Into the Bronze Age: October 1971 (Part 2)

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Welcome to another edition of Into the Bronze Age!  The world seems quite intent on falling to pieces around us, but let’s take a little time to look back at a simpler era and a better class of comic.  The big news in this edition is the finale of the (in)famous GL/GA drug story, but we’ve got a couple of other interesting books to keep that one company.

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

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


Green Lantern/Green Arrow #86


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“They Say It’ll Kill Me… But They Won’t Say When”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

That’s right, at long last (longer because of my travels and distractions!) we come to the end of the GA/GL drug two-parter.  It’s a famous issue, and we examined why with the first one.  As we saw, these issues certainly deserve their iconic status, whatever flaws they may have, and I was surprised by how much better the first issue was than I remembered.  I was in for a similar shock with this story, which is a much more even-keeled offering than its predecessor.  We don’t have as many heavy-handed and goofy moments here as we did in the last one.  Even the cover has a touch more dignity…which is not to say it isn’t a bit over the top as well.  In fact, it is wonderfully, ridiculously melodramatic, especially with its bold tag-line.  I love Green Lantern’s ‘curse the heavens’ pose as well.  Still, it is effective, striking, and memorable, especially with the faces of the various drug victims making up the background.

Unfortunately, the touching image of Green Arrow carrying the fallen form of his ward isn’t quite what greets us inside, where things start off with a bang…or more accurately, a backhand.  Ollie follows up Roy’s dramatic confession from last issue with a smack to the face and a heavy dose of vitriol.  It’s a really stunning moment, and O’Neil hits us with it right out of the gate.  To see a hero, in his right mind, treat a faltering friend like this in 1971 was practically unprecedented.  It serve’s O’Neil’s purpose, immediately casting the Emerald Archer’s merciless dismissal of his surrogate son’s suffering in the worst light.  Unfortunately, he overplays his hand once more, and the result is a further stain on Ollie’s already fairly blackened character, though it is consistent with the strong views he evinced in the last issue.  It’s just an ugly moment, not helped by the fact that Roy isn’t at his most sympathetic after his weak story last issue.

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Speedy mocks his mentor for his violent response, hitting him with a major guilt trip, and Arrow throws the kid out.  Then we get a moment which ALMOST addresses some of the flaws of the previous story, as the Battling Bowman ponders the situation and points out that, even though he hadn’t paid his ward much attention lately, the kid shouldn’t have needed much at his age, being in college and all.  Then O’Neil once again turns Ollie’s jerk dial to 11, as, from that, he concludes that he is completely “innocent of blame,” which is a self-righteousness and self-deception that is breathtaking, even for O’Neil’s Green Arrow.  Still, in all of this melodrama, there is some realism.

After concluding that he’s father of the year after all, the Emerald Archer sets out to take revenge on the pushers who he blames instead, heading to the airfield where he previously traced their supply to pick the investigation back up.  Meanwhile the two junkies who betrayed our heroes last issue come to Ollie’s place looking for Speedy and, not finding him, decide to shoot up their reward.  The drugs are pure, and one of them overdoses in what is, admittedly, a pretty good scene, though Adams perhaps overdoes the revelation a bit.

Later, we find Hal Jordan still running through previous events, unable to shake the feeling that there is something wrong with Speedy, and when he heads to GA’s to check on the kid, he finds the junkie and begins his own investigation.  Ollie, for his part, turns the table on a guard at the airport who gets the drop on him and is sent into a trap for his troubles.  It’s a nice scene, emphasizing both his anger and his skill, that he’s still dangerous, even with a busted wing.

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In the meantime, the Emerald Gladiator finds Speedy passed out in an alley and discovers the truth.  They have an almost decent conversation, though O’Neil overdoes the youth’s rhetoric a bit.  The generation gap stuff he spouts is a little problematic given the fact that most of the members of the previous generation Roy knows are freaking paragons of virtue.  Nonetheless, Hal’s measured response and kindness is a very pleasant departure from his stupidity and naivete from early in the run.  The ring-slinger takes the kid to Dinah’s house for sanctuary.

On the docks, where the Battling Bowman has followed the guard’s tip into trouble, he finds the thugs he tangled with at the airport last issue.  We get a nice fight scene, with Arrow still holding his own, but it ends with him getting knocked out.  When he comes to, we meet the man behind the drug operation, a wealthy socialite named Saloman, whose massive yacht, stuffed full of important people, is just leaving.  He tells his men to dump the antagonistic archer into the drink as soon as he’s away.

green lantern 086 018Adams gives us a fantastic image of Ollie’s plight, as he’s tossed overboard tied to an anchor, but the hero manages to grab an acetylene arrow and cut through the chains, making a desperate and dramatic escape.  Just then, the Lantern arrives and disposes of the thugs with some green gorillas.  As they pursue the head honcho, Speedy is busy going through withdrawals, aided by Black Canary’s quiet compassion in another good sequence, improved by a lack of dialog.

In the Caribbean, Saloman Hooper visits his pharmaceutical lab, where he picks up a suitcase worth of dope (which doesn’t seem like enough to justify the scope of his operation), only to be caught in the act by the Green Team.  While Ollie takes out the mogul’s minion with a one-armed arrow shot (shades of Dark Knight Returns!), Hal tosses his friend his ring in order to deal with Hooper with his own two hands.  This is actually a pretty believable, satisfying moment, unlike the book’s tendency to have the Lantern just decide that he needs to use his fists to feel like a man.  He’s angry, and he takes it out on this privileged punk, but he has enough self control to do it ‘unofficially,’ so to speak, like a cop putting aside his badge to do something that needs doing but which falls outside of the law.  Notably, Arrow calls him on this afterward.

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The issue ends with the funeral of the junkie who overdosed, where Hal and Ollie are joined by Dinah and a recovered Roy.  Unfortunately, the newly clean Titan is in no mood to mend fences, and he lashes out at his former guardian, giving a speech about how people like him, who lack compassion, are contributing to the crisis that so many young people face.  As Speedy walks away from the closest thing to family that he has, Green Arrow finds himself proud that the boy has become a man.

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That final scene isn’t as heavy-handed as I remember, though the melodrama still sets my teeth on edge a bit.  What’s worse, it leaves the situation between our hero and his surrogate son unresolved and embittered.  That’s a shame, and this story’s consequences will be deep and long-felt.  On the whole though, this is actually quite a good issue, sensitive and perceptive, but also an engaging and exciting adventure, with some real, if sometimes discordant, character development to go with it.  Once again, the message of compassion and understanding towards drug addicts is powerful, and the theme of empathy, learning to see things from someone else’s perspective, is effective and an interesting continuation of O’Neil’s better efforts in this run.  I think the story itself would have been a bit more effective if we had met our villain a bit earlier, as he’s mostly just a convenient and morally acceptable punching bag, an outlet for outrage and despair.  Still, O’Neil manages to make the guy loathsome in very little space.  Roy’s sudden and complete recovery is more than a little silly, in regards to the reality of addiction, but I suppose allowances can be made for the medium.

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Adams’ art continues to be beautiful and compelling, really capturing the emotion and the power of the moments he portrays.  And yet, even with that focus on drama, he manages to give us some fun and funny moments, like with Ollie’s expression during his impromptu dive.  Once again, we see Adams’ power with a more intimate, personal story.  I just love his portrayal of Ollie.  Characters of that scale are really what he excels at, which is part of why his Batman run is so legendary.  All in all, this is a very good story, only slightly damaged by O’Neil’s excesses and his lack of forethought.  It is an important comic, culturally, and its themes and subject were incredibly groundbreaking in its time.  Heck, we’re still fighting some of these battles, and a story that reminds us of the humanity of those who are suffering is still relevant, perhaps moreso these days than in recent years.  I’ll give this milestone issue 4.5 Minutemen out of 5.  It isn’t perfect, but it really is a good one.

P.S.: To mark just how important his comic book was, it carries a copy of a letter from the Mayor of New York, commending the creative team for their work and pointing out the seriousness of the drug crisis.

 


Mister Miracle #4


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“The Closing Jaws of Death!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Editor: Jack Kirby

“The Romance of Rip Carter”
Writers: Jack Kirby and Joe Simon
Penciler: Jack Kirby
Inker: Joe Simon

“Jean Lafitte: ‘Pirate or Patriot?'”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Jack Kirby

We’ve got another marvel-packed issue of Mister Miracle here, and, as always, I was excited to read it, especially after the pulse-pounding excitement of last issue’s Paranoid-packed pandemonium.  Sadly, this one doesn’t quite live up to the thrill of the first half, though it does introduce us to a wonderful character and an important part of Scott Free’s supporting cast.  It’s got another great cover, like most of this series, though one wonders how our escape-artist hero gets from being locked in a trunk to tortured in a medieval dungeon.  The answer is, of course, Kirby madness.  Nonetheless, we get another death-defying scene in this cover, memorable and exciting, beautifully rendered by the King.

Inside, we don’t start with the miraculous one plummeting to his death, still locked in that suitcase, but back at his home, where a fretting Oberon finds himself with an uninvited guest.  A fierce and outlandishly armored warrior woman appears behind him, jarring the loyal fellow from his reverie rather violently.  She declares herself a friend of Scott Free and demands to know where he is, mentioning they both come from Apokolips.  When Oberon mentions Doctor Bedlam, the newly introduced Barda suddenly teleports after her friend, fearing for his life.

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Now we pick up where we left off, and Scott’s situation looks hopeless, but Barda appears in a flash of light and catches his suitcase in a feat of strength, casually ripping it apart, ropes and all, only to reveal that it is…empty!  Wonderfully, we don’t see how the eminent escape artist pulled off this trick just yet; instead, we see him perched on a balcony several floors up, where he is quickly swarmed by more crazed civilians.  They think he is a vampire and attempt to stake him, but Mr. Miracle is too slick for them, and eludes his pursuers in several fun pages, even sliding down the banister of the staircase like Errol Flynn.

mrmiracle-12Suddenly, he’s attacked by refugees from a Robin Hood picture, as a bunch of guys in medieval costumes capture the hero.  They drag him into a dungeon, which turns out to be a set in the Galaxy Broadcasting TV studio, conveniently located on this level.  Inside is a director, even nuttier than most, who directs his men to kill the interloper so that his death-throes can make for good television!  Despite his struggles, Scott is forced into an iron maiden, and all seems lost as the lid slams shut.  The whole scene is fun but utterly crazy.  It reads like a Fantastic Four issue from the era where Stan and Jack weren’t talking to each other and Stan was thrown into narrative gymnastics in an attempt to explain the bizarre and unrelated images Jack created as his imagination ran away with him.  However, this time, there’s nobody to blame for the sudden shift and strange explanation other than Kirby himself.  I guess he just wanted to draw an iron maiden, so he shoe-horned the setting in, logic be darned!

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Back in our original office-building setting, Barda is getting attacked herself.  She casually rips a stone column out of the lobby and tosses it onto a half dozen men, almost certainly crushing them all to death.  Despite Mr. Miracle’s insistence that she stay out of this so that his deal with Bedlam could be honored, she is worried, so she pursues her friend, smashing her way through the overly-excited extras in the process in a really nice panel.  Yet, when she pries open the torture device, it is empty, and Scott casually strolls up and greets her.  Once again, we don’t find out how he accomplished this yet, establishing a running joke in the issue.

The two press on, confronting the disembodied energy-form of their antagonist in another nice sequence.  Bedlam promises to unleash the entire fury of the building’s trapped inhabitants upon the pair, but the next thing we see is them teleport back home, greeting a worried Oberon and catching up.  The dialog in this section is pretty rough and stilted, especially when Scott awkwardly declares: “Maximum is the word for you, Barda!  I could never think of you without deep and genuine fondness.”  I know that line just makes the ladies swoon!  From the start, Barda and Oberon are sparring verbally which, despite the dull dialog, is still fun.  We learn that Barda helped her friend escape, but she didn’t go with him, and now she’s an officer in Darkseid’s Female Furies, as everyone helpfully spouts exposition.

In a fun little scene, Scott takes the domestic roll, preparing dinner for Barda, which is really striking in a comic from 1971.  That’s honestly somewhat groundbreaking.  I doubt you’d ever see Superman making dinner for Lois Lane!  It also establishes the unusual dynamic between these two characters.  As he works, the heroic homemaker reluctantly explains to his assistant how he escaped from the various traps he faced.  We’re introduced to the ‘multi-cube’, Scott’s multi-purpose escape tool, which will become a common feature of his stories, if I remember correctly.  Mr. Miracle used it to cut his way out of the trunk as it twisted in mid-air, which works pretty well as an explanation.

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Unfortunately, the other stories aren’t nearly as good.  He used a fast-acting acid on the back of the iron maiden and literally just stepped through it, which apparently no-body noticed.  Even more problematic, he literally presses the ‘off’ button on all of the panicked people in the tower, putting them to sleep with his multi-cube and just waltzing out the front door.  Okay……why not just do that in the first place?  That’s a pretty massively unsatisfying conclusion, which is a shame, because this is otherwise a really fun issue.  The yarn ends with Barda showing up for dinner, having changed out of her armor into something a tad more revealing, leaving Oberon picking his jaw up off the floor.

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This is a solid adventure, despite its glaring deus ex machina, though it is primarily worthwhile for introducing Big Barda, who will eventually become Scott’s partner and wife, creating one of the great comic relationships and partnerships.  Mr. Miracle without Barda is like Nick without Nora, and she is, even from this first appearance, a unique and interesting character, further credit to Kirby’s boundless creativity.  In addition, I absolutely love Scott’s laughing, devil-may-care attitude throughout the story, the extra element of flair and style to his antics, which really capture his personality and are part of why I love the character.  I also quite like the running gag of not explaining his escapes right away, however flawed the execution is here.  Hopefully Kirby will make better use of it in the future.

Art-wise, we’re seeing some rough panels again with this issue, and I think Colletta’s impact is still being felt.  On the plus side, it seems we get a new inker next issue!  Despite some weaknesses, especially with inking and coloring, there are some wonderful panels and some fun, dynamic sequences throughout.  Ultimately, I’m quite torn on the score.  This issue’s flaws are significant, especially the dialog and weak conclusion, but it is also a lot of fun.  I suppose I’ll be generous and go with 3.5 Minutemen, as the comic is carried along by the interest of Barda and the fun of Scott.

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The Phantom Stranger #15


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“The Iron Messiah”
Writer: Len Wein
Penciler/Inker: Jim Aparo
Colourist/Letterer: Jim Aparo
Editor: Joe Orlando
Cover Artist: Neal Adams

“I Battled for the Doom Stone”
Writer: Ed Herron
Penciler: Alex Toth
Inker: Alex Toth

“Satan’s Sextet”
Writer: Robert Kanigher
Penciler: Tony DeZuniga
Inker: Tony DeZuniga

“I Scout Earth’s Strangest Secrets”
Writer: Jack Miller
Penciler: Mort Meskin
Inker: Mort Meskin

What a wildly, wonderfully ridiculous cover image.  It’s gloriously strange and unusual and so very, very much something that could only happen in comics.  We’ve got an African witch doctor raising a zombie…but not just any zombie, a ROBO-zombie, complete with stainless-steel robo-zombie Afro, all while the shadow of the Phantom Stranger looms in the background.  It’s a thing of mad beauty, and I love it.  It’s beautifully illustrated by Adams, and it absolutely grabs your attention.  Could you honestly say you could see that image on the newsstand and NOT want to figure out what in the blue blazes is happening inside?  If so, I can only assume you’re an imagination-less wreck of a human being.

The story within doesn’t quite live up to the glory of the robo-zombie cover, but then, how could it?  It is an interesting and unusual one, though, and it begins, not with necromantic robotics (more’s the pity), but with a young African scientist named John Kweli, who is returning to his native country after having been educated in the West.  Suddenly, the train on which he’s traveling derails in a fiery crash, and the brilliant man would have died, if not for a Stranger pulling him from the wreckage.  Kewli awakens in the home of an old friend, Ororo (no, not that one).  She has treated his injuries, but she also bears bad news, his father, the tribal chief, has died.

John is prepared to come home and take over his responsibilities as chief, but he’s met with resentment for having gone away to be educated and built a life overseas.  His people feel like he abandoned them, including the lovely Ororo.  He also finds things greatly changed, with signs of unrest and oppression everywhere, barbed-wire and troops abound.  Ngumi, the village shaman also rejects John, promising that Chuma, the Warrior God, will free his people without the young man’s help.

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Ororo tells her friend about what has happened in his absence, that though their country has been liberated, they are now enslaved to the interests of big foreign business.  Driving away, John and Ororo encounter a lion and wreck their jeep.  The young scientist bravely prepares to sacrifice his life to lure the beast away, only to have the Phantom Stranger leap out of nowhere to tackle the feline fiend in magical fashion.

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The next day, Kewli goes to visit Amos Trent, the oil company’s man on the ground, but Trent isn’t interested in his pleas or his threats, so the young scientist decides to take matters into his own hands, so of course he builds a robot.  Some time later, a group of soldiers who are abusing the villagers are scattered, not by John, but by “Chuma”, the Iron Messiah, the android John has used his scientific skill to build in order to rally his people.  Over the next weeks, Chuma trains the villagers in the ways of war, and Ngumi, the shaman is revealed as an agent of the oil company.

Unfortunately, even iron will can be bent by such a burden, and Chuma begins to develop human feelings…and human frailties.  He declares his love for Ororo, and when she rejects him, saying she loves his creator instead, the Iron Messiah rejects his role as savior and leaves the people to the fate.  It is here that the Phantom Stranger intervenes once again, convincing the automaton that the only way to prove he is a being with a soul is to choose to help his people, to be better than jealousy and spite.  Back at the village, the government troops have attacked, and John has rallied the people, but they are losing without the power of Chuma to inspire and aid them.

Chuma charges into the battle, turning the tide, but his help comes at a terrible cost, as he shoots his creator in the back in a fit of jealousy, only to be witnessed and called out by Ororo.  The people reject their Iron Messiah and destroy him, thanks again to the Phantom Stranger, who leaves, pondering the enigma that is life and giving a speech about not “tampering in God’s domain.

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It’s…a little abrupt, really, and rather grim.  These 14 pages pack a whole lot in, and Len Wein has a very interesting story to tell…I’m just not entirely sure he’s finished telling it.  We get a robot who develops human feelings, including hatred who turns on his creator, a full on Frankenstein, but it is also sharing space with a story about the exploitation of Africa.  There’s just too much in too little space.  Chuma literally goes from his creation to his renunciation of his purpose in three pages, and John, who has until then been our protagonist, almost drops out of the story at that point.  The Stranger’s attempt at a moral just feels extremely tacked on, though it certainly has potential.  In the end, what exactly was the point of the Stranger’s intervention?  Was it to free the natives from both the outsiders and from their superstitions?  Whatever it is, it needs more development.  The whole thing is cramped, but it is also intriguing in a number of ways.

It is really noteworthy that we have a story set in ‘darkest Africa’ where the natives are not portrayed as ignorant savages, despite their belief and hope in Chuma.  Even more, the natives are not rescued by a white outsider.  Instead, the hero is a black man, and a black scientist at that, who succeeds, not through brute force, but through intelligence and cleverness.  That’s still very much a rarity in any media in 1971, much more so in comics.  We also have another example of the depredations of faceless corporations, as the oil company is pretty unambiguously evil here.  That is a sign of things to come, I’d wager.

The whole tale is beautifully illustrated by Aparo, who is handling all of the art chores.  He gives us some really striking panels and pages, and the art has a nice sense of drama, especially with Chuma.  I’ll give this rushed, slightly muddled story 3 Minutemen, as its strengths and weaknesses somewhat even out.

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“Satan’s Sextet”


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If you thought robo-messiahs were strange, you ain’t seen nothing yet.  Our Dr. Thirteen backup this month is in the style that I think works best, with the good Doctor doing his ghost-breaking on his own, without tangling with the Stranger.  Nonetheless, this particular outing isn’t exactly a home run.  It begins promisingly and strangely enough, with a group of seemingly sinister musicians leading a line of dancers into the sea, where they presumably drown, only for the band to emerge later, still playing.  Later that night, Dr. Thirteen happens to be driving along the beach when he sees a ragged, raving figure stumble out of the surf.

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The man claims to be the wealthy Willard Wentworth, who has a home on the beach.  He hired “Satan’s Sextet” for a house party because he was lonely, but they hypnotized all of the guests and led them to a watery grave.  Wentworth isn’t sure how he escaped, but he stumbled out of the water sometime later, shaken and terrified.  Thirteen agrees to investigate, but when they return to the beach house, they find it packed with people, a party in full swing.  The owner claims not to know any of them and accuses the band of murder.  Dr. Thirteen insists they stay and continue their investigation (Maybe he just wants to party!), and the pair are given love-beads.

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Suddenly, the band’s music becomes hypnotic, and they once more lead the party goers into the waves.  Thirteen is forced to follow, but his mind is working all the while, and he deduces that the beads are responsible, and he removes his and Wentworth’s necklaces.  Returning to the house, he overhears the convenient exposition by the bandleader, whose motives are…well, as prosaic as his methods are insane.

Apparently, he’s the millionaire’s disowned son, who got plastic surgery and planned this whole thing to kill his father so he could get his inheritance.  The beads had hallucinogens in them which were activated by the vibrations of the band’s music.  Ooookaaaay.  That’s pretty out there, even for comics.  Entertainingly, Thirteen overcomes the band with a massive mounted fish, and the police arrive to tidy things up.  Dr. Thirteen rides off into the sunrise, but not before laying some major guilt on Wentworth, pointing out that he must have really screwed up to raise a murderer!  Ouch!

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This is a fun concept that sadly doesn’t really deliver a good story.  The image of the Pied-Piper-esq murder is really neat and creepy, but the explanation and the motivations don’t live up to the cleverness of the gimmick.  I think this might have worked better as a Phantom Stranger story, with an actual supernatural explanation.  Nonetheless, it’s a decent enough read.  The sequence where Dr. Thirteen reasons his way to the solution to the mystery is quite solid, and it has a nice sense of suspense and stakes as he slowly drowns.  Tony DeZuninga’s art isn’t particularly impressive, but it does the job, though the inking is a bit overdone in some sections.  He tries to create a somewhat psychedelic feel to the band’s sections, and that is partially successful.  I’ll give the whole thing 2.5 Minutemen.

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And with those maudlin mysteries, this episode of Into the Bronze Age comes to a close!  It was a really interesting trio of books, flaws and all.  Thank you for joining me on this journey, and please come back soon for another edition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: September 1971 (Part 4)

 

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Solomon Grundy was born on a Monday, and Into the Bronze Age was born, fittingly enough, on a Saturday.  Not quite as catchy though, is it?  Nonetheless, here we are on a Thursday with a brand new set of Bronze Age comics to cover.  Welcome readers, to a new edition of Into the Bronze Age!  We’ve got the finale of our JLA/JSA crossover, another episode from Kirby’s Fourth World, and some Superboy shenanigans to peruse in this set, so let’s get to them!

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #92


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“Solomon Grundy – The One and Only”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

“The One-Man Justice League!”
Writer: Gardner Fox
Penciler: Carmine Infantino
Inker: Joe Giella

“Space-Enemy Number One!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Carmine Infantino
Editor: Julius Schwartz

This month brings us the second half of this year’s JLA/JSA crossover, which promises another entertaining tale.  Adams’ cover, though dramatic, is a bit lackluster, with Grundy being a bit oddly proportioned (which actually fits the art within, sadly), and the image being a bit plain, other than the forms of the fallen heroes.  Nonetheless, it proves accurate, as the comic opens with the League and Society forces on Earth-2 defeated and at Grundy’s none-too-abundant mercy!

Grundy is at his most monstrous and, unfortunately, so is Dillin’s art.  While the swamp creature’s size was inconsistent last issue, it gets rather ridiculous this month, with the monster changing size from panel to panel like his name is Hank Pym.  Grundy’s size switching aside, things look dire for our heroes until Superman comes to and slaps his foe’s ears back, freeing himself and distracting the zombie while the others escape.  Through brief check-ins with the aliens, we learn that the young extraterrestrial boy, A-Rym is beginning to fade, but his plight remains unknown to the Leaguers and Society members.  To make matters worse, none of those heroes efforts prove effective against Grundy.

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Meanwhile, in the Batcave, the two Robins are recovering, and the Earth-2 elder gives his young counterpart an alternate costume of his, and we’re introduced to the Neal Adams design for new Earth-1 Robin threads.  As a fun Easter Egg, Adams himself gets referenced by the Adult Wonder in the story.  The costume itself isn’t perfect, but it’s a vast improvement over the by now wildly inappropriate getup of the Pantsless Wonder.  It’s got a lot of potential, and upon later revisions, it will turn into a really wonderful costume.  For my money, the version that showed up in Batman: The Brave and the Bold is just about perfect and one of the all-time best Robin looks.  Interestingly, this costume is presented to the audience as a possible change for Dick in the main DCU, and the editor invites fans to write in if they want to see it.  Sadly, the response must have been underwhelming, and we got another decade of Robin’s bare legs.  That’s a crying shame.

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Anyway, after a brief check-in with Barry Allen on the Satellite, where his wife comes to care for him, which is sweet, we’re back to the gathered champions as they regroup.  Hal whips up a temporary power ring for his counterpart, and the pair of them peel off to tackle Grundy while the Hawks head out to capture the kid.  The Robins arrive and give the Winged Wonders a hand, recovering Alan Scott’s ring in the process, but it is the youngest member of the team that finally ends the struggle.  Teenage-Grayson connects to the scared young alien.  Realizing that the yellow-skinned being is no monster, he comforts the poor kid.  This scene also features a rather cool moment where the Teen Wonder uses his new costume’s ‘wings’ to glide in for a punch.  How did this not become his costume?

Meanwhile the two Emerald Crusaders clash with the zombie menace as he tears through the countryside, but individually their diluted rings are too weak.  Finally, combining their willpower, they knock Grundy out.  When the original Lantern recovers his ring, the green team seals the behemoth in his swamp.  The tale ends with teams on the two Earths managing to put the pieces together and reunite the pair of alien menaces, converting them to just a boy and his dog and saving both of their lives.  With their energy signals finally strong enough to detect, the boy’s brother is able to recover him, and the League and the Society have a friendly farewell.

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JusticeLeagueofAmerica_092_10This is a fun adventure, though it shrinks the scope of the story a bit from the previous issue.  It’s always enjoyable to watch these two sets of heroes go into action together, and everyone in the Earth-2 group gets something to do.  The action scenes are nicely balanced that way.  Yet, Friedrich doesn’t bring too much color or depth to their interactions, with the exception of the incongruous generational conflict from the previous issue.  He does bring that weird forced drama between the Hawks and the Robins to a conclusion, with everyone shaking hands and parting friends.  That element continues to feel rather pointless, and even the characters themselves seem to have little time for it.  Unfortunately, this yarn once again displays the rather sappy tendencies of “Touchy-Feely” Friedrich, but his excesses aren’t too noticeable in this outing.

This issue does have some real weaknesses, though, with the resolutions feeling far too simple and convenient.  You have the combined might of the Society and League beating on Grundy for most of two issues, and then the two Lanterns just zap him unconscious in two panels, which seems more than a little anti-climactic.  The wrap-up to the kid’s plot is also a bit quick, but if you’re living in the DC universe, I suppose you’d get used to drawing connections between strange events.  After all, they almost always end up being linked!  Sadly, one of this story’s biggest weaknesses is the art.  Dillin’s not at the top of his game, so the action is often stiff and unattractive, but he is juggling a pile of characters.  All-in-all, this is a fun if flawed conclusion to the first adventure.  I’ll give it 3 Minutemen.  The interesting premise of the first chapter doesn’t quite live up to its potential here.

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P.S.: One of the cooler facets of this issue is the teaser that it carries for the next, which shows Batman, Green Arrow, and my favorite, Aquaman, lined up in the crosshairs of an assassin!  Exciting!
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New Gods #4


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“O’Ryan Gang and the Deep Six”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

“The Secret of the Buzzard’s Revenge!”
Writers: Joe Simon
Penciler: Jack Kirby
Inker: Jack Kirby
Editor: Whitney Elsworth

We’ve got another issue of the most epic of Fourth World titles this month, and it’s got another rather lackluster cover.  All of the action is crowded into the bottom half of the page by the cover copy, and the unbalanced image full of squashed, disproportionate figures, is not the King’s best work.  Sadly, that’s true of what lies within as well.

We start with something very promising, something perfect for the cosmic drama of Kirby’s Fourth World, as Metron takes a young New Genesis student on a space-and-time spanning trip in his Mobius Chair, visiting a primeval world, ruled by massive, monstrous beasts and equally monstrous men.  Kirby gives us a stunning double-paged splash as the enigmatic scholar of the New Gods philosophizes about the stages of human development, making an interesting observation that humankind is much more willing and capable of higher spiritual development once “their bellies are full.”  Once the pair return home, they are greeted by Highfather, who solemnly informs them that one of their number has fallen…on Earth!

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On that beleaguered world, Orion has discovered that fallen comrade, the aquatic Seagrin, whose body is being pulled out of the waters that were ever his home.  The warrior is moved by the death of his friend, and he calls on the latter’s Mother Box to return him to the Source, which she does in a fiery explosion full of Kirby crackle.  This is a striking scene, demonstrating both the King’s dedication to the elevated tone of his tale, with this death establishing the stakes and the seriousness of the conflict, while also showing his prodigious creativity, as he invents an interesting looking character just to kill him off without even a single panel of life.

As the holocaust abates, the Black Racer is seen tearing through the flames, having claimed the life of a god!  We get a very brief check-in with his supporting cast as the Racer returns to the paralyzed form of Willie Walker, and then we see that the drama of the moment has been observed by Darkseid, but none of this amounts to much.

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For however much he may be a poor fit for this story, I have to say, I rather like Victor Lanza’s unabashed meekness.

Meanwhile, Orion returns to his collection of human allies, who helpfully recap their names and motivations, which is necessary because there’s very little memorable about them.  The New Genesis warrior explains that Darkseid has imported a device to hide the Apokaliptian presence on Earth, which is shielding his minions.  Orion explains that the warlord has probably entrusted it to his human servants in Intergang, so he plans to use his own ‘gang’ of humans to find and destroy the machine.  Using Mother Box, the Dog of War tracks down an Intergang member, and he and Dave Lincoln shake the fellow down to discover the device’s location.

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Even when creating very conventional story beats, Kirby still introduces creative twists, like Lincoln and his pipe.

ng04-21At a remote spot on the edge of the city, lovely Claudia Shane decoys the guards by faking a stalled car, only to gas them with the help of New Genesis technology (Note the wonderfully distinctive yet visual consistency with which Kirby depicts even something as simple as a switch).  With the way clear, the rest of the gang moves in, and the timid businessman Victor Lanza confronts the local Intergang headman, “Country Boy,” pretending to be the consigliere of the “O’Ryan Mob.”  He bluffs the apparently not-too-bright boss into showing off the incredible hi-tech device that Darkseid entrusted to him, allowing Orion to destroy it.  Man, Darkseid is so going to kill that guy.

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ng04-25With the jammer destroyed, Mother Box is able to pinpoint one of Seagrin’s killers, the leader of the devious Deep Six, Darkseid’s aquatic shock troopers.  Setting out to challenge this fiend, known as Slig, the Dog of War heads into the sea, but his foe is ready for him.  Apparently the Six have the power to mutate sealife into vicious and useful forms, and Slig uses this ability to capture Orion in grasping tendrils of seaweed.  The warrior is able to escape by triggering the Astro-Force, but it is a desperate and dangerous maneuver that leaves him stunned.  And it is there that our tale ends!

This is a slightly disappointing issue, really.  It has a wonderfully imaginative cosmic opening, and the scene where Orion finds his fallen friend is somewhat touching and dramatic.  Yet, those promising beginnings feel a bit squandered in the story that follows.  The action as Orion’s crew chases down the Intergang stooges is entertaining enough, but it feels uneven and a bit anticlimactic after the more bombastic events of the previous issues.  His helpers remain rather underdeveloped and continue to feel mostly unnecessary.  The teenage kid literally contributes nothing to this issue.   It doesn’t help that the main antagonist, “Country Boy,” sadly lacks the interest and personality of the other Intergang representatives we’ve seen, like “Ugly” Manneim and Steel Hand.

Yet, unfortunately, the biggest weakness of this issue may be the art, or perhaps it is the inking.  Colletta over-inks several of these pages, drowning out detail and hurting the artwork.  Kirby’s pencils themselves are not at their best either, most notably with Orion.  There are some wonderfully cosmic, imaginative panels and pages, but their execution is often either a bit off or they are drowned in ink.  Nonetheless, there are still wonderful Kirby-esq moments, like the destruction of the Apokoliptian device and the opening sequence.  Despite those weaknesses, though, this is still a fun issue.  While it feels a bit more like it is marking time than really advancing the plot, the ride is enjoyable, and there are some interesting stops along the way.  I’ll give this uneven issue 3.5 Minutemen.  It’s still a bit above average.  It’s entertaining, but I imagine it’s one of the weaker issues of this title.  Speaking of future stories, I’m looking forward to Orion’s showdown with the Deep Six, which I remember being a really cool issue, one that took more advantage of the setting and scope of Kirby’s Fourth World.

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P.S.: Once again, this issue includes a backup of a classic Kirby tale from the Golden Age, this tiemas well as a few pinups of Fourth World characters.


Superboy #177


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“Our Traitor Super-Son!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson
Cover Artist: Dick Giordano

“Plague from the Past!”
Writer: Leo Dorfman
Penciler: Bob Brown
Inker: Murphy Anderson

Ohh joy, another entry in the grand tradition of Super-Dickery.  This one certainly ticks the usual boxes, too, with an unnecessarily convoluted plot by our hero that has him acting like a complete jerk to those that love him most.  I’ve got to say, this is one trope of the Silver Age that I really don’t miss, as the payoffs were rarely clever enough to justify the logical acrobatics the writers required from their characters or their plots.  superboy v1 177 - 01The cover for this issue sets the stage well enough, even if its not a particularly compelling image (and the lines of its ‘ceiling’ don’t quite make sense).  For once, the promise of the cover is delivered within, though the tale begins in more traditional fashion.  Young Clark’s ‘Earthday’ celebration with his parents is interrupted by reports that the “Mothball Fleet” has suddenly up and set sail, seemingly on its own.  Has Skynet finally achieved sentience?

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superboy v1 177 - 02Not quite.  After a nice two-page spread in which Superboy is attacked by strange weapons mounted on the old ships, only to disable them with his freeze-breath, the Boy of Steel is confronted by a video message from the author of these strange events.  The prosaically named “Cerebron” (I wonder what his gimmick could be) declares that he was controlling the fleet and begins to make some threats before we cut away to the young hero towing the frozen fleet away.  Yet, the storytelling breaks down a bit here, and the fact that the conversation continued between panels isn’t really obvious, which actually caused me some confusion when I read this yarn.

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superboy v1 177 - 04Back in Smallville, Pa Kent is busy loading up produce for his general store (I always forget that he had this store in this era of the comics), when Superboy suddenly swoops in with the police hot on his heels.  The Boy of Might declares that Kent is selling tainted food, and the police haul him away.  Tests prove that the youth’s accusation is accurate, and the Kents are locked up.  I’ll give Dorfman partial credit.  While Ma Kent does the usual “how could he treat us like this!” bit, Pa is more level-headed and points out that there must be a good reason.  After all, they know their son wouldn’t hurt them intentionally.  Now, if only the payoff will justify his faith…

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Meanwhile, the Smallville Superstar quickly removes all traces of his heroic identity from the Kent household.  He’s not a moment too soon, as shortly after he leaves, Cerebron and a henchman arrive and investigate the premises.  Apparently, the cerebral supervillain can track the young hero through a special pair of glasses that detect a radiation trail he is leaving behind.  Finding Superboy’s trail but no trace of his connection to the house, Cerebron slinks away.

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While this is happening, Clark is staying with Lana’s family since his parents are in jail, and Lana is none too impressed with Superboy’s having put them there.  Slipping away, Clark gets into costume and moves his various hi-tech gadgets into a temporary base in a nearby asteroid, only to have it immediately discovered by Cerebron.  Instead of fighting his foe, Superboy detonates the base while he slips away with his stuff, apparently afraid it might be damaged in a fight.  That’s a pretty weak excuse to pad the story out for a few more pages, but Dorfman hurries past it.

superboy v1 177 - 09Over the next few days, the hero and villain play cat and mouse, with Cerebron finding his foe each time Superboy establishes a new base.  Apparently, every time the Boy of Steel tries to attack Cerebron, his ship vanishes…and somehow the kid with a zillion types of vision can’t find it.  Of course, all this time, Ma and Pa Kent are rotting in jail.  Finally, our young hero decides to set a trap for his persistent enemy, and he establishes a base in an wrecking yard, which he seals when Cerebron’s invisible ship enters.  Once again, why X-Ray vision can’t detect the ship is anyone’s guess.  Despite not being able to see the sinister Cerebron, Clark comes up with a clever solution.  He just uses his heat vision to turn the inside of the base into an oven and forces the villain to surrender or be cooked.

superboy v1 177 - 11 - CopyFinally, Superboy captures the clever criminal, unmasking him as Lex Luthor in the process.  We are also treated to an explanation of the story, with Lex reminding us that he hates Superboy because he made him bald.  What an utterly ludicrous motivation for a great villain!  The whole bald angle is a great extra element to the character, illustrating as it does Lex’s pride and vanity, but it should really be ancillary.  It’s just so hilariously absurd that it’s treated as the entire motivation in some of these stories.  Nonetheless, baldy’s plan wasn’t bad this time.  The fleet was a diversion, and its guns really just coated Superboy in radiation that his nemesis could track.  During the unclear intermission where Cerebron threatened the hero, we see that he claims to have figured out the Boy of Steel’s secret identity and promises to kill the Kents if he interferes again.  Thus, Clark faked their arrest in order to protect them…which is fine, but why in the world would he not tell them?  Apparently, the police knew all about it, so it seems that he can trust the police to keep the secret, but not his own parents.  That’s just sloppy writing, which is to be expected from Dorfman.

This is a decent enough story despite the goofiness of that device, if more than a little silly and convenient in some places.  I would say that Superboy’s cruel mind games against his parents justify as abuse, though.  The different scenes as the Boy of Steel travels from base to base are fun, if poorly justified, and his eventual method of capturing the crooks is pretty clever.  I’ll give this slightly below average tale 2.5 Minutemen, largely on the weakness of the poorly used Super Dickery.

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“Plague from the Past”


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The backup, on the other hand, is a solid and enjoyable little yarn, brief and rushed, but effective nonetheless.  It begins with Superboy smashing into an Egyptian tomb in which his friends Professor Lang and Lana have become trapped during a dig.  Once they’re freed, the Boy of Steel helps them examine the various artifacts of the site, including an hourglass dedicated to Anubis, God of the Dead, which can supposedly reverse time.  The youthful hero impetuously tries the device, but nothing happens. Interestingly (abd honestly rather surprisingly for 1971), the characters note that all of these cultural treasures must be turned over to the Egyptians.  Still, the thankful government is so pleased with Lang’s discovery that they reward him with a small sampling of his finds, including the hourglass.

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Arriving home in Smallville to a grand parade, that very artifact falls off the float, only to be caught by Superboy.  Later on, the Boy of Steel volunteers to open the sarcophagus in case there are any more booby traps, but when he does, a strange sparkling gas seeps out and immediately strikes his friends down while leaving him unaffected.  Blowing the gas out the window, he rushes them to the hospital, but the deadly plague spreads rapidly thanks to his unthinking reaction!  Shortly the whole town is stricken with the strange disease, even the hero’s own parents.  There’s a nice little moment where Superboy has a realization about what his invulnerability means in light of a world full of very vulnerable humans.

In desperation, the Smallville Superstar employs the hourglass of Anubis once more, noting that, despite the fact that he doesn’t worship the Egyptian deity, he has certainly come to believe in his power.  The artifact works, and the young Kryptonian is hurled backwards in time to the parade earlier that day.  The hourglass falls once more, and stunned by his temporal journey, he fails to catch it.  Nonetheless, Superboy is elated, and he carefully releases the death cloud from the sarcophagus into space this time, protecting his town.

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This simple adventure is fun and has a nice, if abbreviated, emotional beat for our young hero.  It is more a gesture towards deeper storytelling than anything significant in and of itself, but it is still a nice touch.  One of Superman’s greatest challenges is how to care for the fragile beings that surround him, even in settings like the Justice League.  I also like the twist with the magic hourglass, that it required belief, and the plague certainly provided impetus for that.  I’ll give this entertaining tale a solid 3 Minutemen.

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And that will do it for this batch of books!  We had three very different titles.  The next post will feature a pair of Super-books, including the finale of Denny O’Neil’s year-long Superman saga.  Come back soon and see how he wraps his storylines up.  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: August 1971 (Part 3)

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

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


The Flash #208


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

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

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

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

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

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

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

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

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

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

 

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

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

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“Malice in Wonderland”


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


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

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

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

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

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

 

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

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

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

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

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

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Another Headcount entry!

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

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

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

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

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

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

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

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

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Justice League of America #91


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

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

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

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

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

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

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

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

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

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

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

 

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

 

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

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

 

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

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

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The Head-Blow Headcount:

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


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

Into the Bronze Age: July 1971 (Part 3)

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Welcome to another edition of Into the Bronze Age!  In this post we’ve got old soldiers and new gods, plastic paradises and cosmic chaos.  It’s an interesting set of stories we have on tap today.  Join me as I work my way through them!

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


Roll Call


(You can see everything published this month HERE)

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

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


G.I. Combat #148


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“The Gold-Plated General”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor: Joe Kubert

“Blind Bomber”
Writer: Hank Chapman
Penciler: Mort Drucker
Inker: Mort Drucker

“Cry Wolf Mission”
Writer: Bob Haney
Penciler: Russ Heath
Inker: Russ Heath

“Soften ‘Em Up”
Writer: Bob Haney
Penciler: Irv Novick
Inker: Irv Novick

“Battle Window”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert

This month’s Haunted Tank adventure is a fun one, featuring an unusual guest star, of sorts.  That figure standing astride the tank’s turret on the cover, six-guns gripped grimly in his hands, is probably a familiar one to history buffs.  The cover image itself is a pretty good one, though a bit crowded by copy.  It’s a nice, dramatic image, and beautifully rendered by Joe Kubert in his stark style.

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The crazily courageous general isn’t introduced right away inside.  Instead, we begin with our favorite Confederate ghost, who actually does something useful!  He spies Jeb and crew sleeping as danger approaches, and the general causes a chill wind to awaken them.  The tankers rush to the Stuart, only to have a German tank light up the night with explosive shells.  They’re almost wiped out, and burning debris falls onto the tank.  Crawling low, they manage to reach their vehicle, and they proceed to play possum in a burning coffin, waiting for the Panzer to get close enough to kill.  It’s a pretty great sequence.

 

They hold their nerves long enough and manage to scrag the enemy, but the next day, covered in soot and grime, they meet their new CEO, General Norton.  The tall, resplendent figure, with a gold helmet and gold-plated six-guns, is not impressed, and after calling the unit together, he tells them that they are facing professionals who fight, act, and look like soldiers.  Yet, he claims that the tankers look like amateurs, and he insists on spit and polish, saying they’ll fight better if they look better.  They’ll have more confidence and pride.  Jeb isn’t too sure, but his ghostly namesake agrees.  Of course, this General Norton is an ersatz version of George S. Patton, perhaps the most hard-charging American general in World War II.  He’s a fictionalized version of the great leader, but he has the twin six-guns and the hard-nosed demeanor.

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The affectionate note of the parody/tribute becomes clear as, just then, a flight of dive-bombers attack, sending all of the tankers scrambling for cover.  That is, they all seek cover except the general, who stands tall, firing his pistols defiantly.  Afterwards, still holding his smoking guns, he declares, “From now on we fight on our feet!  We don’t take it!  We dish it out!”  It’s a great moment.  The next day, shaved and cleaned up, the force moves out on a German position, taking heavy fire.  Suddenly, the barrage lightens up, and Jeb sees that General Norton has moved into the lead, drawing the fire of the defenders and leading from the front.

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His tank smashes through a building to flank the German anti-tank guns, and his men follow him in, routing the Nazi troops, another great sequence.  The position secured, one of the crew pipes up to ask if they can drop the spit and polish act now that the General himself is covered in the grime of battle.  Norton’s response is great: “No Corporal!  You see…I’m the general!”

 

This is a good, solid war yarn, with more of a sense of whimsy and fun than most of these.  The inclusion of a Patton parallel is a fun touch, and the character is fittingly larger than life, as was the man himself.  It’s also nice to see the ghostly general Stuart actually do something useful, though his contribution is very brief and very limited.  I’m still hoping we’ll see some stories that will take better advantage of the device he represents.  We are only a few issues away from a big change in the title, so we’ll see! Russ Heath continues to turn out really fantastic work on this book.  The sequence with the crew waiting it out in the burning tank is really fantastic.  If we can’t have Joe Kubert, then Russ Heath is definitely the next best thing.  I suppose this good all-around war yarn deserves 4 Minutemen.

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P.S.: Notably, with this issue, Joe Kubert started adding the famous “Make War no More” slogan on his war titles.  It’s possible it predates their appearance here, but this is the first time it showed up in this particular book.  This was Kubert’s and Kanigher’s effort to tell war stories without glorifying war, and it’s an interesting gesture.  The slogan is appended to every story within.  Obviously this change reflects the growing anti-war sentiments of the DC creators, which in turn reflects that of the nation itself., and we’re approaching the end of the Vietnam War, which was brought about in large part due to the loss of public support.

I’m not entirely sure how I feel about this move.  After all, you could see it as a bit disingenuous to keep telling the same stories but just slap a slogan on them and claim that squares things.  Many of the war tales DC published do, in fact, deal with the horrors of war rather than attempt to glorify it.  Yet, there are those that are a bit more ‘ra-ra,’ especially with the number of reprints in these books.  I suppose that the slogan was the team’s way of making the best of a difficult situation.  Their job was to tell war stories, but they themselves had become increasingly anti-war.  Either way, this new event rather nicely illustrates the cultural pressures coming to bear on the medium.

 


Green.Lantern/Green Arrow #84


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“Peril In Plastic”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Bernie Wrightson
Colourist: Cory Adams
Letterer: John Costanza
Editor: Julius Schwartz

We’ve got another issue of O’Neil’s Green Lantern, to which I was certainly not looking forward.  Fortunately, I was pleasantly surprised by it!  It’s a very strange issue in a lot of ways, and yet, it manages to be much more enjoyable than most of his run.  The cover is not particularly great, however.  The use of the real image in the background rather clashes with Adams’ colorful art.  The plight of our heroes does look pretty dire, but the effect is not entirely successful.  Interestingly enough, the photograph is actually of DC legend Carmine Infantino.  I’m not quite sure what that says.

The story in question begins where the last issue left off, where Hal carried a still crippled Carol Ferris into the (non) sunset, having revealed his identity to her.  The two spend the following weeks reconnecting and rekindling their love.  Adams gives us a half page that has a really neat design to tell the tale of their romance.  Yet, when Carol decides to go visit another specialist in the hopes an experimental procedure will restore her legs, she tells Hal that she must do this alone….for plot reasons.

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At loose ends and a bachelor again, Hal saunters on over to Ollie’s new apartment, which is a far cry from his former rich digs.  As the two friends chat about love and music in a charming scene, they hear a radio broadcast about explosions at a dam protecting Piper’s Dell that threaten to flood the town.  Suddenly, Hal realizes that this was Carol’s destination, and he zooms off to stem the tide!

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Hard to envision Hal as a fan of Dixieland…

At first, the Emerald Gladiator tries to use his ring simply to smother individual explosions, but he realizes that he’s only playing damage control, so he creates a magnet and sucks the bombs directly out of the structure.  Finally, he patches the crumbling edifice with mud, creating an emergency fix.

 

Exhausted by the effort, the Emerald Knight is none too pleased when the town’s mayor approaches him and insists on honoring the hero.  Showing Hal the town, the Mayor, Wilbur Palm, presents cookie-cutter houses and a pollution-spewing factory.  When I read this, my first thought was, ‘oh no, not another environmental sermon!’  But O’Neil actually has a more subtle and humorous game to play here, to his credit.

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The Mayor tells his guest that the factory makes strange little pins called Kalutas, which, every few minutes, tickle their wearers and puff out a whiff of perfume.  Hal’s face as he’s given one of these things is priceless.  Suddenly, the entire town shakes and an odd sound fills the air, but the Mayor simply says it’s the machinery in the factory.

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In a funny sequence, Palm drags Hal up onto a plastic stage, which breaks as soon as the Lantern puts his foot on it, and presents him with a plastic key to the city, which also breaks immediately, all while the ceremony is taped, lacking a live audience.  Finally sick of this strange place, the Green Gladiator tries to take off, only to find that he can’t focus.  Suddenly an army of suits, the Mayor’s ‘Executive Board,’ descend on the shaken hero, beating him mercilessly.  Just before he passes out, Hal summons the last of his will power and sends his ring to Green Arrow.

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Unfortunately, just as the most powerful weapon in the universe arrives, so does Black Canary, and who is going to notice a world-shattering wishing-ring when she’s in the room?  Sadly for Hal, Dinah has gotten her head back together, and she’s come back to town to visit Ollie.  The two head out for dinner, the ring still lying undiscovered in the apartment.  It’s a fun piece of irony.

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Meanwhile, the Lantern awakens to meet an old foe.  It seems that he’s fallen into the hands of…Black Hand?!?  That’s right, O’Neil gives us an honest-to-goodness supervillain for only the second time in his run, and it’s an interesting choice.  Apparently, Hand was masquerading as the mayor, all part of a plan by his corporate masters, who sprang him from prison to run their program.  Essentially, Piper’s Dell is a test case, an experiment.  It’s the company town taken to it’s logical extreme, with the populace not merely beholden to their corporate overlords but literally controlled by them.

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The townspeople are rendered pliable and suggestible by the constant irritations and distractions of the Kalutas, the poisons in the air, and the mind-numbing sounds of the factory.  The villain demonstrates by showing his captive footage of a townswoman being convinced that the hero had tried to destroy the dam rather than save it.  This was, of course, all part of the plan, and Carol was lured to town in order to trap the Lantern himself.  The lovers are reunited, only to be turned loose into a town that has been programed to hate them.

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While one couple fights for their lives, another fights each other.  Dinah and Ollie are having a spat because the bow-slinger fought with a drunk who was hitting on the Canary.  After the lovely Ms. Lance takes her leave, the Arrow finally discovers the ring and quickly sets out to rescue its owner, stopping on the way to charge it.  Now, I’m not 100% positive, but am I wrong, or couldn’t Ollie just slip the ring on and use it?  Either way, we get another funny scene as the newly poverty stricken hero uses his last $20 to rent a dinghy, unable to afford a speedboat, and begins to row.

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Hal and Carol have their own problems, however, as they are being pelted with plastic bricks (!) and chased by crazed townsfolk.  Pinned against the edge of the dam, the Lantern prepares for his last stand when, suddenly, a familiar voice tells him to freeze.  Green Arrow has arrived in the nick of time, and he makes an incredible shot, threading the needle to send the power ring back to its owners, his arrow passing through Hal’s fingers!

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The newly empowered Emerald Crusader makes short work of the mob and smashes into Black Hand’s headquarters.  Despite the villain’s resistance, the Lantern easily disposes of him by melting the plastic roof and entombing his foe in artificial materials.  The tale ends with the gathered friends walking through town and wondering what could possess people to trade their freedom and independence for the type of life that those in Piper’s Dell embraced, only for Ollie to wryly gesture to the Christmas shoppers eagerly snapping up plastic Christmas trees at a nearby store.

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This is a surprisingly good issue.  It’s off-beat, unusual, and more than a little silly, but it is clever and rather whimsical as well, which makes up for a lot.  The lighter tone rather lowers the stakes for the comic, meaning it doesn’t have to work as hard to earn its keep and achieve its aims.  Importantly, the characters are all a lot more likeable than they have been throughout the run so far, with both Hal and Ollie coming off as heroic, intelligent, and capable, which has certainly not always been the case.  The character moments really make this story shine.  The romantic interlude with Hal and Carol is touching and sweet, while the interactions between Ollie and Dinah are pretty darn funny.

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It was also nice to see an actual supervillain show up, and I have always had a bit of a soft spot for Black Hand, despite the fact that he was (in the classic setting) a bit of a goofball.  Sadly, he doesn’t give that great of a showing here, easily defeated as he is and lacking his signature weapon, much like Sinestro in his previous story.  That’s a shame, and it feels like a waste, especially because, despite appearances, Hand is actually a really good choice for this scheme.  He was a grifter and a shill, a smarmy punk with intelligence and zero empathy.  He’s a great choice to head this corporate brainwashing program.  The scheme itself, despite being a bit silly, is at least of respectable dimensions.  The unnamed corporate overlords plan to effectively conquer the world with this technique.  That’s a threat that is worthy of Green Lantern, at least in theory.

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O’Neil’s message here is an interesting one, and it is delivered with a fair amount of wit and charm.  Essentially, this is a critique of the growing disposable, artificial nature of American lives, filled as they are with so much plastic stuff.  It’s interesting to see this concept show up here because it is a common sentiment for old timers today, and I know I’ve heard my father lament “cheap Chinese junk” more than a few times.  In addition, there’s the related theme of people allowing themselves to be distracted by all of these things to the point that they blithely trade away their freedoms and their identities.  This is similar to one of O’Neil’s earlier stories, interestingly enough, in a Superman backup.  Of course, Adams’ art is fantastic throughout, and he does a particularly good job with the satirical elements of the story, portraying Hal’s befuddlement in the town.  His quiet character moments really shine.  I suppose I’ll give this unusual issue 4 Minutemen, despite its silliness.  The character moments lift it up to a higher level, and the fact that is is more satiric than preachy renders its foibles engaging rather than off-putting.

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Green.Lantern/Green Arrow #84


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“Death is the Black Racer!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

More glorious Fourth World madness awaits us in this next issue!  It is a pretty interesting one, introducing another of the zillion and one concepts that Kirby packed into his new mythos, but unfortunately it is one that never quite worked, the Black Racer.  This character seems to be an obvious attempt by Kirby to recapture the magic that conjured the Silver Surfer into existence, but in circumstances that he could control, and who could blame him?  The concept of the Silver Surfer is a pretty silly one, but somehow, it works, probably because of the beautiful simplicity of Kirby’s design.  The Black Racer is not quite so fortunate.  His design is fairly awful, with the garish red, blue, and yellow, the incongruous armor, the skies, and the ski-poles.  Personally, I think it’s the poles that put it over the top, but you could really take your pick, as none of those elements work all that well.

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The cover, for its part, is better than many of those we’ve seen from this set of books.  The photo-background isn’t as distracting as most of the others, and the color of the sky makes it less flat and boring.  The central figure of the racer, however goofy his look, is nicely rendered, and there is some drama to the composition.  Unfortunately, the ski-riding figure doesn’t have the dramatic visual impact of, say, Orion or Mr. Miracle.

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The story itself begins in grand fashion, with a high-stakes race through the cosmos, as Lightray flees from a mysterious figure on skis, the Black Racer.  The young New God tries everything he can think of to shake his implacable pursuer, but nothing works.  He filters his light powers through a giant, crystalline meteor to generate a beam of incredible heat, but his antagonist easily dodges it, matching the youth’s every move.

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ng03-10Meanwhile, on Earth Orion and his rescued human friends make plans to combat Darkseid’s terrestrial forces.  The various mortals each get a little characterization, and Kirby does a good job of developing them in a small space, but they remain largely unused.  As the Dog of War steps aside to put on some native clothes, he ponders his handsome visage, and we learn that Mother Box has reshaped his features to help him blend in on New Genesis and that his actual face is far more brutal and ugly than the one he shows to the world.  Orion, like his readers, wonders what this means about his origins.  It’s an intriguing scene.  His disguises, both guise and garments, in place, he rejoins his friends.

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Lightray, for his part, continues his desperate race, igniting a nascent star in his wake, but his pursuer still hangs grimly to his trail.  Finally, exhausted and distracted, the fiery youth smashes into a meteor and is trapped…until the mysterious Metron suddenly arrives, just in the nick of time, teleporting the Black Racer far away…to Earth!

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On that benighted globe, the Racer is quick to pick up new quarry, and he flies to the ghetto of Metropolis where he finds two gangsters involved in a shoot-out.  After one of the low-lives, Sugar-Man, kills his opponent, he notices that there was a witness to his crime.  An ex soldier, Sgt. Willie Walker, wounded in action in Vietnam and now paralyzed and speechless, lies helplessly in his bed while the thug prepares to kill him, just for good measure.  Suddenly, a gauntleted hand reaches out and blocks the gun, which explodes in Sugar-Man’s face.

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What follows is really striking, as the Racer steps casually through the wall, noting that he’s heard the wounded man’s silent pleas.  The strange figure offers Walker freedom and power, if he’ll just take his hand.  Unbelievably, the paralytic suddenly stands and speaks, and he finds his mysterious visitor’s armor empty on the floor.  When he dons it, he becomes the Black Racer and soars into the sky in search of new quarry.

 

Across town, Lincoln and Orion smash their way into an Intergang hideout, where the gangsters are preparing to plant a bomb for their Apokoliptian masters.  Sugar-Man is one of their hired killers, and the wounded criminal is dispatched with the device while his fellows try to hold off the heroes with their alien weaponry.  Yet, while Orion may be temporarily stymied, nothing stops the Black Racer, who follows the fleeing felon, triggering the bomb and sent it towards space (though a page later we’re told this was Orion with his Mother Box, which is a bit confusing; perhaps we’re meant to understand that the Racer just carries out what is already happening?).  Sugar-Man meets a rather noisy end in low orbit as the bomb goes off.

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The tale ends with Orion and his ally calling the police to take care of their captured gangsters while the Black Racer returns to Willie Walker’s room, becoming the paralyzed soldier once more just before his caretakers, his sister and her husband, come back.  They lament that they left the helpless man alone while a killer was on the loose, not knowing that he himself has become an embodiment of death.

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This is really a fascinating issue, despite the fact that it doesn’t entirely work, and some of its faults are pretty glaring.  Nonetheless, there is something special here.  The idea of introducing a cosmic personification of Death is certainly a fitting one for this setting, and in his way, the Racer fits well into the story Kirby is telling.  After all, the old pantheons always had their death gods, Anubis, Hades, Hela, and the rest.  It makes sense for the New Gods to be the same.  Still, in execution, the Black Racer is flawed as well as promising.  On the one hand, Kirby is adding some diversity to his new mythology, which, inspired by the Norse pantheon as it is, can certainly use it.  On the other hand, just like with Vykin, we’ve got yet another black character with ‘black’ in their name, as if we’d miss the subtle distinction otherwise.  We’re really past the point where creators should know better.  It is noteworthy that Kirby begins to introduce ghetto-based black characters at this point, right as the ‘blaxploitation‘ genre is taking off.’  Remember, it was this very month that saw the release of Shaft, which defined the genre.  Clearly, not only were racial issues in the zeitgeist, but so were stories of minority protagonists in their own settings.

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Silly sobriquets aside, Kirby is doing more than just introducing another celestial champion here, and it is the Racer’s other half that really resonates in this story.  The plight of Willie Walker brings a truly engaging human element to this cosmic drama.  His story is heartbreaking, yet like Daredevil before him, his disability is revealed not to be a bar to his freedom, but in this case the price is a strange and perilous one.  The setup is rich for development and story possibilities, though, if I recall correctly, that potential goes unrealized in the short life of this book.  Time will tell on that score.

On the art front, Kirby’s not at his best in this issue.  His work is often rough and uneven, and some of the big moments are a actually rather unattractive.  This is also true of his designs.  While the gangster character have some of that classic Kirby panache, the Racer is just a mess.  It is fun to see Orion playing Phillip Marlowe, complete with fedora and dark suit, though.  This is just a flawed treatment of a flawed concept, but both the issue and character it introduces have a certain amount of charm despite their failings.  I’ll give it 3.5 Minutemen, as despite rough art and a poor design, there is something worthwhile in the Black Racer and his debut issue.

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Interestingly, according to the Kirby Museum’s great article on New Gods #3, apparently DC was eager for characters that could be spun out of the King’s Fourth World should it prove a hit, so part of the insane productivity and fertility of these books is probably in response to pressure from the powers that be, as well as Kirby’s own desire to populate his own comic book universe.  He certainly had enough different concepts introduced in these books to furnish an entire comic line, from the Black Racer to Lonar the Wanderer (who we’ll meet eventually).  That certainly sheds a new light on some of the unusual narrative choices Kirby made in his Fourth World titles.

Well, whatever the case, we have run out of post!  Three more issues down, and entertaining reads all!  I hope that y’all enjoyed my commentary and will join me again soon for the next batch of books.  Until then, keep the Heroic Ideal alive, and try to stay ahead of the Black Racer!

 

Into the Bronze Age: May 1971 (Part 4)

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Welcome back Internet travelers!  In belated honor of Jack Kirby’s 100th birthday last week, I’ve got a new post featuring some comic goodness, courtesy of the King!  As you might imagine, there are also plenty of features celebrating this event out there in the vast Internet ocean.  Check out a nice set of tributes on Kirby-Visions, a lovely biography of the King on The Kirby Effect, an affectionate tribute from the Fire and Water Podcast (Gallery), and a great cover gallery of the Master’s 70s work on Diversions of the Groovy Kind!  If you happen to be in New York, be sure to swing by the Kirby Museum for a celebration of the man, the myth, the legend, and his life and works.

So, let’s see what these books have in store for us!

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


Roll Call


(You can see everything published this month HERE)

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

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


Forever People #2


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“Super War!”
Writer: Jack Kirby
Pencilers: Jack Kirby and Al Plastino
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

We start this post off with the second issue of The Forever People, which has a rather uninspiring cover.  We’ve got a nice, dynamic Kirby figure on the front, as Mantis leaps out at us, but I really rather dislike photo-collages on covers.  They just look drab and ugly.  The black and white image, fuzzy from 70s printing limitations, just seems a mess, contrasting unpleasantly with the clean-lined characters.  The story inside, however, is more successful, giving us a more thorough introduction to our young heroes, and with no Superman to steal the spotlight this time.  The tale begins with the kids having apparently arrived right in the middle of a major intersection in a city, and their arrival provides quite a stir and quite a traffic jam.  The gang are all amused at the quaint ways of the humans and their slang, and after some hijinks where the youths are mistaken for hippies, they hop on the Super Cycle and ‘phase out,’ arriving in a nearly abandoned section of town.

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Meanwhile, we meet the villain of our piece, and not in the most impressive fashion.  Apokaliptian soldiers drag the Mighty Mantis from a cocoon and throw him before Darkseid.  For his part, Darkseid has suddenly snapped into focus, much more the character that would come to shake the very foundations of the DC Universe than the one we met last issue.  From his craggy features to his imperious manner and grand plans, this is our villain fully realized, which is nice to see.  I rather imagined it might take more time for Kirby to find his feet with him, and there may still be some adjusting.

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Yet, Darkseid is ever in charge, and he berates his cringing subject for his attempt to usurp power for himself.  It seems Mantis wanted to conquer Earth for himself, and, surprisingly, Darkseid agrees, just reminding his minion that he still answers to the master of Apokolips, who plays a more subtle game.  Mantis returns to his ‘power pod’ to continue gathering his strength.

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Meet one of the greatest villains in the history of comics.

Amidst the derelict buildings of their destination, the Forever People encounter a crippled young boy on crutches named Donnie, who is really excited to meet super beings like them.  His uncle, Willie, the watchman of the area, is somewhat less thrilled, however.  He threatens the group with a gun until Beautiful Dreamer uses her illusion powers to make him see them as clean-cut, normal kids.  There’s actually sort of an interesting note of social commentary as she says, “You used to know lots of kids like us!  Remember?  We never passed without saying ‘hello’!”  I imagine that there’s a note of wistfulness, a sad acknowledgement of the growing generation gap, and a wish for its healing, in that little statement.  One can easily see Kirby himself having known such kids and missing the world they inhabited, yet also still acknowledging that young folks weren’t bad just because they didn’t fit that mold.

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I don’t think naming yourself ‘Beautiful Dreamer’ is going to help your case, girl.

At any rate, as Willie invites the youths to stay with him, night falls over the city (we haven’t been told which city), and Mantis emerges from his pod in a very vampire-esque sequence.  His powers at their zenith, he blasts his way out of the tunnels that have sheltered him and begins an attack on the city.

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Our young heroes are busy scouring the abandoned apartments for furniture to furnish their new pads, and young Donnie is introduced to Serafin’s ‘Cosmic Cartridges,’ which lead to a pretty cool psychedelic scene when the boy touches one.  It’s a nice moment of Kirby Cosmic, and it is really a dose of something new at DC, with lots of potential imaginative power.  Their tete-a-tete is interrupted when they see a news broadcast of Mantis’s rampage, and the Forever People quickly rush to summon the Infinity Man!

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The mysterious champion from beyond the realm of the natural laws confronts Mantis, who is fighting with the city’s police, lobbing charged objects at them like a more garishly garbed Gambit.

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Infinity Man belts the perilously powered villain, but Mantis responds by encasing his foe in a block of ice “which can hold giant worlds in the grip of icy death!”  Meanwhile, Darkseid and Desaad observe the situation, with the sinister scientist measuring the rising fear within the city in the hopes that it will stimulate the mind of the one who possesses the Anti-Life Equation!

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Mantis continues to run amuck, creating flowing streams of magma and reveling in destruction, but the Infinity Man doesn’t play by the normal rules of physics.  He uses his strange powers to molecularly disassemble his icy tomb in a scene with a cool concept but rather poor execution, for which I’m fairly certain we can at least partially blame the inks.

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Freed, the hero attacks the Apokalyptian would-be conqueror once more, striking him with a beam that destabilizes Mantis’s powers, causing him to vent his stored energies uncontrollably.  The defeated felon flees into hiding once more, and the Infinity Man summons the Forever People back to Earth and disappears into the ether.  The comic ends with Darkseid dispassionately regarding Mantis’s failure and making his inscrutable plans.

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This is a pretty solid second issue.  We get to learn a bit more about all of our young heroes, and once more I’m struck with how good a job the King is doing with their characterization in relatively small space.  There is a lot of personality on display in their pages, from the boisterous good humor of Big Bear to Serafan’s wide-eyed fascination with human culture.  Yet, we still don’t see the kids do much of anything.  even the Planeteers tended to be more useful than these five.  They summon the Infinity Man right away, and he provides a fairly impressive showing.  The fight with Mantis is pretty exciting, and Kirby makes it fairly creative and entertaining.

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fp02-26Sadly, one of the real weaknesses of the issue is the art, which I really didn’t expect.  I’m fairly certain we’re seeing the consequences of having Vinnie Colleta inking all of Kirby’s books.  There is a lot of heavy inking, lost detail, and empty backgrounds.  There are some muddy, ugly panels as well.  Of course, the King’s pencils are not at their best here either, and the really striking moments often share space with some slightly awkward panels, like Mantis’s strange flight pattern during the fight.  When the art is good, it’s great, but when it’s bad, the contrast is quite telling.  Still, there are some wonderful moments throughout.

Notably, Kirby’s attempt at creating unique speech patterns for his New Gods is on full display here, and it is partially successful.  The kids strike a mostly enjoyable balance, providing an ‘outsider’ perspective on human culture with almost-hip dialog that isn’t quite recognizable, but Infinity Man and Mantis are a little odder, overly-written and a bit off-putting at times.  The final result is a fun, enjoyable issue that continues to unfold the mysteries of the cosmic epic Kirby is weaving, and it’s certainly worth a read.  I’ll give it 3.5 Minutemen.

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G.I. Combat #147


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“Rebel Tank”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor: Joe Kubert

“Sniper’s Roost”
Writer: Bob Haney
Penciler: Mort Drucker
Inker: Mort Drucker
Editor: Robert Kanigher

“Tin Pot Listening Post!”
Writer: Bob Haney
Penciler: Jerry Grandenetti
Inker: Jerry Grandenetti

“Broomstick Pilot”
Writer: Ed Herron
Penciler: John Severin
Inker: John Severin

“Battle Window”
Writer: Robert Kanigher
Penciler: Ross Andru
Inker: Mike Esposito

“Target for an Ammo Boy”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert

You sure got a lot of story for your quarter in these old books.  Just look at all of those war yarns packed into this comic!  Anyway, they all lie under a decently dramatic cover, the classic perilous situation cliffhanger, and the Haunted Tank tale it represents is a fair one, though it has some elements that sit somewhat uneasily with me in light of recent events in the U.S.  It starts with Jeb and his crew being left behind by their C.O., who gets knocked out defending a bridge.  The Haunted Tank rides to the rescue in a wonderfully dramatic sequence full of action and explosions, two important ingredients in awesomeness.  Jeb brings his tank in through cover, and they manage to knock out the remaining enemy armor, destroying the bridge in the process.

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Mortally wounded, their C.O. dies in Jeb’s arms, and once again, the art proves the power of the comic format, as Heath packs a lot of emotion into a single panel.  Afterwards, the ghostly General Stuart visits his namesake to provide yet more enigmatic advice.  He tells his charge that the tank will soon be fighting on his side, which is strange, seeing as the Civil War (which J.E.B. points out the Confederates called ‘The War Between the States’) ended a hundred years before.  He warns that some Southerners are still fighting it.

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When the crew returns to base, they encounter their new commanding officer, who is named Major Bragg, a rather ill-tempered Southerner who gives my folks a bad name.  The Major wears a Confederate forage cap, and he is very upset to learn that Jeb shares the name of the famous rebel general.  Essentially, this whole story is a reprise of #141, with Jeb being given grief for his name, but under combat conditions instead of training.  Bragg, who is still bitter about the whole Appomattox thing, relegates Jeb and his men to courier duty, refusing to let them fight unless the lieutenant backs down about his name.  Things get tense, and Jeb’s crew find themselves slugging it out with hecklers to defend their honor.

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One day, a supply run for the armored column (and using a light tank to carry ammo seems a bit…odd) leads the Stuart to a mountaintop fortress which has knocked out the rest of their tanks.  Even the Major was stopped cold in his assault, but, despite his orders to pull back and not engage, Jeb takes his tank into the teeth of the enemy position.  He uses his lighter vehicle to flank the fortress, and they manage to destroy the edifice.

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Finally, they have earned Major Bragg’s respect, and he admits that Jeb is worthy of the name, saying “You’re a rebel at heart [..] a Johnny Reb in a Damn-Yankee uniform!”  That made me chuckle.  There’s an old joke where I come from about people growing up and realizing that ‘Damn-Yankee’ happens to be two words, just some light-hearted regionalism.

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So, this is a fine little story, with some really nice looking action, especially in the first part, but it is a bit repetitive in its theme. Bragg isn’t really that much of a character, having only one real note, so he isn’t all that interesting.  Incidentally, I wonder if his name is a reference to the famously prickly and unlikeable Confederate general Braxton Bragg, whose name is significantly more awesome than he was.  Either way, the comic Bragg, like his possible namesake, is not exactly an electrifying presence.  On the positive side, I do enjoy the camaraderie of the tank crew that we see, with them standing up for each other, even against their fellows.  I suppose, all things considered, I’ll give this one a solid 3 Minutemen.

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Green Lantern/Green Arrow #83


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“And A Child Shall Destroy Them!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

Time for another dose of naval-gazing ‘adventure’ with the Green Team.  Yay?  I’ll admit, I’m really not enjoying this series.  I’m rather dreading that some of the darkest days are still before us.  I’m afraid this particular issue is not a high point, though it does reintroduce a character who is very important to the Lantern’s mythos, which is worth something.  The book has a standard ‘looming shadow’ cover, and as is often the case, this one is something of a cheat.  It’s not a particularly exciting image, and it’s got cover dialog, of which I’m rarely a fan.  I’d say the biggest weakness is the presence of the rather unintimidating looking character, Grandy.  While his being there fits the story, it takes away from the menace of the scene.

The tale inside begins with a scene from a month ago, where that same fellow from the cover is walking with a young girl when he bumps into a dark haired woman.  The man asks the girl to punish the woman for not apologizing, and the child’s eyes glow.  Suddenly the woman drops to the ground in agony.  Creepy!

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In the ‘present,’ our hard traveling heroes have showed up at the ‘Meadowhill School,’ escorting Dinah Lance to her new job as a P.E. teacher at the girl’s school.  One wonders what kinds of credentials she could have produced for such a job in her secret identity.  Also, what happened to the flower shop?  O’Neil gives us some attempts at character development, with the lovely Mrs. Lance talking about how she’s felt useless and lost and hopes to do something productive by working with children.  What?  Saving the world with the JLA isn’t fulfilling enough?  I think you might have issues, lady!

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It fits in vaguely with the uncertain direction O’Neil has taken the character down in this book, but it’s still obvious that this is we’re moving at the speed of plot.  As they approach the school, O’Neil takes a page from Stan Lee, and he has Dinah employ that very special superpower that all females have in such stories, woman’s intuition.  She gets a sense of dread, and suddenly they are attacked by a mad flock of birds.

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The Green Team shifts into fighting togs, and the Emerald Archer uses a sonic arrow to scatter the foul fowl.  Just then, a tree branch falls right on top of Ollie, but he is saved at the last minute by Hal’s quick action.  Then, once again illustrating the ridiculous missmatch in power between the two, as the Emerald Crusader gathers the birds up and sends them ten miles away with a thought.  Yep, good thing you and your bow were here, Green Arrow.

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Then, continuing to display the brilliant and exacting attention to detail that we’ve been observing in this run, the heroes just stroll up to the school in full costume, with Dinah still in civies.  That won’t endanger the ‘ol secret identities at all.  ‘Hey, I wonder if that woman hanging out with Green Lantern and Green Arrow might have something in common with that superheroine who also hangs out with them?  Nah!’  In a mildly clever touch, they hang a lantern on the inspiration for this story, with the characters referencing Alfred Hitchcock and The Birds.

At the school, they meet the owner and headmaster, Jason Belmore, who, long-time readers of the series may remember was the fiance of Carol Ferris, the excuse for putting her on a bus in the book.  Of course, it makes no real sense for him to be running a girl’s school, but add that to the list of plot conveniences in this tale.  Belmore immediately insists the heroes leave, without expressing the slightest curiosity about why Dinah is palling around with Justice Leaguers.  Strangely, after this is done, the nervous headmaster turns to the cook and seeks his approval.  The cook, the same fellow from the opening scene, sics the same little girl on our heroes.

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Meanwhile, the Lantern spots a figure by their car, only to discover that it is Carol Ferris, though she is bound to a wheelchair.  She asks to be taken away with them, and the trio drive off, with Hal’s former flame asking for help for her current fiance, who is living in fear (awkward!).  Yet, as they drive, the car begins to come apart, and it careens off of a cliff, with only the Emerald Gladiator’s ring saving them.  It’s a nice looking sequence, especially when the Lantern summons a power-ringed Pegasus to carry the trio.  It’s a wonderful image, beautifully rendered by Adams.  Sadly, it’s the only magnificent moment in the book.

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When they land in an abandoned barn to seek shelter from a sudden rainstorm, Carol wonders about the Lantern’s new limitations, and he begins to talk about his loss of confidence.  Taken on its own terms, its’ a touching scene, and Adams does a heck of a job rendering the care and weariness on Hal’s face as he talks.  In the context of the series, it is undercut by the problems with the earlier stories that brought him to this point.  Continuity is a double-edged sword, after all.

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Back at the school, Dinah dismisses her class a bit early, which angers Grandy, who threatens her in really creepy fashion.  The canny Canary realizes something is up, so she slips into costume, once again again flagrantly endangering her identity.  ‘I wonder if the tall statuesque blonde has anything in common with the tall, statuesque brunette who is the only other woman here?’

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green lantern 083 015Prowling the halls, she is discovered by Belmore and Grandy, who attack her, but she easily handles them until the little girl, Sybil, uses her powers to cripple the Canary.  Then, unsurprisingly, Grandy removes her wig and discovers her identity.  Wow.  Who could have ever seen that coming?  Notably, O’Neil includes a moment where the Blonde Bombshell reflects that she’s enjoying the violence and notes that she needs to be careful about that, which is interesting, but it’s still presented in the nonsensical context of Dinah ‘hating violence.’

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The cruel cook orders the frightened children to haul her to the basement, where he explains that he found Sybil wandering in the woods, and now she enforces his will.  He plans to murder Dinah by proxy, so he stirs up a wasps nest and locks her in.  She claims the door is too sturdy to break down, but she apparently conveniently forgets about the fact that she has a super powerful ‘Canary Cry.’  Add it to the list.  Unable to think of anything better, the heroine hunkers down and hopes to survive.

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The Green Team returns to the school, but when they encounter Grandy, he sics Sibyl on them again, crippling them both with pain.  Ollie hears Dinah’s scream from below and struggles to his knees, fighting against the agony and loosing a flash-bang-like arrow that disables the creepy kid.  They race to the basement and rescue Dinah, though she is hurt.  The Emerald Archer wants to tear the cook apart, but the Lantern insists that, because he was responsible for crippling Carol, the fight was his.

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It sort of is at that, Ollie…

When Grandy is confronted, he demands that Sibyl punish Green Lantern, only for her to speak for the first time and refuse.  She is tired of hurting people, but the vicious fellow slaps her and tells her to “obey.”  With tears in her eyes, she agrees, only to bring the roof down on them.  And Hal apparently just watches.

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Seriously, the whole building collapses, and they get everyone else out, but Green Lantern seems to just let that little girl die.  Ollie asks his friend if he could have saved her, and his response, “I’ll live with that question the rest of my life” isn’t much of an answer at all.  It’s a weird, unhappy moment.  Yet, the story ends on a different note.  Hal approaches Carol and tells her that he was foolish and prideful, insisting that she love him on his own terms.

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He removes his mask (in public, let’s not forget, with lots of other people standing around), and reveals his identity, telling her he’s realized what really matters.  She apparently completely forgets about poor Jason Belmore and declares her love for the Lantern, who scoops her up in his arms and heads off into the rain.  Once again, it would be a sweet scene on its own terms, and the team really pack some emotional punch into it, but the context hurts it.  The last image of the book is of a little girl standing over the Lantern’s mask.  Dun dun DUN!

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Interestingly, I have zero memory of Carol being crippled from when I read through these books the first time.  I wonder how long that is going to last.  Well, as you can probably tell, I wasn’t exactly thrilled with this issue.  To be honest, it really isn’t a bad story as such, and it certainly achieves what it sets out to do.  It strikes a very effectively creepy tone, evoking Hitchcock movies and The Twilight Zone.  I’m almost certain that there is a particular story being referenced in this setup, with the creepy kid with powers, but I can’t quite put my finger on it.  Nonetheless, the authorial gymnastics that O’Neil has to go through in order to place his characters in this situation are more suited to Scooby Doo than Green Lantern.  Once again, he’s forcing the characters into the plot rather than letting the plot adapt to the characters.

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The tale also has a really grim ending, with the unhappy little girl apparently killing both herself and her tormentor.  Compare this with another of our recent stories featuring an unhappy child with powers and its happy ending, and you’ll see quite a contrast.  The art, as always, is beautiful, and Adams really gets a few chances to shine with some dramatic moments, but he still gets few opportunities to really take advantage of the fact that he’s drawing Green Lantern, other than the winged horse.  Interestingly, Adams apparently had some fun with his faces in this issue, as, according to Dick Giordano, he based the faces of Sibyl and Grandy on then current President Richard Nixon and Vice President Spiro Agnew, who he disliked.  Weird, you’d think, given the power dynamics, it would be the other way around.  For my part, I rather think that Grandy looks much more like horror legend Vincent Price, who certainly fits the tone of the tale.  Art origins aside, this is a rather uneven story.  Taken all together, with the significant flaws and the significant successes, I’d give this tale of horror 2.5 Minutemen, though I really am inclined to give it less thanks to the plot induced stupidity of the heroes.

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P.S.: On a broader note, I think I have finally put my finger on precisely what I dislike about this series.  It is the element of dreariness that characterizes it.  Green Lantern stories have the limitless wonders of the universe as their playground, and yet this run has its eyes firmly on the muddy earth, almost never looking to the heavens.  I understand O’Neil’s reasons for that, as I discussed with the first issue, but even with such earthbound tales, there is room for a glance at the stars now and then.  Yet, that is not all.  No, there is just no sense of joy, of revelry, of real adventure to be found in this book!  This issue displays these qualities perhaps the most clearly of any we’ve seen.

Their stories are small, but not just with the necessary intimacy of character drama.  They are small with a pettiness, a smallness of soul, and not just of setting.  What O’Neil is trying to do is admirable, and there are times when the comic shakes off its shackles and stretches to the stars, and I don’t just mean the issues set off planet.  There are moments when there is hope and joy and wonder to balance the dreary slog of his preaching or torturing of his characters, but they are, unfortunately, in the minority.  If there is one thing that comics are about, it’s hope, though that is true of Art in general, the Art that gropes its way towards the divine.  Despite the very heavy-handed invocations of hope from time to time, it seems largely absent from this series.  There is just too much misery, too much ugliness, and not nearly enough wonder.


 

Well, that does it for these comics.  We didn’t exactly have an inspiring set of books in this batch, but they certainly weren’t boring!  I hope y’all enjoyed my coverage and commentary on these comics, and I also hope you’ll join me again soon for more Bronze Age goodness!  We’ve got a JLA issue in the next batch, which is usually something I look forward too, but this is certainly an unusual one!  Until then, keep the Heroic Ideal alive!

 

 

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.

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‘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:

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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!