of college students are chasing him, and they even begin to kick the poor sucker once Batgirl lays him out.  Suddenly, a voice orders them to stop.  Dick Grayson steps out of the night and takes the heroine to task for not helping the hapless hippy, saying that he thought she had a reputation for sticking up for the underdog.

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We pick the story up back at the police station, where the top cop fill her in on the details of the case.  The hippy is Hank Osher, a student radical, one of the bully-boys chasing him was Jack Markham, an acting major, and the man whose cry for help Batgirl answered too late, was Amos Willard, the University’s business manager.  We even get a helpful visual aid to sort out the plot quickly and efficiently.  It isn’t the most dynamic story-telling move, but it’s a nice way to cover a lot of ground quickly, which is necessary in a tale this short.

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Apparently it all started with the proposed sale of a plot of woodlands that the school owned.  Willard was in favor of this, but Markham violently opposed it and threatened him.  Sensing that there is more to this than meets the eye, Batgirl interviews the imprisoned suspect, who claims he is being set up.  The masked girl begins to investigate, and we get a wonderfully sexist moment where she wonders if she is just being led astray by her “girlish heart responding to his big blue eyes.”  Great.

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Well, she decides to pursue the case one way or the other, and remembering the strange smell from the library, she thinks she knows where to look for more clues.  While investigating a building under construction, someone knocks her out with…that’s right, the classic head-blow!  That’s another one for this month!

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Babs awakens to find herself bound and gagged as a mysterious figure reenacts Poe’s “Cask of Amontillado.”  Yep, the mysterious figure is walling her up with bricks in a hidden alcove of the partially constructed building!  Dun, dun, DUN!

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That is certainly a nice, dramatic ending, no doubt about it.  This story, brief as it is, is interesting.  We don’t really get enough to establish the mystery properly, but there are the bones of a decent one, an enigmatic murder, a framed patsy, and a clever villain.  It has potential.  We’ll see what the next issue holds.  What is perhaps the most intriguing element of this story is the glimpse of social tensions in the hippy character, the student rabble-rouser, who is rebelling against the system…for reasons.  While his motivations are about as clear as an actual hippy’s, it’s telling that O’Neil is framing him as the victim here.  The whole thing feels a bit deeper than the desperate pandering towards youth culture that used to show up in Haney’s Teen Titans stories.  All-in-all, I’ll give this one a 3.5.

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Flash #198

Flash_v.1_198.jpgCover Artist: Gil Kane
Writer: Robert Kanigher
Penciler: Gil Kane
Inker: Vince Colletta
Editor: Julius Schwartz

“Call It… Magic!”
Writer: Mike Friedrich
Penciler: Don Heck
Inker: Vince Colletta

Just look at that cover.  A hero praying is the central image, a sincere plea to the Almighty forms the design.  Can you imagine something like that showing up today?  The Big Two are way too worried about offending somebody to put so unambiguous a reference to religion in so prominent a spot, methinks.  I found it charming, though we’ll see inside that it isn’t quite as simple as it appears.

This strange tale begins with a group of teenagers, described throughout the issue as “teen-agers,” sneaking into a mist-shrouded cave, looking for our titular Scarlet Speedster.  When they find him, he is acting very strangely, holding a pigeon and speaking simplistically, almost…childishly.  In fact, he insist that his name is not “Flash,” it is Barry!  How bizarre!

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We eventually discover that the Sultan of Speed has lost his memory and reverted back to his eight year old self.  The kids seem to blame themselves, and they convince our hero to keep hiding in the cave when it becomes apparent that he can’t access his speed.  The ‘teen-agers’ decide that they have to protect the speedster until he recovers his senses, and we get a flashback that explains what happened.  It’s actually quite touching how they are willing to risk their own lives for confused champion.

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Barry, utterly exhausted from his last adventure (nice little nod to continuity), as running THROUGH SPACE will definitely take it out of you, slept late into the day.  Iris didn’t want to wake him, so she left a note telling him she’d be out of town for a few days on an assignment and reminded him that he had promised to visit the children in the Central City Orphanage.  I like the domestic check-in for the Flash, as well as the plot logic nod, recognizing that if Barry was missing for any length of time, Iris would have done something, had she been in town.

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Anyway, the Scarlet Speedster thrills the youth with his speed tricks, but a trio of ‘teen-agers’ are not so easily impressed.  Desperate to reach these kids, Barry reveals how painfully unhip he is.  He does offer to do all kinds of amazing things for them, like whisk them away to Paris or other distant lands, yet these jaded kids act like they get such offers every day.  Really kids?  A superhero offers to zip you to the City of Lights, and all you can do is yawn?  Man, kids these days!

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Well, they finally ask the Crimson Comet to take them to their old neighborhood, where he even builds them a brand new clubhouse in record time!  These kids don’t know how good they’ve got it!

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It is at this point that the plot takes its turn and we meet our antagonists.  Apparently a gang of thieves who had pulled off a big robbery had stashed their loot in that abandoned lot, and they jumped the hero when he accidentally uncovered it.  The Flash managed to get the kids to safety, but a ricochet grazed his head and scrambled his brains a bit, thus his current confusion.  It strikes me as a bit off that the Fastest Man Alive could be tagged by any bullet, even a ricochet, if it wasn’t the first round fired.  After he knew he was being shot at, he, fast as he is, should have been able to casually stroll to the other side of the city before they could so much as pull the trigger another time.  Yet, I suppose that’s a common problem with the portrayal of superspeed.  Such characters really tend to move at the speed of plot.

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Cut back to the present, where the vengeful villains have discovered our hero’s hideaway.  They toss in smoke grenades, and the befuddled Flash doesn’t know what to do, but while the kids prepare to protect him with their lives, Barry begins to do the one thing he can…pray!  He pleads with God to make him truly the Flash as the kids claim, and suddenly he whips into quicksilver motion!  He takes the thieves out in a blur of super-speed strikes, but the cave begins to collapse, and the Scarlet Speedster takes another crack on the head.  Just like that, he comes back to himself, remembering who he is in classic comic-book fashion.

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The adventure ends with the Fastest Man Alive bidding a fond farewell to his newfound young friends.  Exhausted all over again, he collapses into bed, where Iris discovers him when she returns home.

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This is a tale that I really didn’t care for when I read it the first time, but as with several of these Flash issues, I’ve got a lot more appreciation for it on this second reading.  It’s simple but charming, and I like the earnest, wholehearted plea to God.  That’s a nice moment, and it is left ambiguous whether his prayer is answered or whether he simply is able to will himself into super-speed.  That’s the right way to go, as anything else would be excessive.  This is definitely a study in contrast to modern comics, though, with a hero, even a brain-damaged one, making any type of openly religious statement.  In the end, there isn’t a whole lot to this issue, though I like several of its story beats.  Fortunately the child-like Flash doesn’t hang around long enough to be annoying, though that could easily have happened.  I like that the kids feel responsible for what happens and react so strongly in their efforts to protect Barry, though one wonders why they didn’t just tell the police, ‘hey, the Flash is hurt over at the cave!’  Ahh well, one way or the other, I’ll give this gentle-hearted tale 3.5 Minutemen.

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“Call It… Magic!”

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Hey, we get something different this month, a Zatanna backup!  I like this character in general, and though her concept is patently ridiculous, she still somehow works.  I think she works best in a setting like this, with a co-star, rather than holding down a story by herself.  Mystic types always need non-mystics to explain things to, after all.  I’ve read her original appearances from the Silver Age, where she guest-starred her way through the nascent DC Universe, and I’m wondering if this might be the start of a new set of such appearances.  Either way, I’m glad to see her, and although she and The Flash make for an odd pairing, this is an engaging little adventure.  It helps that Don Heck really does a wonderful job with the art chores for the backup, drawing a particularly fetching Zatanna.

This tale opens with one of Zatanna’s perennial magic shows, just as she is calling for a volunteer from the audience.  She picks out Barry Allen, who she of course knows is the Flash, just to tease her friend.  She promises to make him disappear with a kiss (look out Iris), yet when she she lays her lips on him, it is she who vanishes!  Where could she have gone?

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We jump across the barriers of time and space, watching as Zatanna is drawn through them as well, to discover that a sorcerer in a parallel dimension has summoned her to aid him in a desperate moment!  This wizard, named Namba, was attacked by by an old foe, a demon named Xarkon.  The nicely designed infernal foe takes control of Namba’s body, just as the Mistress of Magic arrives.

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She tries to use her magic to separate them, but the strain was too great.  It seems she cannot risk using her magic on the supernatural antagonist without hurting the magician she was summoned to help.  Meanwhile, Flash does not take her disappearance lightly.  He races home to his cosmic treadmill and homes in on the vibrations that he felt as the Mystic Maiden was sucked away from him.  I like the cosmic treadmill, as goofy of a concept as it is, as it just fits into the ‘world of wonder’ vibe that characterizes a good Flash story, just like a good Superman story.  Anyway, the Scarlet Speedster unfortunately arrives in hot water!

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The inhabitants of this strange world are now under the sway of Xarkon/Namba, and they attack the hero on sight.  The Fastest Man alive isn’t a pushover, though, and he quickly slips out of their grasp.  Then we get a nice little moment where he tries to communicate his peaceful intentions by creating a peace sign, which only scares his superstitious (probably justly so, seeing as they live in a world chock-full of magic) attackers.  The kicker is that Flash is a bit disappointed by this result, as “playing the Batman isn’t my role.”  That’s a cool little moment of characterization squeezed into the brief adventure.  The kind-natured, fair play minded Barry Allen doesn’t really enjoy scaring folks.  I like that.

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The story races (sorry!) to its conclusion as the Crimson Comet speeds in to challenge Xarkon, only to be waylaid by magic!  Fortunately, his presence provides the distraction, and inspiration, that Zatanna needs.  She breaks the spell on Namba…with a kiss!  It’s, honestly, a bit weird, and the justification weirder still.  Apparently Namba brought her to him because she was kissing Barry at the time, and a kiss is just what he needed…okay…some guys will go to any lengths to get a date!

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It’s a bit odd for a conclusion, and I can’t help but feel like it isn’t quite giving Zatanna the respect she deserves, especially as Namba “thanks” her with a kiss as well.  It seems vaguely sexist, but then again, it’s a comic book from 1970, so no big surprise there.  I like that we end with Barry helping the Mistress of Magic finish her trick with a little help from his own brand of super speed magic.

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In the end, this is a fun, though necessarily brief, backup.  I like seeing Zatanna, and even though Flash really doesn’t have any impact on the plot, I enjoyed his portion of the tale as well.  This was an unexpected surprise, and the art had a really nice quality to it that I can’t quite put my finger on.  I know that Zatanna is due to join the Justice League sometime soon, so it will be neat to see how that gets built up across the DCU.  It’s interesting how long it took her to become an established character.  She was introduced in 1964, and she had that set of stories, though I don’t think she showed up anywhere else for a while after that.  Here she is in 1970, but she won’t really “make it” until she joins the Justice League in 1973.  That’s a good nine years from her introduction to the point when she hit the big time, insofar as she ever has.  Well, I’ve wandered away from the story itself, which I will give an above average 3.5 Minutemen.

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Green Lantern/Green Arrow #77

Green_Lantern_Vol_2_77.jpgCover Artist: Neal Adams
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Frank Giacoia
Editor: Julius Schwartz

Ohh man, I wasn’t looking forward to this one.  Here we continue Denny O’Neil’s death-march into social relevance.  After the last issue being even worse than I remembered, I was pretty unenthusiastic about this month, but it was better than the previous one in some ways, yet, it was worse in the logic of the actual plot.  We still have  moments of teeth-grindingly bad characterization from Hal and self-righteous speechifying from Ollie, but there is perhaps less of each.  The art is, of course, beautiful, and the central action set-piece is really striking, but as one should expect from this series, subtlety and nuance are endangered species, nowhere to be found.

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The issue opens with our hard-traveling heroes winding through the mountains of some Appalachian town with their sightseeing Guardian in the back of the truck.  For some reason, the juxtaposition of that image cracks me up.  The trio starts taking fire from a group of locals who think they are working for someone unfortunately named “Slapper” Soames.  The heroes leap into action and pretty quickly disable their attackers.  Here we have one of those rather odd moments that this series provides in spades, as the locals don’t recognize either of these world famous superheroes.  I know they’re from a backwater town, but come on!  We also discover that Green Lantern’s ring is somehow malfunctioning.  Uh-oh!

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So, what in the blue blazes is going on here, with folks from this small town shooting at random passers-by?  Well, the short version is that this is a ‘company town,’ a mining town pretty much owned by a man named Slapper, and he runs it like his own little kingdom.  Honestly, I might turn villainous too if my name was ‘Slapper.’  These miners are sick of being oppressed, and they decided to revolt after a local singer/songwriter who spoke out against conditions got arrested for no good reason.  So, armed revolt was the only option instead of, you know, going to the feds or…almost anything else?  Yep, seems so, because in O’Neil’s corner of the DC Universe each and every inhabitant has his melodrama knob turned up to 11.

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The Green Team begins to debate what to do about this situation after they hear the miners’ tale of woe, and here we get this issue’s obligatory terrible moment of characterization for Green Lantern.  The townsfolk tell our heroes that this Slapper fellow is acting like a tyrannical monster, and Hal is so incredibly rigid and immature in his thinking that he immediately takes the bad guy’s side, just because he’s in charge.  I get it, O’Neil, Hal respects authority; sometimes that’s bad.  Yes, I understand, but he also isn’t a child.  He can tell the difference between someone in a complex social situation like the fat-cat from the last issue and someone who is effectively running a concentration camp!  At the least he should be willing to investigate the situation since, you know, he is a superhero and all.  Instead, he’s apparently willing to ignore this entire mess, including the band of armed citizens hiding in the hills.

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In case this scene wasn’t annoying enough just on account of Green Lantern’s naivety, Green Arrow immediately responds by invoking Godwin’s Law, yet again.  That’s two, O’Neil.  Yep, Ollie’s response is, ‘hey, Hitler was in charge too!’  Interestingly enough, in case you missed the subtle moral dilemma here, the Archer’s ridiculous comparison actually proves prophetic.

The pair decides to aid the miners, who plan to assault the local robber-baron’s headquarters to free the singer (is this what happened to Jason Quest?), only to discover that this headquarters is less ‘small town jail’ and more ‘fugitive fortress from D-Day.’  That’s right, this small-town robber-baron is holed up in a blockhouse surrounded by concertina wire, watch towers, and a minefield!  Sure, why not.

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All of a sudden, Green Arrow, who has fought against all kinds of terrible odds as a honest-to-goodness superhero, completely chickens out, right after his impassioned speech about helping these yokels.  He says their attack is going to be suicide, and he refuses to participate…despite the fact that he and the man with the magic-freaking-wishing ring could easily take down the small-town tyrant without anyone losing their lives.  In fact, perhaps they could, you know, do this themselves, since this is pretty much right in their bailiwick as superheroes, rather than help an angry mob take on armed soldiers.  No, instead, our heroic archer sits back and watches as men armed with shotguns and pitchforks charge a machine gun.  It’s only after they start dropping like flies, you know, because they are charging a machine gun, that he decides to get off his green-clad backside and help.  He fires a smoke arrow to cover their advance, which would have been great before several men had been shot.  Sorry Ollie, but you just lost the moral high ground from which you’ve been pontificating.

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Better late than never…except for all those men who are dead…

Before the attack actually begins, we do a quick check in with our antagonist and watch the Emerald Crusader charge his ring.  His inner monologue is really quite painful to read, evincing the moral sophistication of a particularly dim and immature 12 year old.  He even goes so far as to say he would have backed our clearly villainous villain in earlier days, just because the guy is in a position of authority, legitimate or not.

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I sympathize; justice is hard to weigh, but here’s a hint: it’s a pretty safe bet that the guys murdering innocents aren’t on the side of the angels…

Green Lantern gets involved, and his ring makes swift work of the defenses, until it shorts out on him again, and then we get a moment that irritated me quite a bit, almost as much as the infinitely more asinine moments that surrounded it.  The Emerald Gladiator gives a big speech about how he’ll have to rely on his fists, and this is what he’s been missing, finding out what he’s really made of…as a man!

That’s all well and good, except that he’s done this in practically every. single. issue. of his series for the last several dozen issues.  I can’t count how many times the Lantern would make a big to-do about not using the most powerful weapon in the universe so he could punch someone with his fist and prove he’s “a man.”  I’m quite certain of this, because the trope quickly began to gall me as it buried what made the concept fun and interesting in the first place.  So, yeah Hal, you’ve gone a whole three days without punching someone in the face!  You clearly need to prove yourself.  If that’s the case, you’ve got some really deep emotional problems.  When did this turn into a grim, naval-gazing postmodern comic where all the “heroes” are mentally ill?  Although…that would explain Hal’s apparent lack of a moral compass…

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This page is like a movie star, beautiful, but stupid.

Ahh well, I understand what O’Neil was trying to do, tying that moment into the whole ill-executed crisis of conscience that will haunt the character throughout this series, but in context of the book that existed just a few months ago, it rings false.  The idea is developed further as Hal realizes that the reason his ring has been failing is that he’s lost confidence, concentration, and clarity of purpose.  I actually like that move; it’s just a shame that the story doesn’t earn it.  In addition, the Guardian tells him that his fellows have decided to reduce his power while he’s on “walkabout.”  Thanks guys.  At this point, Hal is struck by gas rockets, which leaves him wandering wounded and out of the fight.

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Because, despite his ability to juggle multiple super powered heroes in JLA, this is the best way that O’Neil can manage to provide any dramatic tension at the climax of this tale when he’s got this mismatched pair of characters. Even de-powered, Green Lantern really shouldn’t’ have any trouble with random mooks with guns, and if he was allowed to continue his attack for another moment, the issue would be over.  It feels a bit forced.

On the plus side, we get a nice, if slightly heavy-handed scene with the vacationing Guardian saving a little girl.  He begins to wonder if he has underestimated humanity as the child’s helplessness moves him.  There is something of value here, as the immortal being of pure intellect begins to interact with beings of emotion, to slowly be reminded of a truth that we imagine his race once knew, perhaps when the universe was young.  He begins to realize that there is more to weighing and judging matters of justice than logic can entirely supply.  It’s a promising vein of storytelling, and I’m curious to see how well it is mined.  If memory serves, I was not particularly impressed with the treatment this idea received on my first reading, but we shall see.

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In the meantime, Green Lantern’s absence leads to the surviving rebels getting captured, along with the Emerald Archer.  It’s revealed that, surprise surprise, the bad guy’s thugs are actually Nazi war criminals, somehow smuggled into this small-town to work as muscle for this random robber-baron.  Sure.  That’s important, just in case you hadn’t gotten yet that this bad guy is, in fact, really bad.  Anyway, it is also revealed that the head rabble-rouser was actually the villain’s plant.  Slapper wanted to force the miners into a confrontation so he could break their spirits and keep them enslaved.  That’s not a bad twist, but the guy didn’t really get enough characterization for it to matter.

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Lantern and Arrow eventually recover, and they make quick work of Slapper and his bully-boys.  Rather fittingly, despite his (belated) heroics, Ollie is entirely ineffectual and quite doomed until Hal shows up.  The story concludes with the Emerald Archer throwing a big bucket of cold water on whatever happiness this ending might have supplied, as our heroes continue their journey in search of America.  It looks like next issue will feature some more biker movie rejects.  Oh joy.

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Well, I suppose I let my feelings about this issue come through pretty clearly already, probably too clearly!  It frustrated me at several points, and the ham-handed characterization, as well as the irrational story beats, really got on my nerves.  I think that the bones of this tale could have actually been an excellent plot for someone like The Question, Batman, or the classic Vigilante (I think that would have made for a great story!).  Unfortunately, as with many of the adventures that will populate the coming pages of this book, this one is simply not well-suited for its protagonist pairing.  The lack of attention to recent continuity, when even the fairly Silver Age-ish Flash is doing a better job, is surprising as well.  Hal’s continued stupidity is probably the worst element of the tale, though I think the heroes’ inexplicable inaction before the miners’ assault is a pretty close second.  In addition, there is less here that is valuable, conceptually, than the first issue.  I think the days of the Pinkertons beating up striking miners were pretty far gone, even in 1970, though I suppose I could be wrong.  It doesn’t have quite the weight, despite the much higher stakes, as the previous issue.  All-in-all, I’ll give this annoying story 1.5 Minutemen.
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The Head-Blow Headcount:

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And we have ANOTHER addition to the wall of shame this month.  Neither Batgirl nor Robin are coming off all that well in their backups.

 

Well, that’s it for this week’s issues.  Thanks for joining me, and please visit again when we’ll have JLA and other other goodies to peruse!  Let me note that this coming week is the last week of the semester, so I’m likely to be insanely busy.  The following week I’ll be presenting at a conference out of state, so please don’t fret if it takes me a bit of time to get to the next installment.  I promise I won’t forget it.  Until then, keep the course, Into the Bronze Age!