Into the Bronze Age: March 1971 (Part 6)

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Hello Internet travelers, you’ve just encountered the final post in this portion of my coverage of DC Bronze Age comics!  Here at the end of this month of mags, we’ve got all Superman, all the time!  They’re a pretty fun set of comics, and they certainly have some interesting qualities, both positive and negative.  They make a pretty fitting set of titles to consider as a cap to this set of features.  Enjoy!

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman #235


Superman_v.1_235“Sinister Scream of the Devil’s Harp!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Cover Artist: Neal Adams

Denny O’Neil’s tenure on Superman continues, and, quite frankly, I continue to be impressed.  I’m very pleasantly surprised that, under this goofy looking cover with what looks like a hairy brown version of Satan slugging it out with the Man of Steel, there is a good, solid Superman story.  The cover is actually dynamic and interesting enough, though like roughly half of the Metropolis Marvel’s comics from this era, it depicts him being bested by someone inexplicably more “super” than he is.  Somewhat hackneyed concept aside, the real problem is the goofy-looking opponent he faces.  The character, who turns out to be attempting to evoke the goat-footed Greek god Pan rather than the cloven hoofed Devil of medieval imagination and popular culture (one inspired the other, after all), just doesn’t quite fit with the tight-wearing superhero.  Nonetheless, the comic really is a good read.

We join Mr. Mild Mannered himself, Clark Kent, on a rare date with Lois Lane, as the two of them prepare to attend a special concert of a new piano virtuoso, the improbably named Ferlin Nyxly.  There’s some fun bantering between the two, and we actually see Lois displaying some of the pluck and personality we’ve been seeing in her own book, but which seems to have been missing in Superman’s own books since the 50s.

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Fitting, as I don’t see Lois as the classical music type…

Poor Clark, for his part, is still playing second fiddle to his alter ego, but as the pair take their seats, he spots helicopter-borne assassins preparing to bomb the crowd in order to kill a visiting dignitary!  That’s pretty cold blooded!  The Man of Steel does his quick-change routine, stops the bomb with his body, and then yanks the copter down, all the while being hosed down with machinegun fire.  His casual handling of the situation is entertaining, as with last issue, and the complete helplessness of these would-be killers against him makes for a nice contrast with what comes later in our tale.  As he leaves, Supes gives Lois a wave, a simple gesture that will have unintended consequences.

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Yeah, just keep trying.  Maybe you’ll get lucky!

Meanwhile, his antics have attracted the attention of the crowd, and no-one is taking any notice of Nyxly’s playing, causing the musician to berate himself and think back on the strange start to his music career.  It seems that not long ago he was the curator at the Music Museum, where he was cataloging new acquisitions.  He noticed a strange, devilish harp and he played it, an eerie tune resulting, as he lamented that he had never amounted to anything.  Nyxly had always wished to be a musician, and after playing the harp and considering his wish, he suddenly found himself able to play beautifully!

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That night at the concert, the excited susurrus of the crowd is suddenly silenced by the surprising outcry of an old man in the audience, who chastises the concertgoers for their rudeness.  Clark and Lois notice that the man is a former pianist whose skill mysteriously disappeared a few months ago.  What a coincidence!

The next day, Clark narrowly manages to avoid having to read a blistering editorial against himself!  Mr. Corporate Evil himself, Morgan Edge, orders Kent to deliver the message after misinterpreting a picture of the hero waving to Lois and accusing him of grandstanding.  Fortunately, the reporter is saved by the bell, or more accurately, a breaking story, when reports come in of an unidentified flying object over the Atlantic.

The Man of Steel takes the opportunity to get into costume and investigate the matter.  Flying over the watery wastes, he encounters the sand creature created a few issues back, and try as he might to catch up to it, he can’t close in on the strange being.  Meanwhile, the bitter musician broods over his perceived slights, and he strums upon his harp and wishes that he could fly as the Kryptonian does.  Suddenly, Superman plummets out of the sky, no longer able to soar!  The rest of his powers remain, but back in Metropolis, Ferlin Nyxly finds himself floating.  Racing along the waves like the Flash, the Metropolis Marvel finds himself being paced by the sand creature, but he’s unable to communicate with it.

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superman 235 0017Now we hit the one real weakness of the issue.  For some reason, Nyxly feels the need to dress up in a Pan costume from his museum and take to the streets to steal the wealth he’s always coveted.  O-okay?  The story of this weak fellow’s corruption through power is actually pretty good, but the random choice of Pan as his costumed (sort of) identity is a really odd one, especially considering the fact that the Greek deity is associated with Pan pipes (which he’s credited with inventing) rather than harps!  Logic aside, the flying soon-to-be felon zooms around the city before snatching some money bags from an armored car, only to be shot by one of the guards in a rather funny panel.  As he falls to the Earth, Nyxly wishes for invulnerability, and when he hits, he smashes a hole in the pavement but emerges unscathed, flying away and happily ignoring the guards’ bullets.

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Back at the paper as Clark, our hero has coffee spilled on him and is stunned when it actually scalds him.  Before he can investigate this strange occurrence, he’s summoned to observe a broadcast of a challenge by none other than Nyxly, now calling himself “Pan.”  The nascent villain calls Superman a coward and a braggart and dares the hero to meet him for a duel, which thrills Morgan Edge, of course.  Despite his mysteriously flagging powers, Superman refuses to back down from a challenge, and speeds to face ‘Pan.’

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Counting on his remaining abilities, the hero attacks, but Nyxly plays his harp and steals first his speed and then his strength, leaving the former Man of Steel to bruise his knuckles on the villain’s chin.  Suddenly, as Pan toys with his helpless victim, the sand creature races into the stadium and, at Superman’s urging, smashes the harp, breaking the spell.  Having helped his double and despite the Man of Tomorrow’s attempts to communicate, the sand creature leaves as mysteriously as it arrived, leaving Clark to wonder just how they are connected and what this motivates this strange being.

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So, Pan is a weird choice for a supervillain’s nom de guerre, (Freedom Force did it better!) but despite that incongruous element, this is actually a really solid story.  You’ve got some nice action, some good characterization for everyone involved, including the villain, who is given a surprising amount of depth for a one-shot character, and an intriguing resolution.  The ongoing mystery of the Sand-Superman is really a fascinating one, and I’m quite enjoying O’Neil’s treatment of that plot thread.  O’Neil is making the most of the ongoing storytelling in this book, and it is a promising move in general, highlighting the growing complexity of the writing in this era.

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‘Pan,’ despite his silly aesthetic, provides an interesting departure from the usual two dimensional villains we’ve been encountering, as he’s driven to evil much more by his desire for self-realization than by greed or a thirst for power.  I also quite enjoyed the focus on Superman’s ‘never say die’ attitude, despite how hopeless his situation was, but man, would he have been embarrassed if he survived all the brilliant madmen, alien warlords, and rampaging monsters, only to be taken out by this loser!  This was a fun, interesting comic, and I’ll give it 4 Minutemen, taking away some points for Pan’s goofy appearance.

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Superman’s Pal, Jimmy Olsen #136


Jimmy_Olsen_136“The Saga of the DNAliens”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Cover Artist: Neal Adams

Time for some more Fourth World madness!  While all of Kirby’s New Gods books are creative in the extreme, I think there’s little doubt that his Jimmy Olsen series houses his craziest, most ‘out there’ ideas.  All this title’s zany concepts like the Wild Area, the Project, and everything that goes with them, are really unique and unusual, whether they soar or sink.  This issue contains some of both types in the exploration of the mysterious government ‘Project,’ and the attempts of the rival Monster Factory to destroy it.  We get a nice looking Neal Adams cover image, though that yellow background is rather ugly.  Unfortunately, the Hulk…err…I mean the green Jimmy clone, is a bit goofy looking.

This issue we join events already in progress as the Jolly Green Jimmy engages in a massive battle with the newly emerged Guardian clone, while Superman has already been knocked out by his Kryptonite covered fists.  Kirby captures this titanic struggle in a glorious double-page spread.  For a time, Guardian holds his own, relying on his superior agility to counter the monster’s strength, but eventually it lands a devastating blow, stunning the hero.  Jimmy tries to revive Superman, and the creature is momentarily distracted when it notices that the youth shares its face.

 

jimmy olsen 136-06 the saga of the dnaliensSuperman cleverly frees the young reporter from…well…himself, by collapsing the floor beneath them with subtle pressure from his foot, snatching his pal from the crashing creature.  The conflict seems about to renew when suddenly a cloud of smoke explodes from the Incredible Olsen’s own head, and he collapses.  The Legion and their allies are all befuddled by this sudden turn until the Man of Steel reveals a tiny antagonist hidden in the monster’s hair, a miniature paratrooper armed with gas grenades.  Moments later, an entire company of teeny troopers float down around them and assemble a Lilliputian device that covers the creature in liquid nitrogen, freezing him.  To top off the weirdness of this twist, these minuscule military men are all clones of Scrapper!

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jimmy olsen 136-11 the saga of the dnaliensSo, the Project created tiny paratroopers from Scrapper’s DNA?  Were they trying to put the Atom out of a job?  It’s so insane that I hardly know what to say about it, yet, in a certain sense, the idea works.  It’s another of these utterly crazy concepts that Kirby tosses out left and right in this series.  Such crumb-sized commandos would actually be pretty useful, and their role in defeating the monster is certainly an interesting twist in the story.  Still, the choice of Scrapper, as with all of the Newsboy-derived clones, is baffling, though he himself seems thrilled by it, missing out on the existential angst of being cloned without his consent, just like Jimmy did last issue.

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With their unintentional attack having failed, the two Monster Factory scientists find themselves on Darkseid’s bad side, and you really don’t want to be there.  In classic Kirby fashion, the two Apokoliptian’s study a massive, room-sized model of their target, just so the King can provide some visuals of the place, and they ponder their next move.  They decide to use a new and unknown creation and travel down into a special chamber to witness the creatures hatching.

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jimmy olsen 136-21 the saga of the dnaliensMeanwhile, back in the Project, the Legion is thrilled to meet the Guardian and ply him with questions, only to have their fathers reveal that this is not the original hero, but a clone created to replace him.  Sadly, this doesn’t really get explored, but as Superman takes Jimmy on his promised tour of the facility, the young man at least voices some concerns over the dangers of playing God.  I’m glad Kirby at least nodded at the moral and practical issues involved with these concepts, but the story still remains entirely too matter of fact about such things.

During the tour, the pair see the wonders of the Project, including where the young clones are raised (lots of issues there that don’t get explored), and the ‘step-ups,’ advanced clones like the Hairies with incredible intelligence.  Kirby also includes a fairly neat photo-collage, which has a bunch of ‘science-y’ stuff on it.  I think this works better for me than most of such images because what you’re looking at is not supposed to be the same type of 3D object as that portrayed by the regular art.

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Yet, the highlight of their trip is when the Man of Tomorrow introduces his young protege to a rather different kind of tomorrow man, a home-grown alien, the product of radical tweaking of human DNA.  The strange looking fellow named ‘Dubbilex’ bears Jimmy’s slack-jawed amazement with dignity and undeserved good humor.  There’s a certain undercurrent of sadness in this being who had no say in his creation and who now serves as a conversation piece for every big-wig visitor to the place.  The tale ends with the hatching of the mysterious monsters of Simian and Mokkari, four armed creatures that bode ill for our heroes.

jimmy olsen 136-21 the saga of the dnaliensa

‘Hey, do I come to your job and stare at your horrible fashion sense?’

This is a fun story, despite (or perhaps because) of the Kirby’s trademark imaginative insanity. The fight with the Jade-jawed Jimmy clone was dynamic, and its ending was certainly entertaining.  The strange facility itself proves the real star of the issue, and Jimmy’s tour is a fascinating look at the place.  The King is moving quickly, but he’s working to establish an interesting and exciting setting in the Project and its evil opposite.  There’s no question that the concepts he’s introducing are both fascinating and groundbreaking for comics.  It’s just a shame that he’s not making more out of what he’s creating.

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It’s likely that some of the nonchalant attitude surrounding the genetic tinkering and flat-out Frankensteining of the Project results from Kirby’s own hopeful scientific optimism about the power and destiny of the human race.  He seems never to entirely have lost the cheerful outlook and faith in science of 50s science fiction, despite the real world’s failure to deliver on the promise of the shiny utopian visions of earlier fiction.  He sees these things as intrinsically positive, and we’re still a year away from Watergate, so America hasn’t entirely lost faith in the government yet either.  What to modern readers seems incredibly sinister may have been, to a certain extent, quite straight forward to contemporary audiences.  So, despite its shortcomings, this is still an entertaining and intriguing issue, and I’ll give it 3.5 Minutemen.

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P.S.: Notably, the letter column for this issue includes a missive from a sharp eyed fan who spotted the touch-ups of Kirby’s art in the previous issues, as well as DC’s rather weak explanation that Kirby was just not used to the characters, so his versions didn’t look right.  The column is otherwise filled with almost universal praise for the King’s new efforts on the book, including letters from several readers who had followed Joltin’ Jack from Marvel, which is pretty neat.


World’s Finest #201


World's_Finest_Comics_201A Prize of Peril!”
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella
Editors: Julius Schwartz and E. Nelson Bridwell
Cover Artist: Neal Adams

Our final book this month is something of a mixed bag.  There’s an enjoyable superhero story here, but there are also some rather odd moments as O’Neil makes some strange choices.  Nevertheless, we’re presented with a nicely dynamic cover by Neal Adams (how did he find time to actually draw any books with all the covers he was doing ?).  All of the figures look good, and the framing, with them literally battling over Earth, is rather nice.  Yet, Dr. fate looks a bit odd, just sort of standing in space.  The cover promises some more star-spanning adventure, like some of our previous issues in this series, and we definitely get a fairly non-terrestrial tale, which plays into the strengths of both the protagonists.

It begins with a meteor shower heading towards Earth and being noticed by both Superman and Green Lantern independently.  Each hero sets out to divert the menace, but they end up unwittingly cancelling out each other’s efforts, exacerbating the situation, and the Man of Steel has to race to save a airliner from a rogue meteoroid.  This incident is actually a neat idea, as it is entirely possible that the two heroes most concerned with space might foul one another’s lines as they responded to the same emergency.

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Afterwards, the two heroes investigate why their efforts failed and, finding one another, an argument breaks out.  This is one of the weaknesses of the issue, as their fight is a bit silly.  They immediately blame each other, taking rather mean-spirited shots ant one another.  Superman even tells Lantern that his attitude for the last several months has been lousy.  It all feels just a bit too petty, and while we’ve seen this kind of thing from Hal lately, it seems out of character for Clark.

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Suddenly, the glowing visage of a Guardian appears and berates the two heroes, telling them that this exchange is beneath them, which is actually quite true.  He proposes a contest to help them sort out their differences, saying that the winner will have dominion over atmospheric perils and demands that they meet back in space in 24 hours.

The next day, the contentious champions rendezvous to find that Dr. Fate has seemingly been summoned to create their contest.  They wonder at his being there rather than home on Earth-2, but he waves away their question and shows them a purple dragon, an enchanted object from his universe, that will be the goal of their competition.  Next he conjures two vast, parallel race courses and tells each hero that they must face their gravest fears in order to reach the finish line.

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The race starts, with Green Lantern pondering what awaits him, as he is, after all, fearless.  That’s why his ring chose him.  Along his way, the Emerald Gladiator is suddenly seized by sticky yellow strands.  His ring is helpless against the golden bonds, and he soon finds himself faced with an immense yellow spider.  He is also consumed with fear, despite the fact that he had never really been afraid of bugs before.

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He realizes that, though his ring can’t free him, his own strength can, and he manages to snap his bonds and escape from the trap.  Now, this whole scene works reasonably well.  Obviously, Hal is not really afraid of spiders, but he is afraid of becoming too dependent on his ring and it failing him in his need.  The sequence is effective and exciting, and at least a little insightful on O’Neil’s part.

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wfc20117Superman’s encounter with his greatest fear is not quite so successful.  Suddenly the Man of Steel finds himself confronted by the towering figure of his birth father, Jor-El, and the Kryptonian scientist tells his Earth-raised son that he is terribly disappointed in him because he’s wasted his gifts and not become a man of science.  Okay, that’s rather odd.  Superman’s greatest fear should really have involved either his abusing his powers or his not being able to save someone despite his powers.  Those are really the things that worry the Man of Tomorrow.  But he hangs his head and is ashamed of all the world-saving he’s done, because a father he never really knew yells at him.  Yet, what really makes the whole situation go from strange to creepy is when Jor-El starts spanking his super-son, and the Metropolis Marvel begs him to continue, saying he deserves it.  Yikes!  I feel like we’ve stumbled into something that maybe O’Neil should have kept private!

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I’ve…got nothing.

Well, the Action Ace finally wakes up to what’s going on and, by exerting his willpower, dispels the illusion and continues on his way.  The two heroes arrive at the same time, and, in order to keep the speedier Superman from reaching his goal first, Green Lantern tries a risky gambit.  He notices that the creature has a strange aura about it and reasons that it may be more than an inanimate object, so he uses his ring to cancel out its effect, bringing the beast to life and causing the Man of Steel to fall back.  Yet, when he himself tries to cage the creature, the Emerald Crusader finds his ring helpless, as the monster rips through his constructs.

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The dragon repulses both heroes and tears out into space, racing straight towards the Justice League Satellite.  Finding their individual efforts inadequate, the two Leaguers join forces, with Green Lantern using his ring to shield Superman from the creature’s magic, while the Kryptonian champion belts the beast, tearing it asunder.  They celebrate their combined victory, but Superman realizes that they’ve been duped, so they rush off to confront “Dr. Fate.”

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Sneaking up on him in a power-ringed comet, which is actually a fairly clever tactic, the heroes leap upon their ersatz ally, revealing him to be Felix Faust, the Justice League’s old foe.  Faust’s thoughts explain that he needed the Lantern’s ring to activate his spell and the whole thing was an elaborate ruse to destroy the League.  With their enemy captured, Superman and Green Lantern realize that their rivalry bred nothing but ill-fortune, and we get something of a sappy O’Neil moment as Hal wishes the people of Earth would realize the same thing.

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This is, taken as a whole, a pretty decent superhero adventure.  You’ve got some nice action, an interesting setup, and an honest-to-goodness supervillain behind it all.  You’ve also got some attempts at characterization with the two protagonists, though the end result isn’t the best fit.  There are some definite weaknesses in this issue, though.  For one, Faust’s plan is just a touch too complicated to really make sense.  He needs the Lantern’s power ring to activate his spell, which is reasonable enough as such things go, but this is the best way the wizard can come up with to accomplish that goal?  Why not just present the Lantern with the big, scary looking dragon and let nature take its course?  Why bring Superman into this in the first place?  O’Neil just needed a little more thought and another line of exposition to solve that problem.  Something along the lines of ‘I needed Superman’s strength to breach the dimensional pocket that had trapped this creature’ or the like would do the trick.

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Rather more significant is the *ahem* odd episode delving into the Man of Steel’s daddy issues.  The embarrassing panel aside, the scene still just doesn’t really fit with the character, though O’Neil tries to justify it by saying that this fixation is a result of Kal-El being an orphan.  There’s just one problem with that.  He’s not really an orphan.  He was adopted as a baby and raised by the Kents.  He’s got a father who is proud of him, and while there’s still some room for angst and ennui in that setup, it just doesn’t track for this to be the defining issue in his life.  Despite these weaknesses, this is a fun adventure and an enjoyable read.  I particularly liked the resolution, with the heroes combining their powers to defeat the threat, as well as the reveal that Felix Faust had been behind it all.  It’s just nice to see an actual villain show up in one of these books.  Dillin’s artwork is serviceable, though he really does some good work on the larger, more cosmic moments of action.  I’ll give this one 3 Minutemen, though I’m a little tempted to dock it a bit more for the spanking.

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Final Thoughts:


What a month!  All-in-all, it was a fairly positive set of titles and there were several quite enjoyable reads scattered throughout.  Obviously, the most notable feature of this set of books was the appearance of two new Jack Kirby created comics, bringing our total of Kirby books up to three.  The debut of these two books marks the true beginning of his Fourth World saga, and these are also the first books in his career that he’s had near total control over.  What a huge shift that was, the realization of a dream the King had long been chasing.  It was also a pretty unheard of event in the comic industry at large, as it was rare for a single creator to be given that much control over their work.  For the first time in his career, the King was free to really let his imagination run wild, and the end results are certainly fascinating.  While The Forever People is a limited success, the first issue of New Gods is extremely striking.  There’s no doubt that Jarrin’ Jack is blazing new trails.  It really is a unique experience to read these books in context, and I’m fascinated to see how these titles will develop together against the backdrop of the wider DC Universe.

This month also highlights just how uneven Denny O’Neil was as a writer.  He created a very solid, completely realized Superman adventure on the one hand and yet turned in the muddled mess of this month’s Green Lantern book on the other.  That doesn’t even take into account the…odd choices made in our World’s Finest tale.  I’m becoming convinced that one of the defining traits of his work during this period is a tendency towards great ideas and poor execution.  There’s no doubt that he was extremely imaginative and that he could occasionally do a great job with characterization.  Yet, at this stage, his work is more often marked by aspiration than accomplishment.  I have a feeling that will change in time.  After all, he is still innovating and testing what the genre can do at the moment.

In terms of major themes this month, we see that youth culture continues to be a significant concern.  Both this month’s Batman and Brave and the Bold titles feature stories concerned with both teen involvement and its dangers.  Notably, each has a story that details disenfranchised groups turning to violence to achieve their ends, with very different receptions from the protagonists in the two books.  These were not this month’s only attempts at relevance, however, with even Superboy getting into the act for the second month in a row.  Of course, the message in that book was lost in the shuffle, but it is still a sign of the times and features an unexpected theme, one we haven’t really seen before, in its treatment of poaching.

Well, I believe that wraps up March 1971.  I hope that y’all enjoyed the journey, and what’s more, I hope you’ll join me again soon as I start looking into April!  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

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

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Believe it or not, I actually almost closed this month out without acknowledging Green Arrow’s second appearance on the wall.  This month’s turn on his shared title saw the Emerald Archer get his goateed face shoved through a plate-glass window.  The booming blow landed on the back of his head and knocked him right out, earning him another coveted spot on the Headcount!  He’s our only new addition this month, making it a pretty quiet period, but I’m sure there’s more head-blows on the horizon!

Into the Bronze Age: March 1971 (Part 5)

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Hello folks, and welcome to another edition of Into the Bronze Age!  I’m back on my routine, at least for a little while, so I’ll hopefully finish this month up soon.  I’m very excited about today’s post, as we’ve got New Gods #1, the start of what is undoubtedly the most significant of Jack Kirby’s Fourth World books.  There’s also a delightful little surprise in this month’s Superboy, which added to my enjoyment of these comics.  In general, we’ve got a good set of books to discuss, so let’s get to it!

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #88


JLA_v.1_88“The Last Survivors of Earth!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

This is an interesting cover for an unusual issue.  Notably, this comic has the distinction of being the only pre-crisis JLA book to feature Mera on the cover, and she does look good there with the rest of the League.  It’s a shame she didn’t get into action with them more often.  The cover itself is indicative of the era, showing the JLA having failed in some fashion, a common trope, but interestingly, there is some truth to this particular tableau.  The issue inside is a fun one, if a bit odd, as the heroes really don’t have much impact on the outcome.

The tale begins with a strange golden spaceship, which has a pretty cool design, speeding towards Earth as a robotic voice addresses its passengers.  The voice reminds its charges that they are the people of Mu, which, like Atlantis, is a legendary lost continent, and a very promising addition to the mythos of the DCU.  The mechanical voice continues, recounting how the citizens of Mu had used their superior technology to flee what they thought was a dying world, but their return, thousands of years later, has revealed a flourishing orb.

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The people of Mu, being kept alive by their machines, are now degenerated and decadent from their enforced isolation and inaction, and they can only respond with hatred to the modern inhabitants of Earth who they assume must be inferior to themselves.  Dillin achieves a pretty creepy, horrific effect with his portrayal of the Muians, vast rows of stiff, motionless figures, all screaming mindlessly for blood.  It’s like a much darker version of Wall-E, and as we’ll see, it serves a similar theme.

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Meanwhile, blissfully unaware of the threat approaching from space, a trio of Justice Leaguers pursue a “busman’s holiday,” working at an archeological dig in the South Seas Islands.  Carter and Shiera Hall have been joined by Hal Jordan of all people, and they are working to uncover clues to lost civilizations.  I love these types of glimpses into the ‘off-duty’ lives of the Leaguers, especially when they are hanging out together.  This is a really fun setup, and I would have enjoyed spending more time with these characters here, but Shiera quickly turns up a tablet inscribed with strange symbols that seem to point to the mysterious continent of Mu.  Just then, lightning strikes her out of a clear sky!  Green Lantern is able to blunt its force, but she’s still stunned, so the heroes suit up, with Hawkman taking his wife to a hospital while Hal contacts the League.

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In a touch that I quite enjoyed, Aquaman was on his way to join the trio to lend his services in interpreting whatever they found.  If you’re working on lost continents and civilizations, what better expert to call in than the king of just such a place?  It’s a really cool detail, and it proves wise, as he fills Hal in on what the Atlanteans know about Mu: it was an advanced civilization in the pacific that disappeared mysteriously.  The Sea King also brings news that strange disasters are occurring in the Gulf of Persia, the Mekong Delta, and the Coast of California, all of which point to Mu (though how they do so is quite unexplained).  The Emerald Crusader divides the League’s forces to deal with the different disasters and heads out himself, only to be struck by lightning as well, just managing to save himself at the last moment!

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In California, Batman, Green Arrow, and Black Canary arrive in the Batjet, but there is some tension in the air, as Batman remembers a kiss aboard the Satellite.  When they land, Black Canary pulls the Dark Knight aside, much to Arrow’s chagrin.  After telling Ollie that she’ll talk with whoever she care to, she tells Batman that she wants his advice on how to deal with the hot-headed archer, and she came to him because she thinks of him as a brother!  Ouch!  Bats is stuck in the one trap not even he can escape, the friend zone!  Nonetheless, he takes it like a man, and when the Emerald Archer starts flipping out and demands to take off, the Masked Manhunter even lets them use his plane.  (Real mature, Ollie.  It’s not like lives are at stake or anything.)  It’s a surprising but enjoyable little scene, with a bit of humor and just a touch of pathos, as Batman realizes that the attraction he feels is one-sided.

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Back on the other side of the world, Superman and the Atom approach the Persian Gulf, where refugees are fleeing a violent set of earthquakes.  The readers get a glimpse of the culprit, a golden medallion, an artifact of Mu, worn about the neck of a respected Iranian man, which serves as a transmitter for the destructive energies of the Mu spacecraft.  The heroes labor in ignorance, however, with Superman doing his best to help the evacuation and save lives while the Atom heads to a lab to try and sort out what is going on.  He stops a few looters and then gets to work, eventually determining the center of the disturbances, but not their cause.

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As the heroes head towards the epicenter of the quakes, the medallion’s owner smashes it, unwittingly ending the disaster.  Notably, the man, a devout Muslim, is portrayed as wise and selfless in a very positive and sympathetic treatment of Islam for a comic from 1971.  We even get an editor’s note providing a touch of background for the religion, which is surprising.

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At the same time, in Vietnam, the Flash has his hands full with an out of control monsoon.  Floods are destroying the country, and the Fastest Man Alive is run ragged trying to save lives.  While he labors, a young woman accustomed to tragedy prays to her household gods, another artifact of Mu.

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In another surprising touch, we’re told her husband was killed by the Viet Cong and her son by American napalm, an unexpected glimpse of the ongoing tragedy unfolding in Vietnam, and one that is handled with an unusually light touch.  Just as Green Arrow and Black Canary arrive and mark the center of the disturbance with a flare, the young woman smashes her idol in rage at its failure to protect her family, ending the storms.

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JusticeLeague88-23Finally, in California, Batman is left alone to confront the arriving Muian ship, and his valiant but foolhardy barehanded attack against the technological marvel, ends in defeat.  It’s a shame he didn’t have an advanced jet with all kinds of weapons on hand.  Once again, Green Arrow’s temper gets everyone in trouble.  The League just might be better off without him.

The people of Mu have their robotic caretaker snare a youth off of the street to interrogate, trying to discover how their attacks have been defeated.  The young man tells gives them a fiery response about how they are really jealous of the freedom and life that regular humans have, and then escapes the ship.  When it takes off, something suddenly goes wrong and it crashes into the sea, incidentally killing hundreds or thousands of Muians.

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When his friends ask him what happened, the young man informs them that he threw a wrench into the craft’s engines, thus saving the day….and also committing a touch of genocide!  The story ends with the Leaguers comparing notes and realizing that none of them ended the threats.  Finally, Aquaman recommends that they write this case up as “unexplained.”

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Yay!  They’re all dead!

This is a fun issue, though the final resolution is really rather too sudden and random, and I’m not quite sure what we’re supposed to make of all of this.  The final narration stresses the theme of the Muians’ plight, the dangers of overreliance on machines, but the message is a tad muddled in delivery.  There’s something here about the triumph of human nature over machines, but it doesn’t quite get developed.  This idea is apparently in the zeitgeist, as we’ve just seen an Aquaman issue on the dangers of over-mechanization.

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JusticeLeague88-10 - CopyDespite the slightly awkward ending, there are a lot of neat elements in this tale, interesting and thoughtful little touches, like having Aquaman be called in as an expert in lost civilizations, some decently graceful attempts at exposing readers to other cultures, and even a little romantic intrigue.  The lost continent of Mu itself is a really fascinating concept, and it’s a shame it didn’t get a bit more development here, though that’s often the case for comics of this era.  I’m curious if anyone else ever made anything of the seeds planted in this story.  The threat the heroes face is one well suited to the League, and it’s an interesting change of pace that the team doesn’t actually save the day.  Most everyone gets something to do, though Aquaman gets the short end of the stick, as usual.  Dillin’s art is uneven in this one, alternately very strong and rather awkward, but for the most part he turns out a very pretty book.  There are a few just strange looking panels, though, like Batman’s awkward run.  In any event, this is an enjoyable read without the weirdness of the some of our previous issues.  I’ll give this one a solid 3.5 Mintuemen.

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New Gods #1


New_Gods_v.1_1Orion Fights for Earth!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

Now here we go!  Kirby’s New Gods book is, unsurprisingly, the core of his New Gods saga, and it is here where we really begin to learn what’s behind everything we’ve seen teased in the other books.  The cover copy declares that this is “an epic for our times,” and that is a fitting description for the adventure that lies inside.  After all, an epic is usually defined as a long narrative poem of high tone and style dealing with the deeds of a powerful hero, often across a backdrop of the fantastic, and, other than the lack of verse, Kirby’s book does match up to that definition fairly well.  It is certainly a story that is larger than life, mythic in scope and proportions, and that is obvious even here at the very beginning.  In his other Fourth World books, the King has been introducing interesting and exciting new concepts, innovating in smaller ways, but with this book, Kirby begins to do that which he had done in Marvel in the 60s, create something completely new.

The world he conjures is unlike anything seen before, at least in DC Comics.  There are similarities to his Asgardian adventures and the cosmic aspects of his Fantastic Four, but there is a scope here, an imaginative intensity, that is unprecedented.  These are truly new myths being created before our eyes, with just that type of archetypal power, and the end result, however flawed in the particulars as it can be on occasion, is still something incredible.  I love these stories, and it is really a breathtaking experience to go back and read them in the context of what was going on at the time.  Reading them cold in the 21st Century only allows you to experience them obliquely.  You don’t realize how incredibly groundbreaking they were, because what they accomplished has in the decades since become commonplace as swarms of imitators have flooded comics with similar work.  Yet, seeing Kirby’s Forth World burst onto the scene in this book in 1971 really puts into perspective just how revolutionary Kirby was, as he always was.

This first issue is no exception, and from the beginning, you can tell you’re in for something special.  I have to say, though, that the cover is not particularly impressive.  The figure of Orion is a striking one, but the weird coloring has never appealed to me.  I’ve always preferred the recolored versions I’ve seen.  Nonetheless, what’s within does not disappoint.  The tale starts with the fall of the old gods.  In an incredible Kirby splash page, he tells with remarkable narrative efficiency of the Twilight of the Gods, of Ragnarok.  These old gods, who look rather suspiciously like Kirby’s Asgardians, battle one another in an apocalyptic scene, and with a single page, the King wipes away what he had once created in order to begin afresh.  It’s beautifully fitting on many levels.

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The conflict ends in the destruction of the world of the gods, which is torn in two, and the two new orbs are left floating in space.  We aren’t told yet, but these will become New Genesis and Apokolips, the eternally opposed homeworlds of the New Gods.  Kirby’s narration throughout this section is, quite honestly, probably some of the best prose he’s ever written.  He really manages to capture the epic tenor he sets out for, and though sections of the book can get a bit clunky, the opening pages set an impressive tone.

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Across the vastness of space comes the dramatic figure of Orion, possessor of the “Astro Force,” whatever that means, a warrior who we meet as he returns home to New Genesis, and we’re treated to some incredibly striking visuals of its beautiful floating city and Cyclopean architecture.  He’s greeted by the lighthearted Lightray, a lightning quick young man who flies circles around the dour Orion and implores him to stay in the paradisaical city and “learn to laugh again.”

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Their conversation reveals our first hints at Orion’s dual nature, and we get a sense that he is a troubled soul and more than meets the eye.  The warrior has been summoned home to meet with his father, and the New Gods’ leader, Highfather.  The very patriarchal looking Highfather leads his son to “the chamber of the Source,” where they see a white stone wall, their “link with the Source.”  The idea of “the Source” provides a suitably vague and cosmic…well, source, for the powers of good, while still allowing for a surprising compatibility with the concept of the one God and thus folding in rather nicely with DC’s lightly drawn cosmology, even jiving peacefully with my own religious sensibilities.

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As the pair stands before the wall, they are joined by Metron, an eternal scholar, a being of intellect, whose outlook has something in common with the cold logic of Star Trek’s Mr. Spock.  It seems there is no love lost between Orion and this newcomer, and their verbal sparring is only interrupted when Highfather communes with this mysterious Source, and a in very biblical image, a fiery finger writes upon the wall and “having writ, Moves on.”  The message it leaves behind is “Orion to Apokolips–then to earth–then to WAR.”  It’s a portentous declaration, but Highfather reminds Orion that, though the Source advises, they still have the freedom to choose, and it is this freedom that separates those of New Genesis from Apokolips.  The young man’s choice leads him across the vast distances between worlds, to war!  As he takes his leave, Metron offers a cryptic statement that reveals he knows that Orion’s true origins lie on Apokolips, and Highfather angrily swears him to secrecy.  I quite like the celestial scholar’s line, “How wonderfully wise is the Source!  Who is more ready to fight the father– than the son!”  It illustrates the archetypal dimensions of the story Kirby is spinning.

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To Apokolips Orion flies, and our first glimpse of the grim, gray world is quite stunning, with its ashen surface and massive fire pits.  It looks every inch the archetypal Hell, and as he travels above it, Orion’s thoughts inform us that it is the opposite of New Genesis, a world dedicated to conquest and domination, to the extermination of freedom.  His reconnaissance is interrupted by a trio of Apokaliptian shock troopers, the parademons, which starts a running battle as Orion faces various waves of enemies, including heavy cavalry mounted on giant, vicious dogs!

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Most of the troops are visually interesting and imaginatively designed, and the action looks good in Kirby’s wonderfully dynamic style.  In the various skirmishes, we begin to get a sense of Orion’s lust for battle and the dangers of his temper.  Finally, the warrior makes his way to the palace, only to discover that Darkseid has already gone to Earth, but his visit does not go unremarked, as the titanic tyrant’s son, Kalibak the Cruel, is there to greet him.  Their battle is interrupted by the sudden arrival of Metron, who has come to hurry Orion on his way.

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ng01-29The scholar warns the warrior of Darkseid’s plans, telling him that the Apokaliptian monarch even now works on a device that will allow him to search all of the minds on Earth for the mysterious and sinister ‘Anti-Life Equation.’  Before vanishing as mysteriously as he appeared, he also reveals that Darkseid began his search there on Apokolips with a quartet of kidnapped humans.  The warrior frees the captives, and holding Kalibak off, opens a boom tube to Earth to help them escape.

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Then to Earth they travel, leaving a raving Kalibak behind them, swearing revenge.  Once there, Orion explains to the four he rescued that there is a conflict brewing of universal significance, something far beyond their understanding, and the book ends with him shouting a challenge to Darkseid, a challenge which Darkseid, from his hidden fastness, answers.

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ng01-20Then to War!  Wow!  Summarizing this book was a real challenge.  Since so much of this is new and since there are so many big ideas flying around, it is tough to be brief when talking about this story.  In fact, I left some interesting moments untouched, like the glimpse of New Genesis’s culture revealed in Highfather’s reverence for the innocence of youth, which itself is an effective shorthand for his world’s love of freedom and for the stakes for which this galactic game shall be played.  In general, this is a great story, though it will eventually be overshadowed by what comes after.  Kirby’s art is a little rough in some spots, and of course Colletta’s inking doesn’t do him many favors.  None the less, the visual imagination at play is wonderful, with both New Genesis and Apokolips fitting perfectly into their archetypal roles.  Kirby’s imagination is clearly unleashed in this book, and the fruits of his labors are wondrous.  There are Promethean structures everywhere, and many panels stress the scale of the world we’ve entered, as Orion is shrunk to insignificance before a starfield or an ominous edifice.

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ng01-16I’ve mentioned how archetypal this story is, and that is an important part of its success, as the King is essentially creating a new myth, working in the broad, bright colors of legend, evoking the eternal struggle of the Norse Gods, the Olympian war against the Titans, or similar cosmic conflicts.  This is a larger scale, a much larger scale, than anything we’ve seen in DC Comics, and clearly already more fully realized than any similar worldbuilding we’ve seen in the last year.  The only parallels can be found in Kirby’s own work in Marvel, but with the Fourth World the King seeks to surpass even those heights .  Think about how astonishing this book must have been when it hit the stands amongst the mundane everyday stories filling DC’s books.  Even this month’s Justice League tale, which has some measure of imaginative reach, feels positively cramped and halfhearted by comparison.  Despite that, he’s doing some pretty solid character work even from this first chapter, especially considering the era.  There are mysteries surrounding Orion, and a lot of personality at play in everyone we meet.  The impression of depth is downright palpable, and you just know that this conflict sprawls far beyond the pages of this book.  What’s more, we can see the lasting impact of this story in the fact that so many of its elements, even just from this first entry, have gone on to become central elements of the DC Universe.  It’s a great beginning, and I can’t wait to read the rest of the series!  I’ll give this first chapter 4.5 Minutemen, as it loses just a little for the clunkier moments.

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Superboy #172


Superboy_Vol_1_172“The World of the Super-Ape!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Murphy Anderson
Letterer: John Costanza
Editor: Murray Boltinoff
Cover Artist: Neal Adams

“Brotherly Hate!”
Writer: E. Nelson Bridwell
Penciler: George Tuska
Inker: George Tuska
Letterer: Joe Letterese

Oh boy, we’ve got gorillas on the cover!  According to legend, DC’s indefatigable editor, Julie Schwartz, believed (and not without some reasonable circumstantial evidence) that a gorilla on the cover of a comic would boost sales.  Supposedly, the effects were so marked in the Silver Age that all of his editors wanted gorillas for their covers, and he had to institute a policy of no more than one gorilla cover a month!  Whatever the case may be, there sure are tons of gorilla covers from this era of comics!  This particular offering is a fairly striking one, and there’s a nice mystery, which gets a fairly good buildup in the story itself.  As for that very cover story, it has a really ludicrous premise, but the whole thing is handled surprisingly well.  While the concept is very Silver Age, the writing feels a tad more mature.

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The tale opens with a recapitulation of Superman’s origin, but this time, there are two rockets headed for Earth.  One crashes in Smallville, and the other, strangely enough, in the heart of Africa, where its inhabitant is adopted by the apes.  Then the scene shifts forward 15 years, where an ivory poacher vanishes after an encounter with a strange shadowy figure.  The preserve officers call in Superboy when they are stumped by the lack of tracks.  A second group of poachers, out to capture gorillas for a zoo, also go missing, once again accosted by a shadowy figure.

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There’s a nice effect to these mysterious attacks, and Robbins continues to delay the final reveal of the antagonist, granting the first half of this comic a cool, old-school monster movie feel.  Tension mounts from scene to scene as the mystery deepens.  The payoff isn’t quite as good as I had hoped, however.  Eventually, Superboy decides that there must be connection between the apes the poachers were hunting and the mysterious disappearances, so he dresses as a gorilla in order to have the primates lead him back to their tribe….which is pretty silly, but okay.  The apes oblige, and in their cave, the Boy of Steel sees strange statues, idols, and even a magnificent throne, all carved in the likeness of a massive gorilla, and carved by intelligent beings.  Brown does a good job rendering these scenes and granting them a mysterious atmosphere.
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Inside the cave, Superboy discovers the captured poachers making a break for it, one of them having secreted a gun when they were taken, and he reveals himself in order to help their escape.  The gorillas pose no threat to him until, all of a sudden, a SUPER ape appears, one speaking Kryptonese!  That’s right, he is confronted by a flying, invulnerable gorilla, complete with cape and tights, no less!  They fight but find themselves too evenly matched, even clashing with heat vision in a nice panel.
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The Boy of Steel decides to try to solve riddle of this obvious fugitive from his homeworld, so he heads back in time and observes a second renegade scientist, the anthropologist an-kal, sending a cybernetically enhanced ape to safety and cursing the Science Council for not approving of his work.  Oookay.  This guy is even crazier than ol’ Jor-El!  What is it with Kryptonian scientists?
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“They can be a great people […] They only lack the light to show the way. For this reason above all, their capacity for good, I have sent them you… my only son…err…simian.”

Back in the modern day, Superboy rounds up the escaping poachers and brings them right back to the super-ape, Yango, telling his simian simulacrum that they don’t need to fight.  The youth realizes that the gorilla has dedicated himself to protecting the animal world as he has the human world, and so he is delivering the criminals to his justice and trusting, for some reason, that the gorillas won’t just murder them.  They part as friends, Superboy to continue his work in man’s world, Yango, in that of the animals.
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What a goofy concept, and what a goofy visual!  Yango, a gorilla in a full costume, looks pretty silly.  Despite that, this is a fun issue, and the super-fight is pretty entertaining.  It’s also interesting to see Robbins take on the issue of poaching, however obliquely, way back in 1971.  We see in this another attempt on DC’s part for social relevance, and, interestingly, the message doesn’t overwhelm the adventure, unlike some Green Lantern yarns I could name.  In fact, it rather fades into the background amidst the energetic rush of the story.  The first half of the comic is really the best, as the mystery of what is taking the poachers unfolds, but the reveal of Yango himself is, I have to admit, not what I expected.  I’m curious if this oddball character ever appeared again, but I don’t think he did.  If any of you readers know differently, please let me know!  Despite the silliness of the super-simian, I have to say, I enjoyed this read.  The whole tale has something of an Edgar Rice Burroughs, Tarzan feel to it, and that’s a good thing.  I’ll give it 3 Minutemen, as the yarn is entertaining despite its goofiness.
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“Brotherly Hate!”


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We’ve got a real treat in the back of this book this month!  After too long in limbo, the Legion of Superheroes returns to the pages of DC Comics!  This starts what will become a regular backup feature for quite some time.  Eventually, the Legion will actually muscle Superboy out of his own book!  This is good news to me, as I’ve really enjoyed the daring deeds of these futuristic do-gooders.  Our story this month is a solid one, with a touch of family drama flavoring the adventure.  It begins with a Legion rocket arriving at the “Interplanetary Bank,” where they discover that the “guardian beasts” have been disabled.  I’m already 100% onboard, as a setting in which there is something called an “Interplanetary Bank” and which is guarded by giant monsters seems pretty promising to me!  The Legion team, Lightning Lad, Timberwolf, and Light Lass discover that the perpetrator was none other than Lightning Lord, the brother of Lad and Lass!

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We get a brief reprise of how the trio got their powers, and then, to my delight, we get a nice origin for the Legion itself!  Young Lightning Lad, Garth Ranzz, travels to Earth looking for his brother, and on the ship, he meets the future Cosmic Boy and Saturn Girl, as well as the “richest man in the universe,” R.J. Brande.  When a gang of assassins try to kill Brande, the trio intervene, each using their powers to pitch in.  Brande is thankful, but he is also inspired, so he offers to set the three youths up as superheroes, citing Superboy and Supergirl as examples of teenage heroes.  They all agree, and the Legion is formed.  I’d read summaries of this event, but it is really fun to actually see it played out.

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With their flashback over, the team tracks Lightning Lord’s ship, confronting him on a barren and rocky world.  When they confront him, Lightning Lad tries to talk his brother down, but when he refuses, both of the Legionnaire siblings hesitate, causing Timberwolf to spring into action.  The high-voltage villain tries to zap him, but Lightning Lass throws herself in front of the beam to save the boy she loves.  This enrages Timberwolf, but Lightning Lad insists that he face his brother alone.

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They are evenly matched, and they throw electrical bolts back in forth to little effect.  Yet, Lightning Lad backs his brother against a metallic cliffside and ricochets a blast into his back, knocking him out, but turning his hair white in the process.  Their sinister sibling captured, the heroes find themselves hoping that he will reform, but something tells me that’s a tad unlikely.

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This is an all-too-brief adventure, but it is a fun one.  Bridwell manages to add just enough pathos to the confrontation to make it interesting, and the action is entertaining.  I have to say, though, I think my favorite part is a look at the Legion’s founding.  I suppose I share something of Bridwell’s love of continuity.  That sense of history, of more stories than exist on the page, is key for the “impression of depth” that is such an important part of a well-realized setting.  I’ll give this fun little Legion legend 3.5 Minutemen.

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What a set of stories!  We finally get the debut of New Gods, and we get the return of the Legion to boot!  I’ll call that a win.  This finishes off our penultimate batch of books, bringing us to the end of the month, a hearty dose (an overdose?) of Superman!  Please join me again soon for my commentary on those comics as I trudge further Into the Bronze Age!  Until then, keep the heroic ideal alive!

Into the Bronze Age: March 1971 (Part 4)

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Hello my dear readers, and happy Memorial Day if you’re in the U.S.!  Today we honor those who have served so that we may enjoy our freedoms, those who have gone into danger so that the rest of us may be safe.  This post about make-believe heroes has nothing to do with those real heroes, but a similar ethos of selflessness defines both.  The former are a lot more important, but there are more eloquent voices than mine singing their praises today, so I’ll stick to my humble purpose.

I’m afraid I have been long absent from the Greylands, but never fear, I have returned!  There were numerous calls upon my time and attention at the end of the semester, and they brought me far afield.  There were papers to write in preparation for conferences, conferences themselves to attend, and of course the usual hustle and bustle of the semester’s close.  We also had a weekend of volunteer work with the churches in our town, doing needful work in the community.  To top matters off, we in the Grey household also had various personal challenges, but the clouds seem (hopefully) to be parting at last, and I think it may be time to return…to the Bronze Age!

Once more I find myself quite willing to seek solace from the dreariness and bleakness of the modern day in the four-color glories of yesteryear.  This particular post is all the more exciting as we’re finally getting into the other Fourth World books with today’s Forever People #1!  Please join me for a new dose of Bronze Age goodness, and hopefully this will mark a return to a more regular posting schedule.  Thank you all for your patience!

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


Roll Call


(You can see everything published this month HERE)

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

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


Forever People #1


Forever_People_Vol_1_1“In Search of a Dream!”
Writer: Jack Kirby
Pencilers: Jack Kirby and Al Plastino
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

With the thunder of a boom tube and the roaring of the Super-Cycle, Jack Kirby’s Fourth World arrives in earnest!  It is in these three new books, Forever People, New Gods, and Mister Miracle, completely his own creations, that the King’s long-awaited vision, his long cultivated ideas, really come into their own.  Jimmy Olsen has been teasing something vast and wondrous beyond the horizons of the known reaches of the DC Universe, but The Forever People dives in more directly, while the other books will go further still.

And it all begins with the very Kirby set of characters on this cover, the Forever People, a group of free-spirited teenagers and part of the vast tapestry of stories and characters Kirby wove around the concept of the New Gods.  Curiously. these particular characters haven’t amounted to much over the years.  They’re probably the element of the Fourth World that has found the least traction in the wider DC Universe.  While the saga of Darkseid and Orion has provided the backdrop for many an epic adventure and the daring Mr. Miracle has found his place with the Justice League, these kids never quite found their niche.  I remember that being at least somewhat the case from the very beginning, so I’m curious to see how these issues will hold up to my memories.

The cover itself is more interesting than compelling.  It sets up a bit of a mystery, and it’s a mystery that the story within does develop to a degree, but I think its strongest feature are the incredibly Kirby-ish characters front and center.  They’re a wonderfully colorful and lively looking group, and they fit the very distinctive aesthetic that the King was developing for the New Gods, sort of a shiny, sci-fi take on his classic Asgardian designs.  Their individual designs aren’t all successful.  Mark Moonrider in particular has a bit too much going on, what with the superfluous loincloth worn over his pants.  Nonetheless, they’re certainly striking.

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Their first tale begins with the introduction of that constant feature of Fourth World stories, the boom tube, a glowing trans-dimensional portal accompanied by an otherworldly sound, and, in this case, by rhyming verse, which is an interesting and unusual way to start a comic.  From the portal emerge the Forever People, a colorful quartet riding an amazing vehicle, the Super-Cycle, in a two-page spread that I have to imagine was more impressive before Vinnie Colletta got his hands on it.  I’ve searched for a picture of the original pencils, but no luck.  Still, it’s a nice first look at our young heroes as they come careening onto the Earth.  As we will discover in a few pages, these are the Forever People, Mark Moonrider, Big Bear, their hippy-looking pilot, Vykin, and Serifan, whose costume I’ve always rather liked.

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They’re headed for a collision with a teenage couple in a conventional car, but they phase through the automobile, saving themselves, but seemingly dooming the other kids.  Just as their car flies over a cliff, those startled youths are rescued by Vykin the Black, (or Vykin, the inappropriately named), and his Mother Box.  We then get the first of our evocative but incredibly vague and contradictory Jack Kirby descriptions of his crazy Fourth World concepts, as the Forever People argue over exactly what a Mother Box is.

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While Mark Moonrider tells the rescued couple that it’s like a computer, Vykin strenuously objects that Mother Box lives and talks to them.  At this point, I can only assume the human kids have become convinced they’ve meet a group of madmen.  The young New Gods tell their newfound friends that they’ve arrived on Earth from a place called ‘Supertown’ to rescue someone called ‘Beautiful Dreamer,’ a vital mission, but they pleasantly agree to let the kids take some pictures for their friend, Jimmy Olsen.

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As the couple departs, Serifan falls into a trance, and his friends note that he’s made contact with Beautiful Dreamer, but they are being watched by malevolent eyes!  A group of hi-tech thugs has spied the team’s arrival, and we discover that they are members of Intergang who report to none other than Darkseid!  Our still mysterious menace tells his flunkies to follow but not to engage and warns them that the kids are more than they appear.

fp01-13Meanwhile, at the Daily Planet, Clark Kent is just finishing up an interview with the heavyweight champ, who confesses to the reporter that he feels like his accomplishments are insignificant when a being like Superman is around who can do pretty much anything.  He and Lex Luthor should form a support group!  The dialog is a bit over the top and goofy, but the sentiment is actually an interesting one, and the theme of the Man of Steel’s presence having unintended sociological consequences has, of course, become much more common these days.  Once again, Jack Kirby was ahead of his time.

The encounter leaves the Last Son of Krypton introspective and lonely, feeling like he doesn’t really fit in on Earth, something that is becoming a recurring theme in the last few months.  His reverie is interrupted by the arrival of Jimmy Olsen, who has brought his friends’ bizarre pictures to show off.  With his telescopic vision, Clark spots an alien city at the center of the picture of the boom tube.  There’s a rather hokey bit as Superman gets hung-up on the idea that there is a place called ‘Supertown,’ but the upshot is he decides to investigate these strange travelers.

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Man, that must be one heck of a camera to capture microscopic detail…

fp01-18On his way to intercept the Forever People, the Man of Steel is spotted by Intergang, traveling the same route in a helicopter, and, on orders from Darkseid, they turn their fancy new weapons on the Kryptonian.  Their ray guns hurt him, but he is Superman after all.  In a nice looking sequence, the Metropolis Marvel rips up a tree and hurls it through the helicopter.  Seeing this, the Forever People assume that the new arrival must be another volunteer from Supertown, but before he can explain, they declare that Mother Box has located Beautiful Dreamer nearby.  The kids can’t fix her location, but Superman’s x-ray vision spots an underground entrance.

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Unfortunately, the hatch is booby-trapped, and it releases a “toxi-cloud,” which the Man of Tomorrow blows away by whipping up a whirlwind.  Just as he finishes his spin, he’s snatched out of the air by a brutish pair of purple paws!  A group of Darkseid’s minions called ‘Gravi-Guards’ attack, and one of them pins the hero to the ground by transmitting “gravity waves from heavy mass galaxies,” which almost actually makes sense.

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Realizing that they’re outclassed, the Forever People all put their hands to Mother Box and call out “Tarru!”  They switch places with a strange new champion named ‘The Infinity Man,’ who seems to have reality warping powers, declaring that he comes from the place “where all of natural law shifts and bends and changes,” allowing him to reverse the effects of the Gravi-Guards powers and send them flying.  With a casually tremendous blow, Infinity Man sends Superman’s antagonist crashing cross-country.

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fp01-24Declaring to the recovering hero that he’s an ally of the Forever People, the Infinity Man offers the vague and sinister pronouncement that Darkseid has kidnapped Beautiful Dreamer in his search for something ominously called “The Anti-Life Equation!”  Dun-dun-DUN!  With a name like that, it seems unlikely that this is a good thing.  The strange alien champion calls out a challenge to Darkseid, demanding that he show himself, and just then the man-god himself appears, looking very 80s cartoon villain-ish in his cape.  Declaring that the girl is of no use to him as her mind refuses to give him what he seeks, the Apokoliptian ruler raises her from underground but promises that sooner or later he will find what he’s looking for, and then he will us it to “snuff out all life on Earth–with a word!”

fp01-26At that, the villain vanishes, and the two heroes discover that the girl is rigged to a bomb.  Trusting in being faster than a speeding explosion, Superman scoops up Infinity Man and Beautiful Dreamer, and he kicks it into high gear to escape the blast.  When they land, the Man of Steel’s questions are interrupted by the return of the Forever People as the Infinity Man disappears, leaving them in his place.  When they ask how they can thank him for his help, Superman replies that he wants to see Supertown.  The kids argue that the Kryptonian’s powers are needed there on Earth in light of the threat posed by Darkseid, but he insists that he has to investigate this place.  They open a boom tube for him, but consumed by guilt, he turns back at the last moment.  Superman hopes he’ll have the chance to visit Supertown someday, but realizes he can’t go yet….which is a bit silly.  His obsession with the place, just because it’s called ‘Supertown,’ is goofy, as he has no other real reason to think there is anything there for him.  What’s more, presumably he could have jumped through the portal, checked things out, and come back right away.  There’s no immediate danger, so the guilt-trip was a bit much.

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Aside from the slightly silly ending, how does this issue stack up?  Well, it’s good fun from beginning to end, packed full of new concepts and the products of Kirby’s ever-expansive imagination.  The Forever People themselves had a lot more personality right from the beginning than I remembered.  They bicker and argue in friendly fashion, and their characters have some shape already.  However, they don’t really do too much for this to be their book.  Other than using the Mother Box to save the runaway car, all they do is switch into Infinity Man, who is certainly cool in action but far too vague in that very Kirby fashion to be fully grasped yet.  It’s also worth noting that Vykin’s sobriquet is pretty tone-deaf, though of course this is only 1971.  Still, we’re getting to the point where folks are realizing that naming a Black character ‘black,’ is maybe a bit much.  Nonetheless, there’s something to be said for Kirby with his inclusion of a black character with this team in an era where almost every hero was still white.

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There’s plenty here to catch a reader’s interest and make them want to find out what is going on, but sharing space with Superman means that the Forever People get a bit short-shrift in their own first issue.  Darkseid’s appearance is also a bit strange and surprising.  This is our first real meeting with him, and the fact that he gives in, even though he double-crosses the heroes, doesn’t seem quite in character with the supreme villain he will grow into.  It’s not the most impressive first showing for great and powerful Darkseid.

It’s really interesting to see the Forever People’s gestalt setup with the Infinity Man.  It’s very Captain Planet, (“With our powers combined!”) and one can’t help but wonder if they didn’t inspire that later-day character in some fashion.  Fortunately, the Forever People don’t have that annoying ‘Heart’ kid that was shoehorned into being the ‘real’ hero every freaking episode.  *Ahem*  Where was I?  Ohh, right!  The art is good throughout, of course, but it isn’t quite as spectacular as what will eventually populate these pages.  Of course, the Superman issue remains, as I discussed previously, and the resulting changes to Kirby’s art leave the Man of Steel looking a bit awkward from time to time.  The story itself is a good read, with some exciting action and several hooks for further development.  The silly elements and the vagueness of some of the concepts hold it back from being great, but it’s still a solid comic.  I’ll give it 3.5 Minutemen.

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P.S.: We’ve got another text piece in this issue, but this time it isn’t by Kirby himself.  It’s actually a reflection by Marv Wolfman on a meeting with the King just before the younger creator had broken into comics.  It’s a charming read and a neat peak behind the curtain.

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G.I. Combat #146


G.I._Combat_146“Move the World”
Writer: Robert Kanigher
Penciler/Inker: Russ Heath
Editors: Joe Kubert and Robert Kanigher

“Hickory-Foot Soldier”
Writer: Bob Haney
Penciler/Inker: Joe Kubert

“A Flower for the Front”
Writer: Ed Herron
Penciler: Ross Andru
Inker: Mike Esposito

“The Secret Battle Eye”
Writer: Hank Chapman
Penciler/Inker: Joe Kubert

“The Bug That Won an Island”
Writer: Bob Haney
Penciler: Ross Andru
Inker: Mike Esposito

“Battle Tags for Easy Co.”
Writer: Robert Kanigher
Penciler/Inker: Joe Kubert

We’ve got a standard type of cover for Haunted Tank stories, promising a deadly surprise for the crew.  It’s decent enough, but not the best of its type that we’ve seen.  The same could be said of what’s inside.  This was a solid if unspectacular Haunted Tank tale.  Most notably, the titular haunting spirit’s customary cryptic advice is actually almost useful, which is a nice change of pace.  As usual for this book, I’ll only cover that feature and not the various backups.

This story opens with a bang as the Haunted Tank and two other armored units are traveling through a dark desert night, only to have it suddenly lit up by explosions as they are cut to pieces by Nazi anti-armor half-tracks.  Jeb manages to get the Tank down into a ravine where they have cover, but the vehicles gets stuck.  Just then, their own gray ghost appears and tells Jeb “if you put your back into it […] you can move the world!”  While this sounds like his usual enigmatic nonsense, there is actually practical advice in his proclamation.

 

The tank commander hustles the crew outside, and with all of them straining mightily, they manage to free the Stuart.  Just as the Nazi infantry is approaching the ravine to finish them off, the Haunted Tank bursts out, guns blazing, and cuts a path through them.  Moving at top speed, they manage to avoid the fire of the halftracks.  They manage to knock one of them out, but that leaves three to chase them, any one of which has a gun big enough to punch through the hide of the light tank.  Jeb and co. lose their company in the desert night and head towards Fort Solitary, which they are ordered to hold at all costs.

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On the way, they encounter a lone G.I. holed up in a ruined house and trading fire with a German unit.  Just as the tank pulls up, he manages to finish off his opponents by kindly returning one of their grenades to them.  The young man introduces himself as Ulysses, named for the “Greek G.I. who was kicked around for seven years…after his war ended,” which is an interesting way of looking at the epic, rather fitting for a fellow in a warzone.  Just like his namesake, this young man is the only survivor of his own crew, a patrol from Fort Solitary.

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Ulysses boards the metal ship, and they arrive to find Fort Solitary has been wiped out by the Luftwaffe.  Jeb knows that the Nazi halftracks are on his trail, so the troops dig in and prepare for the inevitable attack.  They pile up rubble around the Tank’s turret to provide cover.

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When the Germans attack, their commander thinks Jeb has made a tactical blunder by digging in, but as his other two vehicles move to flank the entrenched position, the body of the Haunted Tank suddenly roars out from behind a hill and shreds one of them, while two of the crew pop out of the smoke on the other flank, hitting their halftrack with Molotov cocktails, sending it up in flames.

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Meanwhile, just as the German officer begins to think that he’s attacking a decoy, the turret fires and smashes his vehicle.  It turns out that Stuarts are made so that the turret can be detached, and by putting their backs into it, the crew were able to take all three of their enemies.

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This is a fairly good story, and the tactics at the end are actually quite clever and a nice solution to the difficult odds the Tank faces.  Interestingly, this is probably one of the more realistic Haunted Tank stories, in some ways, as they aren’t running around knocking out Tigers left and right.  Instead, they’re up against a set of halftracks with anti-tank guns, which really aren’t good in a stand-up fight.  A Stuart might actually be able to win in such an engagement, which is sort of neat to see, even if they go about it in very unorthodox fashion.  The inclusion of Ulysses seems a bit unnecessary, as he doesn’t really contribute anything to the plot, so he feels a bit like a dropped thread.  Still, the end result is reasonably entertaining.  I’ll give it 3.5 Minutemen.

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Green Lantern/Green Arrow #82


Green_Lantern_Vol_2_82“How Do You Fight a Nightmare?”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inkers: Dick Giordano and Bernie Wrightson
Letterer: John Costanza
Editor: Julius Schwartz

Ohh Green Lantern / Green Arrow, what am I going to do with you?  There’s a roughness to many of these stories, a feeling of potential present but unrealized, and that is certainly the case for this month’s issue of the book.  We’ve got a lot of creative concepts tossed out in these pages, but they are both wildly underdeveloped and in direct contrast to established canon to boot!  I’ve heard that O’Neil started to get into mythological threats in his Superman stories, and this issue perhaps heralds the beginning of his interest in that vein of storytelling.

This mythological mash-up of a tale begins with Green Arrow showing up, in full costume no less, at Black Canary’s front door.  So much for that secret identity, Dinah!  The stupidity of such a move is completely unremarked in the comic, and it is treated as perfectly natural that Ollie would stroll up to Canary’s home in costume.  The resultant scene is actually a little charming, as the Emerald Archer announces that, despite the fact that they had agreed to keep their distances until the beautiful bird ‘got her head together,’ he just happened to find himself in the neighborhood with a box of roses.  We’re actually getting a bit of character development as their relationship progresses, albeit slowly, in the background of these stories.

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However, when Dinah opens the box, she finds, not roses, but monsters!  A pair of winged creatures, half women, half birds, burst from the box and attack the heroic couple.  They look like the harpies of Greek mythology, but whatever they are, they seem to mean our heroes no good.  In what will become a running theme in the issue, Green Arrow attempts to protect Canary, and she resents his interference, pointing out that she’s a big girl and quite capable of looking out for herself.  Yet, Ollie’s solution of a tear gas arrow indoors proves to be a rather poor decision, and moments later he hauls the still protesting Canary outside.  Dinah let’s her would-be suitor know just what she thinks of his strategy, and then they realize that their avian antagonists have vanished!

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green lantern 082 006Realizing that mythical monsters are a bit out of their line, the heroes decide to reach out to one of their allies who is more experienced in such matters, so naturally, they call…Green Lantern?!?  That’s right!  After all, who knows more about magic and myth than the science fiction space cop?  Surely you wouldn’t turn to Wonder Woman,  Aquaman, or even Hawkman, all of whom have a decent amount of experience with myth and mysticism.  Nope, Green Lantern, all the way.  It’s at this point that we start to realize this story is moving at the speed of plot.

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green lantern 082 011Well, one telegram later, and the Green Gladiator is on his way, only to encounter the harpies himself!  He chases them through the sky to a discotheque where he is faced with a strange red-skinned femme fatale who calls herself “The Witch Queen.”  She declares her intention to destroy him, and then with a burst of yellow energy, she pulls the hero into the jewel atop her wand.  Then, the imprisoned Hal sees the woman’s shadowy ally, who he recognizes with a dramatic “YOU!”

In the meantime, Arrow and Canary get antsy with the Lantern’s long absence, and they decide to investigate on their own.  The Emerald Archer finds a strange jewel in the flower box, and he decides to investigate the florist from which he purchased the roses…which really seems like it would have been a good place to start in the beginning, what with the monsters jumping out of the rose box and all.  The dynamic dame drives them on her motorcycle, but when they reach the shop, a massive hand smashes Green Arrow’s face through a window, leaving Canary to face the new threat alone.

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She finds herself facing three massive women in Greco-Roman style armor, and they speak about destroying the man but not hurting their ‘sister.’  Think you know who these large ladies are?  Think again.  O’Neil has stranger plans!  No shrinking violet, Canary refuses to let these giant girls make a ghost out of Green Arrow, and when one of them moves to ‘chastise’ their wayward ‘sister,’ Dinah takes her out in a nice action sequence.  The leader of the women pleads with Canary to join them in their cause, the punishment of mankind, and she tells the fighting female their story.

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Fragile?  Delicate?  These are not words that I would use to describe Black Canary!

They are, in fact, Amazons, but not so fast!  They aren’t the Amazons you know…the Amazons that are already part of the DC Universe.  Instead, they are somehow a different set of Amazons, and O’Neil shows no awareness that DC already has that particular mythic group covered.  The tale they tell is that they were champions and defenders of mankind, along with the harpies and their powerful high priestess, but when their leader spurned the advances of a mighty sorcerer, he banished them all to a different dimension, from which they can only escape for short periods at a time with the help of jewels like that which Arrow discovered.  Speaking of the Emerald Archer, he finds the entire story dubious and refuses to believe in Amazons and the like, despite the fact that he was on a team with an Amazon for years!  There’s a Bob Haney-like disregard for continuity and context at play in this story!

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green lantern 082 017The Amazons promise to prove their claims by bringing the heroes to the Witch Queen, and in the interim, we check in with that very femme fatale, who is going over plans with a familiar figure.  Sinestro, the renegade Green Lantern, is her mysterious partner, and he is also apparently her brother, though I’m pretty sure this random sibling never appeared again.  The rogue ring-slinger had somehow discovered the dimension of Amazons “by chance” and used his sister to manipulate them, planning to have them help him trap and destroy his nemesis.  Being unable to locate Green Lantern, Sinestro decided that his friends were easy to find, so he planned to use them as bait.  They were easy to find?  Well, I suppose I would take more issue with that if Green Arrow wasn’t waltzing around Dinah’s suburban house in full costume.  I suppose he wouldn’t have been too hard to find at that!  To complete the trap, Sinestro gave his sister his power ring so she could pretend to have magic powers to throw Hal off-guard.  It’s…an odd plan, overly complicated and very random, not exactly Sinestro’s finest work.

Just as he’s finished his helpful exposition, Sinestro’s evil family reunion is interrupted by Green Arrow’s dramatic entrance.  As the villain rushes to retrieve his ring, the Emerald Archer draws his bow and lets fly an arrow, pinning the power ring to the wall in a really nice sequence.  Claiming he doesn’t need the ring to take on an Earthling, Sinestro charges the Battling Bowman, only to be met with an uppercut and laid low.

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When his sister tries her luck, Black Canary pitches in, and we get a really great moment.  Ollie thanks the blonde bombshell for saving his life twice that night, and her reply is wonderful, “I’d do it for anyone…astray cat, a politician–just anyone at all!”  O’Neil is getting a better handle on these characters, and their banter has become quite charming.  There’s a great, rather unusual (for 1971) quality to their relationship that is rather special.

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green lantern 082 027With Sinestro captured, Green Arrow tries to get him to return Hal, but the villain claims the Lantern is trapped in the dimensional prison, which only one man can inhabit at a time.  The Amazon leader, realizing they had been duped by a man, offers to lead Canary inside to rescue their friend, and despite Ollie’s protests, in she goes.  The dimension is a surreal, utterly alien place, and within Hal fears that the very strangeness of his surroundings might drive him mad.  He is scooped up by the harpies and is too stunned to use his ring.  The Emerald Crusader is brought to face the high priestess, who is revealed to be Medusa, and her snakeish-hair snares the hero.  She looks suitably frightening in Adams’ pencils, though the strange dimension she inhabits doesn’t quite get enough attention to be effective.  Just before Green Lantern is crushed by her serpentine hair from hell, Black Canary arrives, and she and the Amazon manage to persuade Medusa to release him, arguing that unjustly slaying a man would stain their honor forever.  With the Amazon’s aid, Hal is able to return them to the real world, where they are reunited with a still skeptical Green Arrow who has certainly never traveled to other dimensions or seen other craziness as part of the Justice League and thus has every right to scoff.

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This is a weird issue.  It’s a fun read, but the treatment of all of its different elements just feels very half-hearted.  There’s an imaginative energy here that is interesting, but it’s put to poor use.  Basically any one of the concepts that O’Neil tosses out in this tale could provide the fodder for a solid plot, but with all of them falling all over one another and competing for narrative space, the result is a mess of half-baked ideas.  We’ve got open contradictions to pretty basic DC continuity in the presence of these ersatz Amazons, who themselves have a really poorly defined ethos.  They hate all men because ONE guy betrayed them?  That seems a bit much.  At least the regular DC Amazons have a pretty legitimate beef with mankind, what with all the murder and mayhem to which they’ve been subject.  The idea of creatures of myth having been locked away is an intriguing one, and it has been given much more thorough development in other instances.  In this case, the whole setup is just far too vague to really work.  All of these elements could really have benefited from stretching the story out over two issues.

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We also have a very uninspiring return of a classic villain, the only actual supervillain we’ve seen in all of O’Neil’s issues so far.  It’s something of a disappointing showing for Hal’s greatest enemy, with his rather ridiculous plan and Ollie dropping him with one punch.  What exactly was the point of having the harpies attack Arrow and Canary?  Just to make them call in the Lantern?  That seems like a lot of trouble to go to for a fairly simple goal.  All of that being said, this issue does have some strengths.  Obviously, Adams’ art is beautiful and dynamic, as usual, but he is really firing on all cylinders with this issue.  I think the more fantastical elements of this tale really brought out his best.  O’Neil, for his part, is doing a much better job with characterization at this point.  Ollie is quite charming rather than being insufferable, Hal is hardly doing any naval-gazing at all, and Dinah is growing into the no-nonsense firebrand that she’s meant to be.  These qualities help rescue the issue from being a complete failure, and I’ll give the confused muddle of half-baked but fun ideas 2 Minutemen.

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That will do it for this batch of books.  I hope you enjoyed the read!  Please join me again soon (I promise!) for the next set of books in March 1971, as we travel further Into the Bronze Age!  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

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

arrowheadglheadAquamanhead.jpgAquamanhead.jpgAquamanhead.jpgbatman-family-6-cover.jpg2f52ff2370b3a87769869427faeac69darrowhead

I can’t believe this, but I actually missed Green Arrow’s second appearance on the Headcount this month!  That sock to the skull definitely counts, and he joins the august company once more, giving us our only addition so far this month!

Into the Bronze Age: February 1971 (Part 4-Special Edition!)

DC-Style-Guide-1

Welcome to another stop on my journey Into the Bronze Age!  In today’s post, I’ve got something special for you!   The next book in the Roll Call is JLA #87, which has a rather unique origin and merits a slightly different approach.  It’s actually an interesting footnote in comic book history, one half of an unofficial crossover between DC and Marvel’s two top teams, the JLA and the Avengers!  In honor of this unprecedented event, I’ve decided to do a special post.  I’m going to put off covering the next few DC comics for a little while and cover both halves of this ‘crossover,’ as well as provide a little background about the event and the characters it created.  That’s right, for the first time in my Bronze Age feature, I’m going to cover a Marvel comic!

So, how did we end up with a quasi-crossover several decades before the official JLA/Avengers crossover event?  Back in 1969, rascally Roy Thomas of Marvel fame and the dynamic Denny O’Neil were friends, and they were each writing their companies’ respective big super-teams.  They decided to do an unofficial crossover, creating pastiche characters in each of their magazines.  The product of Roy’s efforts were the Squadron Sinister (Avengers #70), which would later spawn the Squadron Supreme and go on to become an enduring part of the Marvel Universe.  O’Neil seems to have chickened out a bit (JLA #75), producing only evil doppelgangers of the League, but a few years later Thomas tried again with Mike Friedrich.  The results were this month’s JLA story and Avengers #85 and #86.  There’s a little feature on this ‘crossover’ here that provided some background for this post.

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #87


JLA_v.1_87“Batman – King of the World”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

That’s a great cover by Neal Adams.  It’s in the hackneyed ‘hero acting out of character’ tradition, but it is still quite striking and beautifully rendered.  What lies inside is a red letter issue, featuring the creation of characters of very limited impact in the DC Universe but who are of significance in comic book history at large, the Champions of Angor!  I can already hear you asking, ‘who?’  That’s because these guys are pretty obscure.  In fact, they’re so obscure that I didn’t even include them in DCUG, which has almost every DC character you could imagine.  Nonetheless, the impetus for their creation as quixotic counterparts of Marvel’s premiere super-team, the Avengers, is actually really interesting.

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While both Avengers issues are classics and the characters introduced therein found a life of their own, this book is not quite so fortunate.  It’s a really fun read, but the Champions themselves are pretty forgettable and play only a minor role in the story.  It begins, not with the ersatz Avengers, but with Batman and Hawkman in battle with some unseen foe.  The Dark Knight is already down, but in a nice show of his fortitude and courage, the Winged Wonder, though badly battered, makes a final charge, only to be blasted by a beam of energy.  We then see a towering robotic figure, which has a pretty nice design, much better than the boxy robots from #84, looking a bit like one of Dr. Who’s Cybermen.  The mechanical man ponders Hawkman’s signal device and decides to trigger it in order to draw his fellow Leaguers…to their doom!

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Next we check in with Superman, who is apparently still mopey from his pity-party in the Flash’s book this month, and he thinks about how he’s alone on Earth.  To cheer himself up, he goes to seek out his fellow Leaguers, the only folks with which he can really identify.  I actually like that element of this scene, even if it is a bit overly emotional.  Heading to the satellite, he encounters Zatanna, who is given an oddly intense description by Friedrich and an awkward close-up by Dillin.  She’s called “The girl with the enigmatic smile and the dancing eyes,” and “the bearer of peace.”  It’s a bit…weird.  She apparently calms the Man of Steel with her mere presence and explains that today is the anniversary of the League’s rescue of her lost father, so she came to celebrate.  As it turns out, she arrived just in time to answer Hawkman’s distress call from South America.

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Apparently close-ups are not too flattering for the mistress of magic…

JusticeLeague087-05Superman, Zatanna, Flash, and the Atom arrive to discover Batman and Hawkman apparently just palling around with a giant, laser-spewing robot.  Nothing to see here!  Strangely, the Dark Knight acts like his fellow Leaguers are crazy, denying that they need any help.  In a funny bit, the Atom asks, with palpable snark, “What about the mysterious robot–doesn’t it strike you as a wee bit strange?”  That guy is six inches of sass!  The Masked Manhunter replies that, as Bruce Wayne, he was funding an archeological dig for Carter Hall’s museum when they unearthed the robot, and after it was awakened by the sun, it obeyed his orders.  This contains a fun idea, that Bruce would chip in to help his fellow Leaguers in their secret identities.  There’s some story and characterization potential there.

Well, needless to say, the team is a tad suspicious, and when Green Lantern’s arrival elicits an irrational outburst from Batman, they suddenly find themselves facing the menacing machine, apparently under his orders!  The metal monster targets Zatanna first, doing the classic robot bit of talking out all of its thought-processes and actions, revealing that it considers her the greatest threat.  The bot disables her with a power blast, and the Flash begins to blitz it while the Atom attempts to shrink inside its head.  Both heroes are repulsed by a force field and KOed.

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Superman and Green Lantern attack, but they can make no headway.  Analyzing the Emerald Crusader, the machine turns itself yellow, and apparently Hal lacks the creativity to, I don’t know, use his ring to throw rocks at it or something.  The android antagonist zaps Hal, leaving only a Man of Steel vs. a metal man, but even the mightiest Leaguer of all falls before the villainous machine.  This is actually an interesting moment, because Superman gets taken out, not by magic and not by kryptonite, but by more direct methods.  What makes this notable is that this is the first time we’ve seen such a portrayal in the post-kryptonite world.  It looks like O’Neil’s elimination of the emerald element is already starting to bear fruit, as you have to imagine that, if this story had been told a few months before, this android would surely have been armed with a kryptonite beam or the like.  O’Neil’s innovation is already leading to better storytelling.

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Back to the story, we discover that the robot was controlling Batman’s mind to throw the League off, and in order to keep him under control, it plays along with his growing power delusions, pretending to offer the defeated Leaguers to Batman as its ‘master,’ and thus recreating the cover.  This seems…overly elaborate and unnecessary, as the bot can’t possibly think the normal guy in the bat costume is much of a threat to it.  Nonetheless, we get a shock when the robot declares that the Justice League members are…dead!

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JusticeLeague087-17Of course, that can’t really be the case, and we see, one by one, that they are really alive.  It starts with GL and the Atom, as the Emerald Gladiator uses his ring to trace the robot’s transmissions home, wherever that is.  The Atom shrinks to subatomic size and catches a ride on the ring’s beam, following those transmissions to their origin in order to shut the machine down at its source.  That’s a pretty clever move, and it’s successful, as the android freezes just as it was about to destroy a native village in its search for minerals.

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The rest of the League look down on the battlefield, and we see that the Lantern created duplicates of them to trick the rampaging robot into thinking they were dead.  Weirdly, Friedrich describes these as androids, which doesn’t really seem to fit for the power ring, but it’s a minor point.  Superman heads off to get Batman and Hawkman to a hospital, and the remaining team members travel with the Emerald Knight to meet up with the Atom on the alien world from which their android antagonist originated.

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When they arrive, they discover nothing but ruins and a newly destroyed machine, courtesy of the Mighty Mite.  The planet seems to have been “shattered by nuclear warfare” ages ago, and just as the heroes are contemplating whether their enemies might still be around someplace, a quartet of strange looking super beings arrive.  These, at last, are the Champions of Angor, heroes from an alien world!  They include Jack B. Quick, a speedster who can fly for short periods, Blue Jay, a man with the power to shrink and gain wings, the Silver Sorceress, who has “hex powers” and a costume without even a hint of silver on it, and Wandjina, an Australian storm god armed with a powerful mystic weapon.  My, do these guys seem familiar or what?  Their parallels are pretty clear.  They’re obvious stand-ins for Quicksilver, Ant-Man/Yellow Jacket, the Scarlet Witch, and Thor.  Sadly, unlike their Squadron counterparts at Marvel, they aren’t terribly electrifying.

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Their designs are pretty awful, though a few of them (Blue Jay and Silver Sorceress) have some potential.  What the heck is going on with Wandjina’s weird little hairy epaulets?  Also, his name is pretty terrible.  There are literally hundreds of storm gods to choose from.  Why in the world did Friedrich pick one with such a goofy name?  Personally, I’d have gone with somebody like the Babylonian god Marduk.  He’s got a cool name, a good backstory, and provides some cool design possibilities.  Anyway, I think both their lackluster role in this story and their pretty weak designs help to explain why this foursome never amounted to much in the DCU.  It’s a shame, because I love the idea of the JLA having a surrogate set of Avengers to wail on from time to time.

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JusticeLeague087-20Back to our tale, the audience is let in on what neither group of heroes knows and is provided with the backstory of the planet.  Apparently it was run by competing mega-corporations, like some alien version of the Space Merchants, and they seeded the galaxy with robotic servants, each programed to harvest resources and send them home to their owners.  These interstellar companies eventually wiped each other out in an atomic war, but their mechanical servants remained.  Just as the League battled one on Earth, the Champions battled one on Angor, and they both tracked the robots’ signals back to this planet.  In classic ‘Marvel Misunderstanding‘ fashion, the two groups of heroes misinterpret each other’s motives and begin to fight pretty much immediately.  In a fun little touch, Friedrich includes a literal ‘literary license’ enabling him to translate the alien language.

The fight itself is really brief, effectively just one double-page spread, which is quite disappointing if you’ve heard about this issue and looked forward to reading it for the sake of this moment.  It is a cool spread, with each hero squaring off against their opposite number, though it is weakened by some heavy-handed narration about the madness of war.  We get it Mike, ‘war, what is it good for?’  I’m really rather sad that we, for some reason, get GL here instead of Superman because it would have been great to see the Man of Steel vs. the God of Thunder.  That’s really a missed opportunity.  I suppose it isn’t the only one in this issue.

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During the conflict, Jack B. Quick hurls some rocks at the Scarlet Speedster, who in turn, sends them flying back at his opponent, but one of them actually strikes Blue Jay, nearly killing him!  Zatanna immediately stops fighting and calls the Lantern over to help.  They heal the injured size-changer, and, in the usual fashion, this act of selfless heroism convinces the other side that they must have been mistaken about their opponents.  With the help of a ring translation, the gathered heroes share their stories and make friends, and the story ends with another really weird focus on Zatanna, as all the Leaguers give her a super-awkward looking group hug and the heavy-handed narration continues.

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This issue is just jam-packed full of plot.  There are at least two or three issues’ worth of story here, and I’m not even talking about the modern ‘decompressed’ methods of storytelling.  Once again, Friedrich’s narrative eyes are bigger than his stomach, as he just fills this comic with ideas that are all fighting to have enough space.  The result is a riotous and creative book that feels very rushed.  You’ve got the initial robot menace, the adventure to the alien world, the discovery of the backstory of the space merchants, and the fight with the Champions, any of which could easily have filled an issue.  Trying to pack it all in means only the first idea really got explored, and even that one ended very abruptly.  Of course, the biggest flaw of the book is , in some senses, the disappointing appearance of the Champions of Angor.  They’re barely in the story for six pages, and their big battle is over in two.  The concept of an Avengers analog is a promising one, but sadly, these guys don’t quite live up to their potential.

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Awkward moments courtesy of Mike “Touchy-Feely” Friedrich.

Despite its crowded plot and less than inspiring new characters, this is still a fun book to read.  There’s no question that this is better than last issue, even with its flaws.  While the ideas in this comic may be crammed together and largely unexplored, they are interesting.  We’ve once again got an impersonal, greedy corporate entity as our villains, which seems to be becoming a more common device and certainly feels fitting for the modern day.  You’ve also got a bit of an anti-war message here, but it’s so incongruous and so easily lost amongst the hustle-and-bustle of the more interesting elements of the story that it doesn’t amount to much.  It’s also more than a little strange that, despite her prominent role in this story, Zatanna didn’t join the League here.  That feels like another missed opportunity.  Dillin’s art is pretty strong, and that seemingly characteristic stiffness from his JLA work isn’t really in evidence here.  His design for the robot is quite good, but obviously his designs for the Champions aren’t so fortunate.  I suppose that, over all, I’ll give this fun but flawed issue 3.5 Minutemen, largely on the strength of the first episode and the intriguing ideas in evidence.

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Avengers #85


Avengers_Vol_1_85“The World Is Not for Burning!”
Writer: Roy Thomas
Penciler: John Buscema
Inker: Frank Giacoia
Letterer: Mike Stevens
Editor: Stan Lee

You can see what else Marvel put out this month HERE.

Some years back I read through The Avengers up through the early 80s, and I really loved the experience.  Perhaps if I live to be 150 I’ll have time one day to go back and read through all of Marvel like I’m doing with DC.  Either way, I love the Avengers as a team and a concept, and their comic is one of my all-time favorites.  Those early Avengers years in the Silver and Bronze Ages produced some truly great comics, and they are a blast to read.  As I’ve discussed before, while the characters who make up the JLA have a special place in my heart, I can’t deny that, on the whole, the classic stories of Marvel’s main team beat those of DC all hollow.  Here at the beginning of the Bronze Age, we’re in a great time for the Avengers, featuring some of my favorite stories from this series.

This particular issue begins with our star tossed heroes, Thor, Black Panther, Black Knight, Scarlet Witch, Vision, Quicksilver, and Goliath (the Clint Barton variety, a concept I never cared for), as they prepare to journey via Mjolnir.  They are returning home from the extra-dimensional tyrant Arkon’s world, where they just concluded the previous issue’s adventure.  Thor hurls his enchanted hammer about, ordering it to take them all back where they came from, but only three of their number arrive at their respective homes.  Goliath, Quicksilver, Scarlet Witch, and the Vision don’t appear with the others, but Thor and the Panther don’t have time to investigate, as they are due to join Cap and Spidey at a Toys for Tots charity event, which is a nice little bit of detail.  It does seem like the matter of missing heroes might take precedence, but far be it for me to advocate disappointing disadvantaged kids!

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The missing Avengers find themselves only partially materializing, left in a wraith-like state on a world that is dying!  All about them, human beings burn horribly and the very streets melt under the fire of a raging sun.  Unable to do anything more than watch, they feel helpless.  Quicksilver, spying a paper, realizes that the date indicates that they’ve been gone for weeks rather than hours!  In an attempt to do something, Wanda uses her hex powers, and suddenly they find themselves solid and on a peaceful street corner on the right date.  Yet, there are subtle hints that all is not as it seems, as people don’t seem to recognize the team.

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When they arrive at Avengers’ Mansion, it too seems subtly different, and inside they accidentally trigger a trap before they are confronted by a strangely garbed figure who tells them that this is his team’s home!  This is Nighthawk, who the team had encountered months ago as part of the Squadron Sinister, yet he seems not to know them.  After an ill-fated attack on the diamond-hard Vision, Nighthawk employs the better part of valor and escapes through a secret door.  The Vision slips through and opens it, and the team pursues the mysterious masked man.

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Inside what should be their meeting room, they discover four new figures: Lady Lark, American Eagle, Tom Thumb, and…Hawkeye?  Well, neither pastiche team arrived fully formed, it seems.  This quartet are obvious parallels to Black Canary, Hawkman, the Atom, and Green Arrow, though, oddly, American Eagle seems more like a cross between Captain America and the Winged Wonder, as he’s an uber patriotic, flag-waver type, who immediately assumes the Avengers are commies!

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In classic Marvel fashion, the teams immediately come to blows when Goliath tries to get some answers out of Nighthawk in his usual hot-headed fashion, dangling the guy out a window.  Suddenly, a message comes over the view-screen, where Dr. Spectrum (Green Lantern) tells his team that the solar rocket ‘Brain-Child One’ is ready for launch, and he calls them the “Squadron Supreme.”  The Vision realizes that his team must have witnessed a glimpse of the future of this world and tries to explain, only for Tom Thumb to blind Goliath as the giant laughs at his diminutive stature (real sensitive there, Clint).  Interestingly, instead of having shrinking powers like the Atom, Tom Thumb is just a little person and inventor, making for a very unusual parallel.

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The teams leap into action, with Tom Thumb disabling Quicksilver with an adhesive that coats the speedster, Lady Lark disabling the Witch with a sonic cry, Hawkeye hitting the Vision with an explosive bolt, and American Eagle decking Goliath.  It seems like things are going badly for the Assemblers until Clint’s destroys Tom Thumb’s flying platform and the Vision recovers to take out Eagle and Nighthawk.

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Inside, Quicksilver shakes off his sticky prison and hits pseudo-Hawkeye like a cannonball, while the Witch turns the tables on Lady Lark, zapping her with a hex-sphere.  With the Squadron captured, the Avengers realize that they are going to need these strange heroes’ help if they are to save their world.  They take the reviving Nighthawk, commander a ship, and head to the launch site, explaining the problem in transit.  Fortunately, the nocturnal avenger (Freedom Force joke!) believes them, because without his help, they’d have to defeat the three strongest members of the Squadron!

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This comic is a blast to read.  It feels well-paced, and the plot has plenty of room to breathe, unlike it’s distinguished counterpart.  It is overwritten in the classic Marvel tradition, with dialog just everywhere.  Roy Thomas was always great at writing adventure stories, even if he followed in Stan’s footsteps by being very verbose, and this was no exception.  Notably, in contrast to the DC book, where the pastiche team received only a few pages, this entire issue revolves around the Squadron Supreme, first as mystery and then as antagonist.  They are given a great deal more space, and the fight between the two teams takes up roughly seven pages in this book, more than doubling the space devoted to the encounter in JLA.  Of course, they also feature in the next issue as well, where the other part of the Squadron gets as much room to shine as the Avengers themselves.  It’s no wonder that their appearance here proved much more memorable than the Champions’ over in DC.

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Of course, it’s hard to get much better than John Buscema art in the Bronze Age.  The man was a master, and there’s a reason that his run on this book is legendary.  As for the Squadron members themselves, their designs are, on the whole, stronger than those of their counterparts, but there are still some definite exceptions.  The new Hawkeye’s design is rather incoherent though his hood is neat, and American Eagle’s wings and helmet can end up looking rather goofy.  Lady Lark, Nighthawk, and Tom Thumb, however, benefit from solid, distinctive designs.  All of these characters would evolve in future appearances, but it’s notable how little those three changed.  From their very first appearance as villains ten issues ago, the original four members of the team had a pretty solid look and concept.  I’ll give this half of the adventure 4.5 Minutemen, an enjoyable adventure with some grand stakes and some interesting new characters.

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Avengers #86


Avengers_Vol_1_86“Brain-Child to the Dark Tower Came…!”
Writer: Roy Thomas and Len Wein
Penciler: Sal Buscema
Inker:Jim Mooney
Letterer: Shelly Leferman

You can see what else Marvel put out this month HERE.

The second half of this two-parter opens with the gathered heroes rushing to confront the remaining there Squadron members guarding the rocket as it prepares for lift-off.  For reasons of plot, Nighthawk must stay with the ship to shut it down, so the Avengers hurry to stop the launch, only to get into a brief fight with the Squadron members.  Fortunately, Wanda manages to hit the rocket with a hex sphere, which also has the power of plot, and stops the launch.  Just then, Nighthawk arrives and straightens everything out.  In a funny touch, Goliath notes that it’s nice to meet superheroes that they don’t end up fighting and observes that it is a rare occurrence for the team.  That’s a fun bit of self-awareness, and, just as the DC booked aimed at being a bit Marvel-ish, it seems that this one aims to be a bit DC-ish.

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Poor Pietro, perpetually in over his head…

After the Avengers tell their story, the Squadron members explain the rocket’s origins, and the mystery begins to unravel.  It seems that a decade ago a very unusual child was born, a son of two parents who had been exposed to great amounts of radiation who was born with an incredible intellect.  The child prodigy to put all others to shame, he was a brilliant scientist by the tender age of four!

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In an effort to increase his intelligence even further, young Arnold Sutton experimented on himself, giving him the most advanced mind on the planet, but making him a deformed freak.  His work was respected, but he was still ostracized and abused.  He became a top rocket scientist for the U.S., but eventually moved to a deserted island in order to be free of humanity.  It becomes clear that this brilliant mind is still the mind of a child, and it has decided to lash out at those who hurt it.  Thus, the rocket supposedly meant for exploration is actually a doomsday device.

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Back on the Avengers’ Earth, the remaining team-members try to bring their missing mates home, but without success.  Unaware of this, the lost heroes soldier on, teaming up with the present Squadron members to pay the young ‘Brain-Child’ a visit.  When they arrive on his island, they are met with powerful advanced defenses, confirming their suspicions.  In another DC touch, the heroes split up into teams and each try to break into the uncanny kid’s fortress from four different directions.  The speedsters take the first crack at him, naturally, but they get caught in a storm of flying rocks and must whip up their own super-speed cyclone to counter it.

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Meanwhile, Nighthawk and the Scarlet Witch encounter a massively muscled guardian who makes short work of the psuedo-caped crusader.  It also hypnotizes poor Wanda before she can hurl a hex sphere.  On the third front, Dr. Spectrum and the Vision encounter a weird, Lovecraftian creature that manages to counter both their powers and overwhelm them.

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The final team of Goliath and Hyperion (it seems like not teaming Hawkeye and Hawkeye is a bit of a missed opportunity!) attempt to sneak up on the genocidal grade-schooler, only for him to reveal that he has mental powers as well as great intelligence!  Brain-Child manages to take out the mighty Hyperion, who, in a fun touch, is called a ‘man of brawn.’  But, though stunned, Goliath is still fighting, and he employs his ex-identity’s expertise to turn Hyperion’s tough form into an improvised missile!

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The weakened Brain-Child collapses, and all of his traps, even his entire fortress, disappear as he loses consciousness.  The strain apparently snaps his mind back to its proper child-like state, and Dr. Spectrum uses his power prism to turn him into a normal boy.  The Squadron promises to take care of him and give him a normal life, and just then, the Avengers begin to fade out!  They arrive back home, their fellows finally having succeeded, and the story ends on a surprisingly sombre note, as the Vision ponders whether they can ever know if they are truly…home!

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I strongly suspect that this classic issue provided the inspiration for an excellent episode of the Justice League show featuring an ersatz JSA.  That episode featured a very similar antagonist.  The plot was admittedly quite different, but it did center around a post-apocalyptic world.  If true, that’s a fascinating line of descent, from JLA pastiche in the Avengers to JSA pastiche in a JLA show.  How neat!

As for the comic itself, it is another really entertaining story, and it is great fun to see the Avengers actually team up with their heroic counterparts from the ersatz-League.  It makes for a fitting end of the saga, and Brain-Child is a sympathetic and intriguing antagonist.  Thomas manages to tell his story with admiral brevity, yet still manages to make you feel for the little guy, creepy though he is.  There’s enough tragedy with this character to fit the high tone of the comic and make him compelling.  The ending is great, exactly what comics are all about, providing a hopeful resolution to the issue’s problem.  The little DC-esq touches to plot are also really fun for readers ‘in the know,’ as is the hint of self-awareness from Goliath.

In a fascinating and unusual display of erudition, this story references Robert Browning’s poem, “Childe Roland to the Dark Tower Came” with both its title and the comments of one of its characters.  This is a delightfully fitting reference, as Browning’s poem paints a scene of Gothic desolation as its knightly hero trudges slowly and painfully through a wasteland that the poet describes in detail.  Notably, it seems that at least some of the ugliness of his surroundings are a matter of the knight’s perspective, as he sees through jaundiced eyes and with the vision of despair.  Brain-Child experiences just such a vision of the world, but unlike Childe Roland, who perseveres to his ambiguous fate at the Dark Tower, the brilliant boy gives in to despair and decides to drown the whole world in fire, himself included.  The reference is a really neat addition to the story.

Once again, the art is superb, and Brain-Child is suitably disturbing.  I’ll give this issue 4.5 Minutemen as well.  It loses a little credit for the silly bit with Nighthawk in the beginning.

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Reading these stories in context is just fascinating.  They really highlight the different approaches to story-telling current at the two companies, as well as just being interesting as a piece of comic lore.  In comparison with the counterpart Avengers stories of this unofficial crossover, the weaknesses of the JLA tale are particularly telling.  The Avengers yarns are simply significantly better than the JLA version, and I once again find myself wondering just how the Justice League book survived with Marvel routinely kicking its backside every month in this era.

The Marvel books are just full of characterization and personality.  It’s on display in nearly every panel, overwrought, but present nonetheless.  In fact, even the brand new characters of the Squadron already begin to develop distinct personalities in the few pages allotted to them.  Compare that to the JLA issue, where only Superman really gets any characterization.  The scripting of the Avengers books is also a good deal more balanced, even if Thomas is more than a little purple in his prose.  The Marvel books are, as one might imagine, more character driven, while the DC title is much more idea driven.  In fact, one of the best traits of the JLA as a concept is on display in this issue, and that’s a tendency to engage big ideas.  Of course, those don’t get much attention, but they are present, nonetheless.  Interestingly, the DC book is really the more socially conscious, with its half-hearted anti-war message and its more memorable menacing corporate apocalypse.

The fates of these two groups of characters is quite interesting and illustrative.  It’s really impressive how quickly and completely the Squadron became fixtures of the Marvel Universe, even eventually starring in their own incredible and sophisticated maxi-series.  Meanwhile, it took around two decades for anyone at DC to do anything with the Champions of Angor, and even then their return is pretty obscure (Silver Sorceress and Blue Jay joined the JLI).  I can’t help but think that their respective fates reveal the quality of each group of characters, as well as the chance they had to make an impression on fans in their original appearances.  The DC team definitely seems like a matter of wasted potential, which makes one wonder, what might have been?

Until next time, I, like the Vision, will be pondering whether I’ve somehow ended up in an alternate reality ever-so-close to my own.  It would explain quite a bit.  Whatever universe we’re in, keep the heroic ideal alive, and be sure to join me again soon for another step on our journey, Into the Bronze Age!

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Into the Bronze Age: December 1970 (Part 4)

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Welcome readers, to another edition of Into the Bronze Age!  It’s a beautiful day here at Grey Manor, a perfect day for discussing some Bronze Age books, wouldn’t you say?  Today we’ve got a trio of books as diverse in quality as they are in content.  Care to check them out?  Then join me, as we travel further up and further in!

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

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

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

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


Green Lantern/Green Arrow #81


green_lantern_vol_2_81“Death Be My Destiny!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Editor: Julius Schwartz

Well, we’ve got another issue of O’Neil’s desperately socially conscious comic, and this one also takes the action off-world, though the effect is perhaps slightly more potent than that of the last issue, given the more relatable problem the cast faces.  Unlike the previous issue, with its mad judge and distinctly sci-fi setting, which was not instantly recognizable as tackling current social problems, this comic deals with the question of overpopulation, which was in the zeitgeist in 1970.  Interestingly, I thought for sure that this book had been born out of a trip to the movies by O’Neil.  I was sure that he must have been prompted to write this story by seeing Soylent Green.  Imagine my surprise when I realized that science fiction classic wouldn’t be released until 1973!  However, that famous film was actually based on a 1966 novel, entitled Make Room! Make Room!  It seems likely to me that O’Neil had either read that book or encountered its influence on the culture.

At any rate, the story itself is an odd one.  Despite the last issue having ended with the Hard Traveling Heroes having headed back to Earth, we pick up with the second trial of the rogue Guardian, this time by his fellows on Oa.  The Green Team, plus Black Canary, are there to serve as witnesses for the accused, but they argue like folks in a modern political debate, insisting entirely on their own point of view and making no effort to accommodate that of their audience in their argument.  Surprisingly, the Guardians aren’t swayed, but the real surprise is that we don’t get any pontificating from Ollie during the trial.  Despite the efforts of the heroes, judgement is passed: the rogue Guardian is stripped of his powers and immortality, and he is sentenced to live out the rest of his days on Maltus, the original home of his race.

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The obvious reference to Uncle Sam is…odd.

green-lantern-081-005The heroes ask to accompany him to his place of exile, and Hal takes the opportunity to announce that he’s not sure he wants to serve the Guardians anymore.  It is actually a pretty decent moment in the context of the arc he’s been traveling over the course of the series, as he displays a semi-mature sense of morality, evincing the ability to think beyond ‘authority=good.’  Having spoken their piece, the quartet depart in a truly beautiful full-page spread.  It really captures the majesty of the characters and setting, a quality of which this run takes too little advantage.  Whatever you can say about the writing on these books, the art remains flat-out gorgeous and innovative.  I just wish Adams were given more opportunities like this one.

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Unfortunately, when they arrive on Maltus, they find it disastrously overpopulated, absolutely teeming with life, and the Guardian notes that it was fine when they last checked on it, an eon ago.  This series really makes it seem like the Guardians are super bad at their jobs.  When the heroes land, they are immediately attacked by desperate citizens and forced to take to the skies again.

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In order to discover what happened, Green Lantern simply plucks an entire vault of archives out of a building, and the others investigate.  In the records they find a strange story.  Apparently the planet traveled through a bizarre cloud of cosmic dust which made the population sterile.  In order to save the race, a scientist named Mother Juna took samples from the Maltusans in order to create clones, even endowing them with false memories so that they were indistinguishable from natural born citizens.

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However, she didn’t stop when the population was restored.  Even worse, the effects of the dust cloud eventually wore off, and the resulting population explosion strained the planet to the breaking point.  Having solved the mystery, the cosmic quartet set out to see the effects of this situation for themselves, and Adams provides us with a striking two-page spread that captures the desperation of the Maltusan plight.

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Determined to do what they can to help matters, the heroes travel to Mother Juna’s citadel which just happens to be, in classic Green Lantern plot-device-style, entirely yellow.  The Emerald Crusader prepares to dig under the dome, and his vermilion partner sets out to distract the crowd in order to buy him time.  With Black Canary acting as his assistant, he puts on a dazzling display of arrow acrobatics.  In a funny and fitting little touch, O’Neil describes Ollie’s qualifications for the job as “unerring aim” and “a natural sense of theater.”  That works.  Green Arrow is definitely a bit of a ham.

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With the tunnel finished, the heroes rush inside, only to be greeted by a giant golden guardian.  It sure is fortunate for Mother Juna that she happens to like the color yellow!  For some reason, Hal decides to try and duke it out with this behemoth rather than, I don’t know, let the guy with the explosive arrows handle it.  Even more ridiculous is the fact that Ollie follows suit, temporarily forgetting that he’s got a bow.  He offers some silly explanation about trying to ‘play fair with them,’ which is something that hasn’t bothered him during the rest of his superhero career and so seems a bit strange showing up now.  Black Canary cleans up after the boys, however, saving the day with a judo throw.

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The crew are confronted by Mother Juna herself, along with a duo of golden guardians.  The quartet flees into her facility and the Green Team suddenly remember their abilities and take the two gargantuan guys out, while the bird lady sings a swan-song for Mother dearest.  Before they can do anything else, the maddened crowds from outside bust in and begin to wreck the joint.

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Hal helps the heroes get Mother Juna outside, where she confesses that she kept up her clone creation because she remained sterile from the cosmic dust and she “was always taught that a woman was nothing if she wasn’t a mother”.  There’s some women’s lib commentary there, but it’s shoe-horned into the end of this issue, so it doesn’t really work very well.  Black Canary is super moved by this, despite the fact that this nutjob may have doomed her world.

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Finally, the Guardian chooses to spend his remaining days on Maltus, trying to do some good and hoping that his finite time will spur him to greater efforts.  The heroes bid him farewell and head back to Earth, where Dinah has some appropriately vague moral about love to append to the adventure.

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Society was unjust to you?  Man, that stinks…but maybe you shouldn’t try to destroy the entire planet? Maybe?

This issue is an interesting one, but it isn’t completely successful.  The problem with this story is that the overpopulation of Maltus is entirely the fault of one madwoman, not the fault of its people.  The folks of that world did nothing wrong.  The depredations of overpopulation are not a result of their greed, their shortsightedness, or their ambition.  It’s the result of a race-saving measure gone horribly wrong.  Thus, once again, the parallels that can easily be drawn to our own little orb are not as clear as they might be.

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Of course, plot wise, the central focus of the problem in one character allows the heroes the chance to solve it, which they obviously couldn’t have done if it were an organically overpopulated world.  It, like the last issue, is an example of theme sacrificed for plot, which is an understandable trade-off, and one that works to the advantage of the story itself, which is a reasonably enjoyable adventure.  On the positive side, O’Neil seems to be getting into a better rhythm with his characterization.  No-one is insufferable or even really annoying in this issue.  In fact, Ollie is down-right charming, what with his arrow tricks and his wry sense of humor.  I wonder if that’s actually a sign of improvement or just a fluke.  I don’t’ remember this run well enough to say for sure.  Anyway, I’ll give this particular outing 3.5 Minutemen, seeing as it is a bit uneven.

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Justice League of America #86


jla_v-1_86“Earth’s Final Hour!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams
Story Consultant: Dennis O’Neil

I was pretty excited about the beginning of Mike Friedrich’s run on JLA, having heard good things about it, but after having read the first issue…that is no longer the case.  His is a strange story; in many ways, it feels like one of those gonzo 60s JLA tales that didn’t bother with trivial matters like logical consistency or verisimilitude, complete with a rather lame villain.  On the plus side, we get the return of Aquaman to the team he helped found for the first time in ten issues.  That’s cause for celebration, seeing as Denny O’Neil seemed to have forgotten that the Sea King was actually part of the team.

In fact, this disjointed adventure actually begins with Aquaman, as the Marine Marvel receives word in Atlantis that strange machines are stripping the plankton from the oceans.  Obviously, plankton is the foundation of the food-chain in the sea, and Arthur realizes that without it, Atlantis will starve and eventually Earth will die.  Of course, plankton is also a huge part of the oxygen supply of our world, which doesn’t get a mention in this story.  That’s actually the bigger threat, as losing plankton would mean we’d lose at least half of our oxygen production.  At any rate, the Aquatic Ace heads out to put a stop to these shenanigans, and he performs rather poorly, being taken out by some rocks in a less than impressive two-page spread.  He does manage to press his JLA signal device, though.

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justice-league-of-america-v1-086-04We then meet the culprit and get a one-page bio on him.  That’s right, it’s gay Tony Stark.  Tony decided to moonlight at DC, and developed a fabulous fashion sense while he was at it.  This is our villain.  This guy.  He’s…somewhat less than intimidating.  Obviously, not everyone can be Darkseid, but this guy isn’t even Brainstorm.  Apparently he’s a rogue tycoon who stole a memory altering device and used it to steal his way to power and wealth.  Then, the story takes a hard left turn, as he’s visited by very Silver Age-looking aliens who come from a world organized by magical principles as opposed to the scientific principles of Earth.  Also, for some reason, that magic creates pollution, and they’ve killed off all of their plankton.  Wait, what?  It’s…odd.  It really doesn’t quite fit together, both the magic and the pollution angles.  Pick one outlandish concept at a time, Friedrich!  Well, being an immoral little slimeball, our businessman, Theo Zappa, called, “The Zapper,” in a nickname almost as lame as he is, steals the visiting magic alien’s wand, because, of course he does.  ‘The Zapper’ decides to use his newfound power to steal all of Earth’s plankton and take over both Earth and the alien world.

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justice-league-of-america-v1-086-09Opposing his ridiculous plan is the JLA.  They find Aquaman and take stock, realizing that the theft of the plankton (which, by the way, is an event of absolutely ludicrously staggering scale, as the oceans are, surprisingly, quite big, after all) will cause a global catastrophe, and the Sea King actually takes charge, dividing the League’s assets up and giving them assignments.  That’s a fun moment, and about the only bright spot Aquaman gets in this issue.  The team divides up in classic fashion, with pairs of Leaguers pursuing different goals.

In one of the features of this issue that I actually quite enjoyed, each pair of heroes gets a little title at the head of their adventures, featuring both of their names.  Superman and Aquaman head under the sea to try and track down the plankton stealing machines which, somehow, are already done.  Yep, they’ve stripped ALL THE OCEANS ON EARTH of all of their plankton.  They encounter some enraged whales, which Superman knocks out ‘for their own good,’ and then the Sea King is trapped by a maddened wall of fish, in danger of being crushed until the Man of Steel creates a whirlpool to free him.  It’s a cool page, but once again, Aquaman comes off looking bad.  Zappa is working against the pair, and he magically enlarges some jellyfish to attack them.  The Man of Tomorrow can’t take his opponent because it’s magic, despite the fact that, as we’ve discussed previously, that’s not how his “weakness” to magic works.  This is my old bugbear for logical consistency rearing its head.  At least Aquaman gets to do something, as he easily shreds his jellyfish and frees the Metropolis Marvel.  Yet, when they reach the control center for the machines, they find ‘The Zapper’ already gone.

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Hawkman and The Flash, meanwhile, have taken to space on a really flimsy excuse.  Aquaman overheard the term “Cee” when he was first attacked, and Hawkman wondered if it might refer to the “Sea of Space.”  Sure.  Anyway, they happen to encounter Zappa’s spaceship, because of course he has one, and set out in pursuit in Hawkman’s Thanagarian ship.  Zappa does…something, it’s really not clear, which slows them down, and when they board his ship, the villain teleports himself and his plankton cargo to his alien destination.

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Oddly, suddenly folks have forgotten how to create caption boxes…

justice-league-of-america-v1-086-18Our final pair, the Atom and Batman have the most luck, as they encounter the alien traveler that Zappa had bamboozled to begin with, and he fills them in on the plot.  Ray uses his scientific training to figure out the teleportation device in Zappa’s office, and they travel to the alien world, where Batman does his part.  The Caped Crusader tracks Zappa down in his palace, where he is living like a king.

Interestingly, Friedrich is clearly trying to bring in some of the ‘grim avenger of the night’ vibe that has been growing in the Bat-books, as he has Zappa panic at the sight of the Dark Knight and includes several atmospheric captions.  The Atom chips in again by decking the lavender louse and saving his partner, but the people of this planet, Kalyarna, are none too happy about their actions.

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Fearing what will happen without their stolen plankton, the aliens threaten to storm the palace, and we get a really neat idea with mediocre execution.  The rest of the League arrives and confers about what they should do.  Superman, knowing he’s vulnerable to the magic weapons of the aliens, bravely goes out to face the crowd, but not to fight, to talk.  He realizes that they’re desperate, and he goes to reason with them.  He gives them a speech about how nobody else can solve your problems for you, echoing the very similar speech he gave in Action Comics #393.  It’s not as tone-deaf as that one, but it is a bit surprising.  If Superman had stuck to this bootstraps philosophy, Lex Luthor might have been more okay with him.  Anyway, the League promise to stabilize Kalyarna, but the Man of Steel tells its people that they must rethink how and why they pollute their planet.  Of course, this ends with a ‘and so must we’ moment.

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Like I said, this is an odd one, and it’s the second JLA story about pollution within a year, which might be a bit much.  This comic especially suffers in comparison to the fun, relatively reasonable O’Neil issue that it reminds us of.  Notably, O’Neil gets a “story consultant” credit on this issue, which might help to account for the return of this topic.  The completely unimpressive villain, the ridiculous threat, and the vague and largely uninteresting challenges the League faced make this a pretty weak issue.  It doesn’t help that the stiffness in Dillin’s pencils is back, unlike the other books we’ve seen him on this month.  Yet, the unusual focus, not just on pollution, but the necessity of balance in nature, is at least a little interesting.  After all, what could seem less important than plankton?  But it is, in fact, vitally important, and important on a global scale.  That lesson doesn’t quite justify this yarn, though.  Despite a few bright spots, this JLA issue just isn’t that good.  I’ll give it 2.5 Minutemen.

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The Phantom Stranger #10


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Cover Artist: Neal Adams
“Death… Call Not My Name”
Writer: Gerry Conway
Penciler: Jim Aparo
Inker: Jim Aparo
Letterer: Jim Aparo
Editor: Joe Orlando

“The Bewitched Clock”
Penciler: Ruben Moreira
Inker: Ruben Moreira

“Charlie’s Crocodile”
Writer: Gerry Conway
Penciler and Inker: Jim Aparo

This issue features the first mainstream comics work of Gerry Conway on an ongoing title, so we’re seeing comic book history in the making, here.  What’s particularly impressive about that is the fact that Mr. Conway was only 16 when he started writing for DC, and it was shortly after that when he broke into Marvel and got a full-time gig.  I can’t imagine holding down a full-time creative job when I was 16, much less turning out quality writing, comic or otherwise, that early.  I flatter myself to think I’m not a bad writer when I turn my hand to it these days, but at 16, despite delusions to the contrary, that was certainly not the case.  This issue is a very impressive first effort.

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The main tale is framed by a warning from the Phantom Stranger about evil hiding in the shadows, and it is in a shadowy club that the sinister stalker of this story makes his first appearance.  A trio of young women are out for a night on the t0wn, and one of them complains about never meeting any interesting men.  That’s a complaint that she won’t have time to regret as a dapper but vaguely disquieting gentlemen approaches her and asks for a dance.  He seems to have a hypnotic effect on the girl, Lottie, and when she returns to her friends she is stunned, able only to stutter out that the man’s name was ‘Tannarak’ before she collapses, suddenly stone dead!

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the-phantom-stranger-1969-10-04Her friends are horrified, as you might imagine, but who should come to the rescue?  Dr. Thirteen!  What?  You were expecting someone helpful?  Actually, Thirteen’s portrayal in this issue is a bit more varied and interesting than we’ve seen previously.  Of course, when the Phantom Stranger arrives a few minutes later, the good doctor does immediately accuse him of murder, but I suppose old habits die hard.  Thirteen quickly realizes that, whatever he may think of the Stranger, he knows the man is no murderer.  The first part of this story even has the two men set aside their differences as they work on the case.  It’s actually a fun dynamic.

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Thirteen has been in town investigating a similar spate of murders, murders without a clue and deaths without a sign of violence.  The Stranger realizes there is more here than meets the eye (no, she wasn’t killed by a Decepticon).  There’s a nice moment, as Dr. Thirteen blames himself, thinking he could have stopped this death if he had been smarter or faster, and the Stranger actually comforts him, establishing a slightly more cooperative dynamic for this issue.  I would totally read an odd-couple/buddy cop feature with these two teamed up, as long as you could figure out some way for Thirteen to be useful.

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Anyway, the other two young women flee the murder scene, which seems like a poor choice no matter how you slice it, and emerge into a mysterious, foggy night.  They encounter the same mysterious figure from the club, and their screams alerts our two heroes.  The supernatural sleuths charge out into the night, only to discover one of the girls hysterical and the other missing.  The Stranger, in a nicely ambiguous scene, calms the girl, either through his powers or through pure force of will.  She tells her story, and, of course, Dr. Closed-Minded immediately disregards the Stranger’s offered warning of the supernatural.  In response, the phantom detective (no, not that one) pulls his patented disappearing trick.

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We switch to follow the perspective of our villain, the mysterious Mr. Tannarak, as he brings the hypnotized Michelle to his home.  Along the way, he rants madly, calling her Dianna, his love.  It slowly emerges that this lost love he conflates her with died nearly a hundred years ago!  The aged ancient obligingly recounts his origin for his guest, and we discover that he and the original Dianna were once children, stealing on the streets of Cairo long years ago, and after being caught and confronted with the specter of death in the form of a dead body, the young Tannarak became obsessed with escaping that great enemy of mankind.

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He searched for years, studied for years, and eventually mastered the arts of alchemy, by which he made himself immortal.  Essentially, he pulled a Voldemort, placing his soul in a golden phylactery, a statue of himself (shades of the Picture of Dorian Gray!).  As with all such dark rituals, however, this immortality comes at a high cost.  The alchemist is now without a soul, and he survives by stealing those of others, as he did the unfortunate young lady at the club this very night.  Yet, he has a different fate in store for Michelle.  Because she reminds him of his lost Dianna, he will make her immortal too, whether she wants that soulless unlife or not.

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Fortunately, just as he prepares his alchemical concoction for the dire deed, the Phantom Stranger arrives to save the girl.  What follows is a really nice fight between the two.  It begins as Tannarak tosses ‘the Elixir of Death’ at the mysterious hero, seemingly burning him terribly, but the Stranger tosses off his smouldering cloak and clocks the alchemist with a powerful blow.

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Not out of gimmicks yet, the immortal employs ‘the Blood Stone,’ apparently a bit akin to the Philosopher’s Stone, in an attempt to turn the Stranger into stone, but he proves too fast.  His attacks having failed, Tannarak attempts to bargain with the spectral sleuth, offering him wealth and immortality, trying to distract his foe as he grabbed another alchemical concoction.  Once again, the Stranger is too quick for him, and a last blow sends the immortal crashing into his statue, which collapses on top of him, exploding into rubble and finally putting an end to his evil.

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Having been tracking down the murderer, Dr. Thirteen and the other girl arrive just in time to try and explain away all of the magic and mysticism that has transpired that night.  Thirteen actually offers some reasonable explanations for some of it, but when the Stranger takes off his jacket to show that the sleeve has been turned to gold, ‘ol Terry is at a bit of a loss.

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This is a great story.  The whole thing works; it hangs together and makes sense, maintaining logical consistency throughout.  The fact that a 16 year old kid could tell such a story puts a new perspective on those that can’t.  Its only real flaw is the fact that the captions are overwritten.  Some of them are appropriately dark and tension-building, but many of them are positively purple in their attempt at pulchritudinous prose .  Strangely, it is only really the captions that are overwritten.  For the most part, the dialog is strong and fitting, and the character work is quite good.  In terms of the villain of the piece, his origin could have used a bit more attention, but it works reasonably well.  Tannarak is delightfully mad and viciously evil, a combination perfectly captured by Jim Aparo.  It is hardly worth mentioning at this point, but this is a gorgeous book, and picking the art for this post was really quite tough.

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The big battle was particularly dynamic and exciting, something that has been lacking in some of our Phantom Stranger stories.  The whole story, however, is beautifully rendered, heavy with atmosphere, lit with candles, suffused with fog and smoke, and covered throughout in a lowering sense of foreboding, well conjured by both word and image.  This issue also grants us the rare sight of the Stranger divesting himself of both cloak and jacket, which leads to a strange sight.  He looks a bit less mysterious and enigmatic standing about in a white turtleneck.  It’s a fun sight that contrasts with his obvious supernatural air.  I’ll give this strong story 4.5 Minutemen, a thoroughly enjoyable read.

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This issue also includes a reprint of an old tale, as well as a fun, four page backup, which is really too brief to bother with giving a full write-up, but it is a good example of expeditious writing.  In just four pages we meet a horribly hen-pecked husband who is treated terribly by his wife.  He answers a newspaper ad to ‘get rid of all nuisances,’ meeting a “Mr. Scratch,” which is an old name for the Devil, and making  deal.  Ignoring a warning from the Phantom Stranger, he’s given an inflatable crocodile to put in his pool, which is guaranteed to do the trick.  When his wife goes for a swim, he suddenly finds himself free, but he pays a price when his friends find the same gag and put it in his pool after a party.  He suffers the same fate.  It’s a classic short horror tale, beautifully illustrated by Jim Aparo.


That will do it for today, and an interesting day it was.  The Phantom Stranger continues to be one of the strongest books I’m encountering, but my beloved Justice League has taken a disappointing turn.  Let’s hope that JLA will improve under Friedrich’s tenure.  Green Lantern?  Well…it continues to be fascinating, whatever else one can say about it.  I certainly never have a hard time finding something to say about that book.  We’ve only got one more post to go before we break through into 1971, and I’m excited to see a new year’s worth of books!  Well, until next time ladies and gents, keep the heroic ideal alive!

Into the Bronze Age: October 1970 (Part 4)

DC-Style-Guide-1

Hello fellow Bronze Agers, and welcome to another edition of my investigation of the depths of DC’s Bronze Age books.  We have an interesting pair of comics lined up for today’s article, one sci-fi and the other supernatural.

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.


Green Lantern/Green Arrow #80


green_lantern_vol_2_80Even An Immortal Can Die!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Editor: Julius Schwartz

As has became a sad routine, I dreaded this comic, but I was very pleasantly surprised when I it.  Some of the trademark excesses of this series are still on display in this month’s issue, but I think this must be the most successful story of this run, as a story.  Ironically, as the type of thoughtful investigation of important social issues that O’Neil set out to deliver, it is, perhaps, the weakest.  It’s an interesting contrast.  To his credit, O’Neil displays more subtlety and nuance than has been his wont in this book, and even Green Arrow doesn’t come off as too insufferably self-righteous.  Unfortunately, taking the action off the Earth robs the comic of the social consciousness it has been trying ohh-so-hard to cultivate.

Ohh, it starts on Earth alright, with our Hard Traveling Heroes continuing their cross-country trek in their old truck.  Ollie even broaches the very hopeful topic of their getting off the road for a while, but that will have to wait as a near miss by a big rig sends the trio off a bridge and into a river.  To get out of the drink, they climb aboard a ship transporting toxic waste.  I was pleasantly surprised to see that: A) the poor schlubs having to transport the stuff were not mustache twirling villains, just decent, hard-working sailors trying to do a job and do it right, and B) the stuff was on the way to be disposed of properly rather than being dumped into the river for poorly defined reasons.  Are we sure this is really a Denny O’Neill script?

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Unfortunately, the ship’s boiler blows, almost killing Green Lantern and setting the scow ablaze (O.S.H.A. must be the most lax and laid back organization on the planet in the DC Universe).  The Guardian is presented with an interesting moral dilemma.  He has enough innate power to either save the ship or take Hal to a doctor, but not both.  The logical (hello there, Spock) choice is to protect the lives of the crew and the health of the environment by saving the ship, or at least that’s how it’s presented.  Instead, the immortal, changed by his time on Earth, chooses to save his friend.  It’s actually a nice moment, but it is undercut because it strikes me as a bit of a false choice.  Yeah, it’s bad to let the toxic sludge get loose in the water, but the sailors are not in immediate danger, and the life of a human being is of great value.  It seems strange that even a being with as long-term a view as a Guardian would take such an ecological incident as more important than a human life.

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Wait, isn’t the Lantern’s ring supposed to automatically protect them from lethal dangers? Oh well, plot will out…

Well, in another pleasant touch of nuance, the crew has to toss the waste overboard because it is flammable, but O’Neil goes out of his way to show that they do so unwillingly, aware of the cost.  It’s actually a pretty effective scene.  Meanwhile, the Guardian’s swift action saves Hal’s life, but their happy reunion with Ollie is short-lived, as the immortal’s peers are none too happy with his choice.  They inform him that he’s transgressed and needs to be judged.  Green Arrow responds with his trademark tact and diplomacy, telling a race of god-like beings that the Guardian’s choice was “the only human thing to do!”  I’m sure that carries tremendous weight.  Thanks Ollie; you’re a big help.

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The traveling trio are sent to a world called Gallo, which is like the intergalactic Supreme Court.  This is actually one of my only real problems with this issue.  It doesn’t make much sense that the Guardians would farm out their justice system to anybody else.  They aren’t exactly shy about their abilities or bashful about their judgements.  I’m wondering if this place ever showed up again, because it really doesn’t fit in with the Lantern Corps. mythos.  Anyway, when they arrive, a robotic bailiff demands that they surrender their weapons, and when the Emerald Archer resists, the electronic enforcer insists, violently.  Here we see a very nice piece of storytelling, where Adams and O’Neil work together in perfect sync.  Arrow uses the distraction of the fight to snap off one of his arrows’ warheads, and the art conveys this perfectly but unobtrusively.  You hardly notice it if you aren’t looking for it.  This will, of course, become important later on.

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Apparently, things on Gallo are not what they should be, and both the Emerald Crusader and his erstwhile boss notice, but it is too late as they have already been disarmed and captured.  Instead of the customary tribunal, they are greeted with one cruel and vicious judge who proceeds to give them a trial that could have been plucked from the pages of Kafka.  The accused are gagged and summarily sentenced to death on false evidence, a sentence delivered by a jury of robots!

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In the holding cells, the green-garbed heroes discover the real Tribune of Gallo, whose power has been usurped by their former master mechanic, who has some type of hangup about the superiority of robots to flesh and blood.  Unfortunately, that angle really doesn’t get much development.  The guy is crazy and on a power-trip, and his pro-machine agenda doesn’t really provide much more than window-dressing for the story.  Nonetheless, O’Neil delivers a great scene as Green Arrow rapidly strips their cell to create a makeshift bow, arming the arrow with his salvaged warhead.  It serves ably and destroys their robotic jailer, allowing them to escape and recover their weapons.  It’s a great character moment for him, though it continues the process of elevating Ollie at Hal’s expense.

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In the meantime, the Guardian’s death sentence is being carried out as he is slowly sealed in plastic, only to be rescued at the last minute by our emerald heroes.  It’s a lovely, dynamic sequence illustrated beautifully by Adams, but it also includes the other false note of the issue.  Hal has a moment of conflict as he goes up against the judge, thinking to himself “it’s hard–very hard for me to use my ring!  Though the judge is mad, I’m conditioned to respect the authority of the law!”  Good heavens!  It’s not like Hal was in the SS!  He’s not a brainwashed cultist; he’s a former soldier, daredevil test pilot, and space cop.  To a certain extent, we’re all ‘conditioned’ to respect authority.  It’s part of growing up in an ordered society, but most of us don’t get paralyzed with indecision when we encounter something that is obviously and grossly unjust.  It’s not like this judge is even the proper representative of the court on this world.  Hal just freed those guys from a cell, so the law is definitely on his side!  It’s just a stupid moment, and it makes the character seem incredibly dense to boot.  I understand what O’Neil is going for, but as with so many aspects of this series, the execution is just off.

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‘Hard, very hard because I lack basic reasoning skills!’

Fortunately, our heroes manage to get ‘the old timer’ out of his plasticine tomb in time, and he notes that he simply held his breath, having learned from humanity that “where there is life, there is hope.”  That’s one of John Carter of Mars’s favorite phrases, and one I’m quite fond of too.  It’s a good lesson to learn and certainly a truth that humanity bears out.  Despite our flaws, we are awfully hard-headed (which can occasionally be an asset).  The Guardian decides to stay behind and receive a judgement from his fellows, but he sends Hal and Ollie back to Earth and the adventures that await them.

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This is definitely a much better comic than many of its predecessors.  The plot works, the threat is actually pretty legitimate, and the alien setting is a lot more fitting for the power ring wielding Green Lantern than random small towns in the American countryside.  The characterization of the protagonists is, on the whole, better.  Even Green Arrow only gets one short self-righteous speech (thus fulfilling his contract).  The Guardians’ moral dilemma is interesting, even if it feels a tad forced.  It does make sense that a being used to seeing the biggest of big pictures, galactic order, would struggle with the emotional attachment of living life on a small, personal scale with the two heroes.  Yet, the comic definitely loses something by taking its action off-world as well.  While an examination of themes of justice is possible in a story set among the stars, it loses any real social relevance by having no connection to the more terrestrial problems of injustice found under the Sun.

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I know I’ve been hard on this series, but it is important for us to remember, and especially for me to remember as I write, that what it is doing is well and truly unique for its time.  This book was like nothing else of its day, and nothing really like this had ever been done before in comics.  As ham-handed and tone-deaf as it often was, it was also groundbreaking and incredibly innovative.  I’ve probably not been giving O’Neil enough credit for the risks he took and for overcoming the obstacles he must have faced.  Nonetheless, a story is good or bad, regardless of context.  It either works as a story or it is flawed, and noble intentions do not a successful plot make.  I’m trying to deal with these tales both as stories and as cultural artifacts, so I’ll try to balance my coverage appropriately.  Make no mistakes, though.  Many of these stories are not particularly good, as stories.  Something can be important without being actually good.  So, all things considered, I’d give this issue a strong 3.5 Minutemen.  It loses points for Hal’s inane inner conflict, but only just.

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Phantom Stranger #9


phantom_stranger_vol_2_9Obeah Man!”
Writers: Joe Orlando and Mike Sekowsky
Penciler: Jim Aparo
Inker: Jim Aparo
Letterer: Jim Aparo

This is fun story with a bit of a flawed resolution.  Notably, we’ve got Mike Sekowsky handling the writing chores this month, and he varies up the formula a bit to interesting results.  Instead of what has become the standard, with a frame tale setting up stories narrated by both the Stranger and Dr. Thirteen, this issue just gives us Thirteen’s flashback in addition to the frame tale.  It gives both of them more room to breathe and is definitely a step in the right direction.  I think we’re seeing this book continuing to find its feet.  I’m hopeful that it will soon settle into a really strong run.

This issue takes us down to an unnamed Caribbean country that is a clear analogue for the mysterious island nation of Haiti, and of course, that puts our heroes up against the dark forces of Voodoo!  Now, I know, you’ve probably heard how Voodoo in real life has very little in common with its portrayals in popular media.  In fiction, it is the religious equivalent of the Nazis, the perfect theological antagonist, spooky, enigmatic, and full of dark rituals.  In reality, it’s a religion that’s much like others of its kind, shamanistic and made up of an amalgam of Christian and African beliefs and practices.  We’re dealing with the most sensational type of portrayal here, but I was fascinated to discover that the sinister influence of Voodoo in this story is actually loosely based on real history.  In 1970, the Haitian dictator François Duvalier was in the last years of his reign, a reign that he had supported by co-opting the local forms of Voodoo.  He claimed to be one of the Ioa, or governing spirits of the world, as well identifying himself as Jesus and God himself, just to up the ante on the blasphemy all the way to 11.  He used Voodoo and dragooned its leaders into his service in order to gain spiritual as well as political control over his subjects.  That’s a pretty perfect setting for a spooky Phantom Stranger adventure and a dystopian nightmare!

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And the story doesn’t disappoint.  In Haiti we discover professional wet blanket Dr. Thirteen coming to the aid of the country’s president.  Interestingly, though he looks like Duvalier, he’s actually the good guy here, trying to improve his country and being opposed by shadowy and nefarious Obeah Men (Voodoo sorcerers).  It seems his assistant has died without a mark on him after receiving a Voodoo warning.  The President tells Thirteen that he’s been unable to make any headway against the Obeah Men and asks for his help to discredit them so that the people will stop supporting the charlatans.  He offers to take the good doctor to a ruined fortress where the Voodoo ceremonies are held.

On their way there, Thirteen tells the Haitian head of state about a similar case.  Here’s our interpolated episode, which is actually a pretty standard story.  I’ve seen this plot adapted in a few different places, including on the radio show Escape.  I imagine there is a short story that has served as the originator, but I haven’t bothered to track it down.  Anyway, it’s a pretty standard setup.  A colonial officer in Africa runs afoul of a Voodoo priest and is forced to kill him.  With his dying breath, the man curses the officer, and he lives in fear of that curse ever after.

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Eventually, he sees the man again and is given a token of warning, in this case, a Voodoo doll with pins in the legs.  The victim’s fear and belief create a psychosomatic reaction (he loses the ability to walk), and there is a threat of death.  In this instance, the worst is prevented by Dr. Thirteen discovering that the man’s nephew had faked the second encounter and used a recording to hypnotize his uncle in his sleep.  You know, people are always doing that in fiction, and it seems to require a huge amount of luck.  All it would take is one bad dream, midnight snack, or trip to the bathroom to reveal the scheme.  But I digress.  There’s a reason that plot has been adapted multiple times; it’s a good one, and Aparo’s beautiful art makes this a memorable version.

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Back in our frame tale, guess who makes an appearance?  It’s the Unnecessary Teen Gang.  At least Sekowsky lampshades the absurdity of their showing up in Haiti, as they explain they mysteriously won a trip, and we can assume this was orchestrated by a higher power…for some reason…despite the fact that they contribute absolutely nothing to the plot.  Dr. Thirteen spots the kids in a market and flips his lid.  He leaps out of the car and starts demanding that they tell him where the Stranger is, arguing that he’s never far away from them.  Just as they tell the overly excited ghost breaker that they haven’t seen the man with the awesome medallion, the Stranger himself appears, in the limo no less.  Immediately, the President proves more sensible than the supposed scientist, as he doesn’t discount any possibilities out of hand, willingly hearing his visitor out.

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The gang all head to the ruined fortress, and once there they they find a ceremony in full swing, as well as a pair of strangely garbed figures in the midst of the dark ritual.  One is revealed, of course, to be Tala.  The other is the enigmatic Obeah Man.  And here we have the big weakness of the issue and one of the very few failures of Aparo’s art.  The Stranger leaps at the Voodoo priest and socks him, and then…something happens.  The art just doesn’t quite manage to convey the action, and the whole thing is wrapped up in a single page.  The Stranger grabs some type of jar called the ‘Seal of Solomon‘ (a symbol with historical and occult significance, figuring prominently in medieval lore about Solomon’s extra-textual magic powers) and the Priest sort of dissolves, and then, I guess, turns into a bug.  The Stranger slaps him into the jar, and tosses it into the sea, prompting Tala to bug out in response (sorry!).

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Confusing or not, that fourth panel is still cool looking.

It’s not much of a showdown.  Anticlimax can be quite effective, but the whole thing is so vague and the action so unclear that it just feels unsatisfying.  Once again, Dr. Thirteen accuses the Stranger of having faked the whole thing and being in league with the villains of the piece, but the President demonstrates a broader mind, thanking the mysterious champion for his aid.  Of course, the Stranger disappears, leaving Dr. Thirteen cursing the empty air once more.

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This is a fun story, and the historical background I discovered about it makes it all the more interesting for me.  I quite enjoy that the Haitian president is wise enough to insist that a truly rational man must not discount anything out of hand, all while ‘ol Terry rages at the evidence of his own eyes.  Aparo’s art is beautiful and moody as always, nicely evoking the exotic locale of the story.  The narrower focus of this issue allows for a great development of the main plot, but unfortunately the digressions with the Unnecessary Teen Gang takes up some space that would have been better used on the Obeah man.  That vague final confrontation is rather disappointing, weakening a promising story.  Fortunately, the interpolated episode is pretty good, so that helps balance out the flaws of the frame tale.  I suppose I’ll give it 3.5 Minutemen, though that might be a tad generous.  It has its problems, but it is plenty entertaining and I just find the creepy background of a despotic state ruled through fear and a co-opted religion adds a lot of flavor to the issue.

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The letter column actually includes a note from the editor about how a recent visit to Haiti served as the inspiration for this story, which confirms the setting.  The letters themselves are full of effusive praise for the new direction of this book.  Notably, most folks seem to share my opinion of the useless teen gang, but people are split on Dr. Thirteen.  Everyone seems to recognize that they’ve got something special here, though.  I can’t wait to see what’s next!

 


Well, that’s it for this post.  I hope y’all found these commentaries interesting.  I know that I found a lot in these two issues to sink my teeth into, despite their flaws.  We’re definitely seeing a lot of the changing face of comics with these two books.  They are almost a microcosm of the Bronze Age, pushing the standard boundaries of comics in themes, content, and style.  I hope y’all will join me again soon for another step in our journey Into the Bronze Age!

Into the Bronze Age: September 1970 (Part 5)

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Welcome to another edition of Into the Bronze Age!  With all of the madness that is loose in our world these days, I imagine we can all use more joy and adventure.  I know I quite enjoy my visits to the Bronze Age.  It helps to take the mind off of the utter insanity of our own times.  We’ve got a book I dreaded and I book I eagerly awaited on the docket for this post.  Let’s jump right in, shall we?

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

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

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

Green Lantern/Green Arrow #79

green_lantern_vol_2_79“Ulysses Star is Still Alive!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dan Adkins
Editor: Julius Schwartz

Well, we can’t avoid it any longer, I suppose.  It’s time for another return to the parade of self-righteousness and poor decision-making that is the Green Lantern/Green Arrow book.  Fortunately, this issue isn’t as bad as the some of the previous outings.  It’s central concern is a very legitimate one, and it even manages to feel timely for us today, given the contents of our headlines in recent months.  However, this wouldn’t be a Green Lantern/Green Arrow adventure without some infuriatingly obnoxious bloviating from Ollie and some irrational inflexibility from Hal, as well as a generally pervading, pointlessly aggressive stupidity and hotheadedness from both of these supposedly heroic men.  Still, these qualities are a bit less on display here than they have been.  Let’s take a look, shall we?

We join our hard traveling heroes camped on a quiet and peaceful night out in the wilderness, not far from where they had their last adventures with the pseud0-Manson Family.  I probably haven’t said quite enough in praise of Adams’ art on this book, given my general frustration with O’Neil’s plots and characterization, but he really does do fantastic work.  He packs his panels with personality and visual interest.  In the simple scene around the camp fire, each character is doing something that tells you a bit about them.  Hal is reading, Ollie is whittling, and the Guardian is floating in apparent meditation.  That’s a nice touch.  The quiet of this idyllic scene is shattered when these two veteran heroes detect some slight sign that something is amiss, and they leap into action to investigate.  That’s a good another nice touch.  It makes sense that these two have been at their dangerous work long enough that they’d have combat-honed senses.  It makes them seem competent and professional.  The adventure that follows doesn’t quite match that setup, though.

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The Green Guardians discover an unlikely pair of white men preparing to gun down a helpless Native American man.  They quickly disarm the would-be killers, with very different methods and wildly varying levels of effort.  Check out the page below.  Look at the skill and concentration evident in Green Arrow’s precision shot.  Look at the almost bored expression on Hal’s face as he plugs up the other gunman’s weapon.  It’s almost as if a man armed with the most powerful weapon in the universe outclasses an average hood with a handgun to the point of absolute absurdity.  Once again, we see how incongruous of a pair Hal and Ollie make, and not just because of their diametrically opposed viewpoints.

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Well, the gunmen having been disarmed, the heroes investigate, and they discover that the two antagonists are Theodore Pudd, who runs the lumberman’s union, and Pierre O’Rourke, who claims to own the lumber rights to the area.  This pair quite cheerfully display a truly appalling level of racism and general awfulness, calling the Indians “animals” and “filthy savages.”  O’Neil wants to make sure we don’t miss the subtle touches of his intricate characterization.  Be sure to read closely, or it might elude you.  The issue at the core of this encounter is that the local Indian tribe, who, if you remember, were the target of the crazed hippies of the previous story, have an old claim to the timber of this area, but the records have conveniently disappeared.  As a result, O’Rourke is trying to take it over and cut the tribe off from their only means of support.  Because Pudd and company are such racist slime, they won’t even let the tribesmen join the union and work as lumberjacks.

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These are bad guys.  Get it?  BAAAD GUUUUYS!!!

There was one other copy of this land deal, originally negotiated by the tribe’s famous chief, Ulysses star.  The copy was given to his son, Abe, who went off to the city years ago and hasn’t been heard from since.  The lack of a clear and unambiguous legal solution causes the usual conflict between our two headliners.  Hal immediately gives up, and Ollie immediately starts tongue-lashing him, demanding that they stay and fight, legally or illegally.  They part ways, and, to his credit, the Lantern actually reconsiders his defeatist attitude and decides to try and find a way to help, legally.  That’s good.  After all, one of the fundamental traits of a hero is the ability to find a Third Way.  The Emerald Knight spends some time philosophizing with the guardian, and then he heads off to try his gambit.

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The guardian actually makes a rather interesting point.  He observes that our culture’s national heroes are warriors.  The very mythology of our world is one driven and defined by violence, so it makes sense that violence would be in our nature.  He sees a power of spirit here that is worthy, even if its effects are often tragic.  There’s some truth to that.  The same qualities that allow us to overcome adversity are often those that can be turned to destructive ends.  I’m reminded of the classic Star Trek episode, “The Enemy Within,” where Kirk’s good and evil sides are split into two beings, and the ‘good’ captain discovers that he can’t lead effectively without his ‘evil’ counterpart.  This is a topic that has been on my mind lately, humanity’s dual nature.  We are a creation of both light and shadow.  We are noble and vile, both comic and tragic.  It’s what makes us so very paradoxical.  Here, the Guardian plays, with some success, the archetypal role of the outside observer.  This is one of the oldest uses of science fiction, and one of the most effective and valuable.

Back to our tale, Hal searches for the son of Ulysses Star, knowing his task is likely hopeless.  He reminds us that he was an insurance investigator (I think we’d all rather forget that), and he has the skills for such detective work.  Yet, all he can find is the fellow’s last known address.  Maybe that’s because he was only in that job for a few months because he was having a midlife crisis at the ripe old age of 30.  Either way, when he arrives at the run-down tenement, he discovers a raging fire, with one resident still trapped inside.  The Emerald Crusader makes forges very tortuous path inside, using his ring in an extremely limited fashion and nearly getting knocked out by a falling beam (a narrowly subverted head-blow!).

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He manages to get out by the skin of his teeth and rescue the civilian, despite the fact that his bell was rung so well he couldn’t concentrate to use his ring.  This is another instance of O’Neil handicapping the hero without clear reason.  Even with his power limited, it really seems like the Lantern could have simply wrapped himself in a bubble and flown into the building.  That makes the entire desperate scene seem like the result of Hal’s stupidity rather than any necessary peril.

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As you probably expect, the rescued man is none other than Abe Star, but unfortunately the old man tells the Emerald Gladiator that the deed was burned up in the apartment.  The hero is stymied once again, but he is actually beginning to act a bit like the man of iron will he’s supposed to be.  The Lantern refuses to give up, so he heads to Washington, going straight to the highest authority to get aid for the tribe.

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Meanwhile, Green Arrow meets Black Canary at the Indian reservation, where they take stock of the dispirited condition of its inhabitants.  The lovely lady notes that the tribe’s biggest problem is that they’re just beaten down by history and oppression.  They’ve “been under the white man’s heel for so long they’ve lost faith in themselves.”  Corny dialog aside, as I understand it, there is a real issue here, and one certainly worth focusing on, though it is honestly not given all that much attention here.  This is an adventure story, though.  Because the Emerald Archer has all the subtlety of a bulldozer, his solution is pretty ostentatious.  He dresses up like an Indian chief and covers himself with glow-in-the-dark paint, playing the role of the spirit of Ulysses Star in order to inspire the tribe.

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He makes a few appearances, threatening the lumbermen and putting on a ghostly routine, as well as making an impassioned speech (Ollie has to have at least one per issue, you know) to the Indians.  Despite the fact that they doubt his ghostly bona-fides (which is itself a small but important point, as the tribespeople are less superstitious and gullible than the white men, a reversal of an old, old trope), they agree to fight for their land.  It is, of course, unclear what this will accomplish.  Matters come to a head the next morning, as the men of the tribe block the path to the timberlands, and the situation descends into a melee.  Oddly, Black Canary philosophizes about how she despises violence.  Really?  Since when?  You’re a superhero.  Your job constantly involves violence.  It’s something you literally engage in daily.  I somehow doubt that you become a street-fighting superhero because you abhor violence.  But it’s so much more touchy-feely-appropriate if she does.  That’s just one more lovely little example of O’Neil’s tone-deaf mischaracterizations.

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Do you reckon he gets tired, lugging that soap-box around?

Anyway, Black Canary and Green Arrow help the Indians defend their land, and things devolve into a sprawling brawl until the fight is stopped rather definitively by Green Lantern.  Notably, his mere arrival is enough to completely end hostilities.  He just places a big green wall between the sides and that is that.  This is perhaps the most glaring example of his complete mismatch with this setting found in this issue.  After all, O’Neil had to send him offstage in order to create any actual dramatic tension in this confrontation.  If the Emerald Crusader had been there, the fight would have been over before it started.  Essentially, with his setup for this book, O’Neil has painted himself into the same type of corner which the Silver Age faced with Superman, where his power is so vast you have to find ways to handicap him to prevent his resolving the conflict of the plot in the first two pages.  The difference is, such a situation is unnecessary with the Lantern, only existing because of the story O’Neil insists on telling.

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Of course, this entire escapade is entirely unnecessary.  After all, the Native Americans have freaking superheroes on their side.  Green Arrow and Black Canary, who regularly fight threats a bit more serious than some unpleasant loggers armed with sticks, threats like legitimately super-powered beings, could easily have trounced these jerks themselves, for whatever good that was going to do.  This would probably have been a better option.  After all, we’ve already seen that the loggers are willing to kill the Indians in cold blood, and they have access to guns.  I’m not really clear on what Arrow’s plan was supposed to accomplish, other than putting some spirit back into the tribe, which wouldn’t matter too much if they were all dead.  The matter is made even worse by the fact that this is the second time Ollie has convinced a group of untrained and unqualified civilians to fight a superior force.  At least this time he joined them from the beginning, rather than wait until dozens of them were gunned down so that his entrance could be more dramatic.  That precious moral superiority of his is on awfully shaky ground.

The immediate danger having been neutralized, Hal announces that he’s brought a U.S. congressman there from Washington to personally investigate this matter, which is actually a pretty good solution, considering the situation and the lack of documentation.  So, naturally Ollie congratulates his friend on his quick thinking and they put their efforts into helping the tribe and organizing peaceful protests…err…no, no, that isn’t what happens.  That’s entirely too sensible and mature.  Instead, the two “friends” decide to have a fist fight in the middle of the stream…for reasons. Green Arrow, still dressed as a yellow ghost, rages against his partner’s solution, and their immediate response is to pummel each other.  It’s completely pointless, so much so that even the characters themselves seem to admit that this brouhaha is unnecessary.

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O’Neil gets pretty darn purple in his prose as he narrates the fight, which, of course, is beautifully illustrated by Adams, but the highlight of this pointless punch-fest is how it ends.  That’s right, this issue gives us, not one, but two, count ’em, two, new entries for the Head-Blow Headcount!  Logs being floated down river clock both of our “heroes” in the back of the head, and in classic comic book fashion, they go down like a pair of proverbial sacks of potatoes.

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After they’re fished from the river, they go back to the village, where the tribes-folk themselves are split about the plan.  Some of them have no faith in the government (I wonder why?), and some of them are determined to make a go of it.  In the end, this is really the only option; Green Arrow’s way would have, at best, resulted in all of the tribesmen getting arrested, or perhaps even killed.  Apparently he never heard of peaceful protest or civil disobedience.  Fortunately, the investigation of the fire at the tenement building revealed (despite Lantern’s ignoring its too-convenient occurrence) that the two trouble-making timbermen were involved in that arson attempt, so they get carted off to jail.  The issue ends with our heroes once more gathered around a campfire, admitting that their foolish fight accomplished precisely zilch, and the story closes with a quote from The Armies of the Night, a counter-cultural “nonfiction novel” by Norman Mailer published just two years earlier.

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You can definitely see some of the influences at work on O’Neil in his choice of this book.  To call it merely anti-war would be an oversimplification, but it dealt with the current cultural issues in the States, centered around opposition to the war in Vietnam.  That’s an interesting choice, and I wonder how much of O’Neil’s audience would have read the book, as well as how many would have picked it up after seeing the editor’s note.  The evidence of counter-cultural influence in O’Neil’s choice of end-tag is noteworthy given the goals of this project, as we can see quite clearly a line of influence, and a relatively recent one, having an impact on the comic world.  It will be interesting to see how that impact spreads in the DCU.

This issue has me a bit torn.  On the one hand, the mischaracterization isn’t quite as bad as some of the previous examples we’ve seen, and the story itself is readable enough.  On the other, the problems are all those we’ve seen before, and their continued presence makes them more grating and more frustrating with each new book.  I’m glad that Hal comes off a bit better here, eventually, but Ollie is still an irrational, self-righteous jerk who, despite his endless lecturing, is something of a hypocrite.  The completely pointless fistfight, as well as the uselessness of Arrow’s grand gesture take away from the impact of the story.

What gives me pause, though, is that the central issue, the abuse and neglect of America’s native peoples, is an extremely important one, and, unfortunately, timely today, just as it was in 1970.  Ironically, one of the most glaring problems with this issue is that, despite its achingly desperate attempt to be socially conscious, all of the characters in this book, including the Native Americans and supposedly enlightened heroes, talk like actors in a 50s Western.  There’s ‘redskins’ this and ‘pale-faces’ that everywhere you look.  It’s really rather silly and smacks of the same kind of condescending cliches as Tonto‘s famously broken English.  Nonetheless, the plight of the local tribe manages to be moving, perhaps in spite of O’Neil’s treatment.

It is, of course, granted more pathos by the current events of our day, like the protests at Standing Rock.  It’s a shame that, after all of these years, we still can’t seem to do right by the native peoples in this country.  I won’t get into the entire issue here, as this is hardly the venue for such matters, but I will say that, right or wrong, good, bad, or ugly, when it is the Federal Government versus native peoples, I sort of feel like we should probably give the native peoples the benefit of the doubt at this point.  It only seems fair, given our history.  Anyway, that made this issue a bit more interesting to me than it might have been otherwise, but in the end, it’s still a story with very flawed writing and characterization that features a situation not really suited for its characters.  I’ll give it 2.5 Minutemen.  It has enough strong points to keep it above a truly bad rating.

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Justice League of America #83

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“Where Valor Fails… Will Magic Triumph?”
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella

This was yet another great issue of Justice League, which rather wiped the bad taste out of my mouth.  O’Neil’s run on the book continues to be consistently good, with fairly compelling stories, solid characterization, and interesting situations.  Yet, this particular issue shares a fault with most of his other outings, a somewhat weak and underdeveloped villain.  We are picking up with the second part of last issue’s plot, which saw Earth-1 and Earth-1 poised to be destroyed by Supreme Leader Snoke…er…I mean Creator², in his bid to design a new planet with the energy of their annihilation.  It’s a wonderfully off-beat idea, and a threat worthy of uniting the JLA and the JSA.  Interestingly, this story predates the similar setup in Hitchhiker’s Guide to the Galaxy by almost a decade.  I wonder if there’s any influence there.

Unfortunately, Creator² himself, and especially his minions, are just a tad boring.  They’re just blue-skinned aliens in robes.  There’s nothing distinctive or captivating about them.  Still, this run continues to be of high quality overall, and I have a feeling that I will eventually number it among some of my favorite Justice League runs of all time.  These stories are still products of their time, however.  Even as O’Neil is innovating and shaking things up with the World’s Greatest Super-Heroes, the book can still feel a bit hokey at times.  For the most part, though, we’re seeing the League in arguably the best form of the book’s history to this point.  Admittedly, that’s not really saying that much, given the goofy, Silver Age-y fare that tended to make up the League’s Adventures.

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We begin preciously where we ended, with Canary’s erroneous, but logical, conclusion that she is the cause for the growing convergence of the two Earths.  Throughout the book, her hopeless heroism, determined as she is to sacrifice herself for the greater good, is one of the strongest features of the tale.  It really works well.  She is not some robotic, heartless automaton, blithely giving up her life without a tear or a twinge like we might expect from a Silver Age story.  She is fully aware of what this gesture will cost her, and her quiet determination in the face of that knowledge is really rather moving.

Meanwhile, our bathrobe wearing villain is almost ready for the grand finale that will serve to launch his new planet with a bang, but he’s concerned about the JSA, seeing as they’ve already proven tough to handle.  He dispatches a set of his weird net devices to disable the team as a preemptive attack.  The Society itself is gathered to study their fallen members when the nets arrive, and once again the weapons prove formidable, capturing four members in several pages of nicely dynamic action.  As before, each net is capable of neutralizing the powers of its victim, so Staman finds his energy bolts reflected against him, Wonder Woman finds her bracelets bound, and Hourman finds himself accelerated through his hour of power in mere seconds.  It’s a good sequence.  The only problem is that the nets are fairly lackluster antagonists, being just devices, and not terribly visually interesting ones at that.

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Back in Earth-1, we listen in to a desperate conversation, as Canary insists that she must die, and Ollie, his usual cool and rational self, responds about as you’d imagine.  He won’t hear of anything happening to Dinah, but Green Lantern has a great third way, exercising that heroic creativity that is so much a part of the concept of American superheroes.  He posits that they don’t have to kill the Canary; they just have to move her to another dimension far enough away that the effect will cease.  He heads out to search for such a place, to Arrow’s enthusiastic support.

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Unfortunately, just as the Emerald Crusader discovers Red Tornado and the dimensional rift, his jade counterpart on Earth-2 is captured, freezing him in place in the depths of space.  At almost the same moment, we catch a quick glimpse of Hawkman, out on crowd control, when another strange cross-over occurs and the inhabitants of the two worlds briefly see one another face to face.  He saves an old woman, nearly run over in the resulting chaos, but before he can do more, his counterpart is captured as well and he is rendered helpless.

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Aboard the Satellite, the remaining heroes fear that Lantern’s absence must mean his failure, and Canary delivers a surprisingly haunting and touching meditation on her death, suggesting that she’ll board the transporter and simply scatter her atoms across space, becoming one with the stars.  It’s an impressive scene, made even better by Ollie’s frantic (and rather selfish when you think about it) attempts to talk her out of it.  The rational, scientific mind of Ray Palmer takes a more pragmatic view, and he suggests that they wait until the last minute before they make any choices.  The scene is really effective, and it’s as fine a piece of character work as you’re likely to see, even today.  If O’Neil can do this, one wonders why his characterization is so clumsy and heavy-handed in Green Lantern/Green Arrow.

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Dillin really captures Canary’s sorrowful determination.

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Meanwhile, on Earth-2, all of the Society members have fallen except for Dr. Fate and Johnny Thunder and his Thunderbolt.  Their magic seems to be more effective than the powers of their friends, but they are still fighting a losing battle until the mystic master teleports them to a graveyard, in search of more magical might.  Once there, he summons none other than the Spectre!  I’m pretty sure we haven’t seen this ghostly gent in this book since issue #47, and we’re quickly given to understand that his status quo has changed quite a bit.  Rather than discover him with his human host, Jim Corrigan, Fate finds him in a grave, and the spirit speaks of his sins and his imprisonment in the tomb.  It’s an interesting tease, and I’m quite curious what the situation is because I have no memory of any of this.  The editor assures us that this story will be told, so I am looking forward to that.

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Fortunately, the spectral hero has a plan.  His mystic senses have detected the machinations of Creator² and his cronies, and he sends his allies after the villain himself while he uses his very ecotplasmic being to serve as a bulwark between the colliding worlds.  The image of this effort is a pretty striking one, emphasizing both the character’s power and the skope of the problem.  His desperate ploy buys Dr. Fate and the Thunderbolt the time they need for their assault.

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There’s a nice sequence where the aliens detect their approach to their ship and open fire, only for Fate to teleport inside, causing Creator² to assume they’d been vaporized.  the effort exhausts the master of the mystic arts, leaving the Thunderbolt to take out the blue-faced minions, but he can’t handle Creator².  With one last, titanic exertion, Dr. Fate rips the ship itself apart in a pretty cool panel.  The process is halted, and though the release of energy causes some minor tremors, the worlds go back to their rightful places and the day is saved.  Yet, the victory comes at a cost.  The Spectre is literally torn apart by the dimensional shift.  That image, which is half tragic, half comic, isn’t nearly so successful.

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Of course, what is completely glossed over in the story is that Dr. Fate just totally killed dozens of beings.  He even admits that the aliens probably couldn’t live through that blast.  I realize they were preparing to commit dual planetary genocide, and while that’s about the worst crime imaginable, it’s still a bit crazy that Fate casually took several lives without so much as batting an eye.  That is definitely a big departure from the Silver Age, but not in a good way.  It wouldn’t have bothered me if O’Neil had dealt with that act, even a little bit, but no, it’s completely glossed over as we race to the conclusion of the issue.  It’s downplayed so much that I hardly noticed it on my first look, and death shouldn’t’ be treated that lightly in a superhero book, especially when a hero is the cause.  I would be more troubled if it were a traditional superhero who had done it, but a mystical character like Fate is always something of a liminal figure.  It makes sense that his work and his experience would lead to a somewhat different code than the heroes grounded in more mundane realities.

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On a more positive note, on Earth-1 (or more accurately, above it), the Atom detects the dimensional shift, and the heroes celebrate their narrow escape.  It’s a good ending, and Ollie’s joy at Canary’s reprieve is really quite charming.  He’s already entirely head-over-heels for her, and it definitely comes through.  Finally, the Lantern returns and fills them in on the score, leaving them to wonder if they’ll ever see the Spectre again.

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This is a good all-around issue.  I thoroughly enjoyed it, even if it was, once again, much more of a JSA story than a JLA one.  I’m pretty content either way, especially since the Society don’t have a book of their own yet.  (I’m looking forward to that one when it arrives, by the way.)  This issue managed to pack a lot of action in, as well as some really excellent character moments.  Dillin’s art was back up to snuff this month as well, so the book looked quite good.  That odd stiffness of last issue is gone, replaced with some truly attractive pages and an overall improvement in quality.  I enjoyed the handling of the magical heroes and their triumph.  It makes perfect sense that this super-scientific culture would be great at handling all types of threats, except those which defy science, like magic.  It’s also pleasant to see Dr. Fate take center stage, as I haven’t gotten to read that many stories that focus on him.

Once again, O’Neil manages to spread the spotlight out pretty well, with nearly everyone getting at least one interesting moment, either in action or in dramatic scenes.  The balance between the two types of focus is actually very well handled.  The pacing is also quite good, as is the economy of storytelling.  He told a complete tale in two issues that had time to breathe and still provided plenty of excitement with appropriately world-shattering stakes.  O’Neil continues to turn out good, solid adventure stories in this book, and I’m enjoying the ride.  They haven’t been stellar, but they have been consistently good, and that’s rare enough in an ongoing series to deserve praise.  Unfortunately, apparently this is the last issue of his tenure on the title.  I’ll miss his unique and creative concepts, though I hope we’ll get some more fully realized villains in coming issues.  If I recall correctly, there are some really excellent stories awaiting us.

It’s interesting to me that two of the books I look forward to most and the book I most dread are all penned by the same man.  It’s striking how very different these comics are from one another.  It seems that, perhaps, when forced into more traditional adventure fare, O’Neil really shines.  He wouldn’t be the first author who, when let completely off the leash, produced lower quality work because he was too concerned with his own agenda.  I’m reminded of the difference between Garth Ennis’s Dan Dare and…well, pretty much everything else he’s ever done.  Sometimes limitations can bring out the best in us.  This is actually a weakness in the concept of complete artistic freedom, an idea we tend to ascribe almost religious weight to in our culture.  I rather think that what’s necessary is a balance of structure and freedom, and that balance is difficult to achieve.

Ideally, the limitations for an artistic work should be internal, the moral and spiritual compass of the creator, but people being what they are, I’m far from convinced that channeling creativity into positive courses is always a bad thing, if done well.  That’s something that the tropes of the heroic ideal of the American superhero actually provides rather well.  Anyway, back to this particular story, I’ll give it 4.5 Minutemen out of 5.  The weak villain and the completely unacknowledged killing by Dr. Fate cut it down from a perfect score.  I would have enjoyed seeing Bruce Timm and company take a crack at this story.  I think they could have really made something of it.

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The Head-Blow Headcount:

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Another entry for the wall of shame, and this time, it’s a two-fer!  How exciting!  This month, both Green Arrow and Green Lantern join the ranks of the head-blow heroes.  Their moment of infamy is made all the more ludicrous by the fact that it was caused entirely by their own stupidity, resulting during their completely pointless fistfight.  It’s a particularly delightful addition to this august company.

Well, that’s it for this week.  We’ve had the best and the worst in this post, and we’re almost through September.  I’m looking forward to the next batch of commentaries, which will include the final chapter of Manhunter!  Please join me next time as we check out another set of stories and travel further Into the Bronze Age!