Welcome to the second issue of Into the Bronze Age for July, 1970! I’m looking forward to getting back into some Bronze Age-y goodness, as I’ve been busy with many other things, including a lot of pulp stories as I was working on my Pulp Adventures mod. So, without further ado, let’s celebrate the beginning of the semester with some classic superheroics!
Roll Call (You can see everything published this month HERE)
- Action Comics #390
- Batman #223 (reprints, won’t be covered)
- Brave and the Bold #90
- Challengers of the Unknown #74 (Final issue!)
- Detective Comics #401
- G.I. Combat #142
- Green Lantern #78
- Superman #227 (Reprints)
- Superman #228
Detective Comics #401
“Target For Tonight!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Joe Giella
Letterer: Ben Oda
Editor: Julius Schwartz
“Midnight is the Dying Hour!”
Writer: Dennis O’Neil
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz
Our headlining feature here is a fairly mediocre Bat-tale, very much a by-the-numbers story. It’s the standard ‘most dangerous game‘ trope where a disillusioned big-game hunter decides that the only way he can get a challenge is to hunt a man. Of course, he decides to hunt the most dangerous of the most dangerous game, Batman! I wonder how many times this story has been told in comics in general and with Batman specifically. Surprisingly enough, this story is the only Batman example listed on TV Tropes. I’m almost sure there are others, though, as almost every serial adventure character has a few of these encounters over the course of their career. Despite its cliched nature, or perhaps evidenced by it, this trope can produce great stories. This isn’t one of them. It isn’t bad, per se, just not terribly interesting or exciting, and Batman really doesn’t come off as all that impressive. There are many, many better examples out there.
This tale opens with Batman in Commissioner Gordon’s office receiving a strange and threatening note which boldly declares that some nut named ‘The Stalker’ has made the Dark Knight his prey. Apparently the note was delivered by a hunting falcon, right in Gordon’s window! Just at that moment, a bullet zips in the window and ‘bullseyes’ the page, a potent warning of the hunter’s intent and skill.
The Masked Manhunter heads home to his apartment (I’ll never get used to that), where he relaxes by watching an interview with a famous big-game hunter named Carelton Yager (“jager” means hunter, in German, in case you didn’t catch that he was…you know…a hunter) who has just arrived in Gotham. This sportsman, who is totally not our mad Stalker, has a hunting falcon and talks menacingly about how there is no thrill in the hunt anymore, thus he has come to town to hunt “the most dangerous game.”
Just then, crossbow bolt flies in a smashes the TV. It bears a note warning Bruce Wayne that this ‘Stalker’ knows his secret and the hunt is on. How did this random hunter discover the secret identity of the master detective, Batman? Well, don’t worry your pretty little head about that. He just totally did. Because…plot. Well, not one to take such things lying down, the Caped Crusader sets out to do some stalking of his own, warning Gordon to keep the cops clear because “this is a matter of honor — and pride.” Really? I mean, it makes perfect sense that Batman would want everyone else to stay out of such a conflict for fear of any innocents getting hurt, but it does seems a bit out of character for him to be so pig-headed as to play this guy’s game just for pride. This is another one of those little examples that we’re still not dealing with the fully developed ‘grim avenger’ Batman yet.
Our hero is on the case less than five minutes and he commits his first blunder, stumbling into a trap in Yager’s rooms as he searched for clues. He triggers a crossbow trap and a recording that taunts him and invites him to a showdown on an island off the coast. Batman throws a tantrum and smashes the tape recorder with the most awkward looking, Rockettes-esq, high-kick ever, then heads straight into the obvious trap.
At least the Dark Knight has the sense to approach the island covertly, underwater and then through a drainage pipe, but once arrived he once again immediately falls prey to one of the Stalker’s snares, this time a net that hauls him helplessly into the air. For the third time, the hunter lets his quarry live to add spice to the chase. That’s three separate times our hero should really be dead if the villain wasn’t just letting him win. Real impressive, Bats. I think this Stalker fellow might have a more challenging hunt with Robin.
When the Caped Crusader gets free, he pursues his tormentor across the island, and eventually tackles him when he finally manages to see through one of the sportsman’s traps. Yager is standing in the middle of the room, dressed as Alfred, but Batman realizes its a fake when he sees that the man’s shoes aren’t muddy, despite the fact that the entire island is a quagmire. During the fight, the villain handily hoists himself on his own petard by falling into his own dead-drop and conveniently expires, taking his knowledge of our hero’s secret identity with him to his grave.
It’s a moderately entertaining story, but not a terribly memorable one. In fact, I read it about a month before I got the chance to write this entry, and it had COMPLETELY fallen out of my head by the time I sat down to write the summary. It’s a trope that has lots of potential, as can easily be recognized by how often it gets used, but this one doesn’t make much of it. The villain lacks any real personality and Batman just comes off as rather ineffectual and bad at his job. He survives solely because of his foe’s arrogance, but not in the standard and enjoyable ironic treatment of such a trope that would indicate that Robins was even aware that this was the case. I’ll give it 2.5 Minutemen out of 5.
“Midnight is the Dying Hour!”
The backup feature is the continuation of our Batgirl story from the previous issue, and it is passable if not exactly good. I’m afraid it definitely suffers from its brevity. It does have a nice setup, with the story being handed off to Robin, who is following the same mystery from a different direction. It’s a nice idea, even though there isn’t much room to develop it.
We begin with a quick one page recap of the previous issue, and then we pick up with Robin investigating the crime scene. He discovers that the murdered man, Willard, with his hand pointing at a volume of poetry, specifically the first three letters of the title, “poetry.” This strikes the Teen Wonder as strange, since the deceased thought poetry was “sissy stuff.” A real winner, this guy. Anyway, aggressive ignorance and atrocious taste aside, Robin, unable to make heads or tales of the case, decides to review the evidence and has a flash of inspiration.
He heads to the construction site, looking for his suspect, and he interrupts the killer in the middle of his reenactment of “The Cask of Amontillado.” The punk throws some of his cement in the young hero’s eyes and makes a run for it. Dick frees Batgirl, who exclaims that she’s never had to thank anyone for saving her life before, and she doesn’t know how to do it. This strikes me as rather strange, because I’m pretty sure she’s had her life saved dozens of times at this point. Ahh well.
They compare notes and discuss how they each solved the mystery as they pursue the killer. It turns out to be the barely mentioned drama-major, Jack Markham, who murdered Willard, his ally in the campus debate, in order to discredit the opposing side. According to Robin, the young weirdo was set to play Edgar Allen Poe in the school play, and he identified with the role so much that it broke his mind and turned him into a killer. That’s…a bit of a stretch. Poe may have been a gothic author and a fairly gloomy character. He may have had his own demons (glug glug!), but I don’t recall him ever murdering anyone. Not even a little bit. Robin also solves this mystery because of the corpse’s finger pointing to “Poe” and deciding that it was a clue pointing to the actor playing the poet. That’s a bit of a stretch as well, methinks.
The two titanic teens chase this kid into the theater and have a brief battle with him in the rafters. He is, of course, no real threat to the heroes when they see him coming, which is fitting. The tale ends with a rather ambiguous note, as Robin asks Batgirl if she will tell him how she got involved in all of this, and she replies “Maybe I will! Maybe I will tell you a lot of things…” It could be a nice, flirty moment…but it needed a bit of setup earlier in the adventure, so it just seems out of place here.
So, in the end, there is a mystery here that just didn’t have quite enough room to grow. I like the idea of seeing both Robin and Batgirl chasing a killer from different directions. Fortunately, though the Markham manages to momentarily elude the trained crimefighter chasing him, he doesn’t make a monkey out of the Teen Wonder, unlike some of the earlier Robin solo stories we’ve encountered. At least this one doesn’t add another spot on the wall of shame with the Head-Blow Headcount for the high-flying hero. I would have enjoyed the note of romance between our two young heroes…if it had been a bit more developed and certain. In the end, I’ll give this ending backup 2.5 Minutemen as well. It just didn’t quite have enough space to make its mark.
G.I. Combat #142
Writer: Robert Kanigher
Artist: Russ Heath
This Haunted Tank yarn is not one of the best. It’s plot is just a bit…odd. It’s like Kanigher had several set pieces he wanted to build a story around, but he didn’t really have a story in which to embed them. As is, it’s a beautifully illustrate tale in the DC house style, and it has some nice action…and that’s about all that you can say about it, because it doesn’t make much sense. As per usual, this issue doesn’t take much advantage of book’s conceit. In fact, this one takes far less than the norm, with our titular haunting specter showing up for exactly two panels, where he doesn’t even offer his customary cryptic warnings.
As the story opens, the crew is commenting on Jeb’s strange habit of talking to “himself,” as they can’t see the ghost, but, as they often do, they decide that he’s a good enough tank commander, they don’t care if he’s a little crazy. Meanwhile, Jeb asks J.E.B. if this mission will punch their tickets, and the ghost replies he can’t reveal their fates…then he promptly disappears completely from the issue. This may as well have been a straight war comic with those two panels removed. Just then, they spot explosions in the distance and head into action. We get treated to a nice double-page spread of a big tank battle going on, with what look like Pershings going toe-to-toe with the Hun armor. That would make this the late days of the war (1945), so that’s probably an art mistake. Still, it’s a lovely spread.
Jeb and crew are ordered to reinforce Checkpoint Able, and they, unwillingly, scoot out of the action. Unfortunately, when they arrive, they find Able manned by no-one…but dead men! The entirety of Able Company has been wiped out, and they are all dead at their posts…and here we meet the first moment of the tale that makes no freaking sense. If they’re all dead, why aren’t the Nazis just strolling merrily through the lines? Better yet, why haven’t they ALREADY done so?
We get no answers, but we do get some nice, poignant moments as the Haunted crew deals with this grim sight. That leads us to another nice passage, and this issue is nothing but a string of these, where, as they head out on recon and pass some wildflowers, Slim gets out and picks some for Able. It’s a sweet, strange little scene, and it really adds some humanity to the story.
Just then, a freak blizzard blows up, and the tank is ambushed by a German infantry unit, inexplicably kitted out for snow operations in all white uniforms, despite the fact that it is emphasized that this is a FREAK storm. Once again, it makes no freaking sense, but the action sequence is really beautifully illustrated, and the silent (dare I say ‘ghostly’?) intensity of the Nazi troops in their assault is rather chilling (sorry!).
The crew attempt to break out of the ambuscade, but their engine freezes up. Here we encounter the third ludicrous story beat. Instead of, you know, shooting the giant sitting steel duck with the panzerfaust that we see they still have, the German infantry just…wait. They just sit and wait, allowing the tank crew to figure out what to do. Their solution is actually quite clever and visually spectacular, though. Jeb pulls some gas from the fuel tanks and, under cover of the storm, he carefully splashes it near the engine, then lights it ablaze. Now, this would almost certainly suffocate the men inside the tank in real life, but it’s a great, adventure story-esq innovation. It’s solid comic logic. The fire warms the engine enough to get it started, and the Haunted Tank breaks away, arriving back at Checkpoint Able in time to meet the reinforcements.
So, as you can see, this is a really uneven issue. It has several nice set-piece moments, the usual lovely art for this book, and even some good, if brief, characterization. Nonetheless, it is also completely ridiculous in three separate ways. The end result is a bit baffling. It’s a fun issue to read, but it is apt to leave one feeling rather confused. I’m really torn on what to rate it, but I suppose I’ll also give this one a 2.5 Minutemen out of 5. The goofy, senseless elements knock it down from a higher score, and the fun of the action combined with the beauty of the art save it from a worse one.
Green Lantern/Green Arrow #78
“My Kind of Loving, a Way of Death!”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Frank Giacoia
Letterer: John Costanza
Editor: Julius Schwartz
Ahh…back to this book. It’s probably not great that we’re only three issues in and I’m already dreading each new story. Well, on the plus side, this issue is not nearly as insufferable as the previous two. It’s probably a worse story, as far as unity of action and the measure of the plot goes, but there’s less (though of course not no) pontificating. The heavy hand paints a touch more lightly, but only a touch. The setup for this issue is an interesting one, and relatively timely, especially in comic terms. This issue centers on a charismatic cult leader brainwashing a bunch of disaffected kids and using them for his own nefarious purposes. Sound familiar? Well, the horrors of the Manson Family murders were less than a year old at this point, and Manson himself had just been arrested a few months earlier. There was a great deal of fear and uneasiness throughout the culture following those events, and it is interesting to see that being worked through in comics this way. Of course, O’Neil’s cult leader uses actual mind control to dominate his victims, and the whole horrid mess is flattened out and treated broadly, but the similarities are unmistakable. I don’t know if this is the first time that this concept was used in a comic, but I am quite certain it was not the last either. I can’t imagine it is the best.
Whatever it is, this particular treatment begins with the lovely Black Canary, having taken to the road to track down the way-luckier-than-he-deserves Green Arrow. She is accosted in the Washington wilderness by a generic biker gang, doing generic, scuzzy biker gang things. They try to steal her motorcycle and threaten her, but of course, the Canary is no shrinking violet (no offense to Shrinking Violet). She handily wipes the floor with them before being knocked unconscious by a desperate biker who ramms her with his cycle. They steal the bike and leaver her for dead, but she is rescued by a shadowy figure.
It’s a beautiful montage. Take note, Gil Kane, this is how it is done.
Meanwhile, our hard-traveling heroes arrive in the nearby town and have a completely pointless encounter with a bitter young Native American man. Now, there’s tons of bitter folks in this book, but, to be fair, if anyone’s got a right to be bitter about their treatment in this country…it’s probably the Native Americans. Fair enough. His role in the comic is still fairly pointless, serving only to provide a face to identify with the subject of the cult leader’s hatred.
His shop is attacked by the generic bikers, who do more generic biker things, like trash the place. Our heroes immediately endanger their secret identities by just stepping outside to put on their costumes, despite the fact that they were the only strangers in town. As you would expect, they utterly trounce these low-rent thugs, who pose no real threat to two Justice Leaguers. And here is our return to the perennial problem (other than the heavy-handed, tone deaf characterization) with this series. The protagonists are just a poor fit for the tale that O’Neil is telling. Green Lantern and Green Arrow beating up on these punks just seems…unnecessary. The heroes are in no peril to speak of, and there is no actual tension and nothing at stake with this little encounter.
Nonetheless, the traveling-twosome makes short work of them, and seems to do it with great relish. There is actually a fairly good moment of characterization here…that is more or less completely glossed over. Hal really enjoys this conflict, being a very straight-forward case of good and evil, a simple, unequivocal situation that has none of the complicated morality and deep significance of the last few adventures. These are bad men doing bad things to an innocent, and a bit of a trouncing is richly deserved. It would be a good moment if it were given a little more development, but it is left entirely to the reader to make the connection, as O’Neil spends no time on it. He may not even be aware of it. I do enjoy the sense of whimsy that the Emerald Gladiator brings to his ring-slinging this issue. It’s a nice change from his dreary existential doubt from the past two issues, and it points to a more interesting and enjoyable character. I doubt it will last.
Well, the Emerald Archer notices that one of the bikers has Canary’s motorcycle, and they get the story out of the punk, GA losing his mind and nearly beating the guy to death in the process. It’s a good moment, with Hal having to restrain Ollie who is beside himself with worry about Canary. The heroes go to look for her and find the lost lady seemingly hale and healthy, but in the company of a mysterious “prophet” named Joshua. He is running a commune of some sort, and he claims that Dinah is now one of his ‘children.’ She, though obviously conflicted, refuses to come with them.
Adams does a fantastic job of making this Joshua fellow eerie and disturbing. That man has crazy eyes.
In desperation, the Emerald Archer grabs his lady love and plants a passionate kiss on her lips. It’s a nice moment, especially considering that, since she’s been around, he’s never gotten any real encouragement from her. He’s clearly been head over heels for her, but she’s rebuffed him. This is a pretty big and bold step. It would be a lot stronger if this plot had been given room to breath, but even just jumping out of nowhere, the scene, where she pulls away and tells him to get lost has a little power, largely thanks to Neal Adams, most likely.
Ollie is crushed and frustrated, and Hal’s fairly blunt declaration that “she just doesn’t dig” him (way to let your friend down easy, flyboy), doesn’t help any. Arrow belts his partner in green, and then stalks off into the woods where he, at least, realizes he’s acting like a child. It’s good to see O’Neil finally acknowledge some of Ollie’s silliness, though he’ll get back to using him as a mouthpiece shortly, don’t worry. Hal, for his part, comes off much better in this issue. Instead of bowing up and getting in his friend’s face, the Emerald Gladiator merely shrugs it off, knowing that Ollie isn’t himself.
Meanwhile, the creepy Joshua arms his clearly mind-controlled ‘Family’ and tells them that they are going to slaughter the nearby Indians to start off a race war and reclaim the country for the whites. Urg. O’Neil really wants to make his evilness unmistakable…though, to be fair, I suppose this is actually pretty close to Manson’s own motivations (though with opposite goals). The Emerald Archer encounters the Family in the woods during target practice and decides that he better call for help because he can’t take them all without killing them…really? Green Arrow, superhero and Justice League member, who has managed to fight crime for years without killing ANYONE can’t manage to take out a bunch of brainwashed kids with pistols and no training without killing them? It’s fine for Ollie to have called for help. Sure, I can buy that, but his statement is just patently ridiculous in the context of the story. Heck, in the last issue, he stormed a freaking fortress and took on trained soldiers. *sigh*
Anyway, surprisingly, firing a flare in the middle of the darkened woods attracts attention, and the Family opens fire on him, winging the hero. They charge after Green Lantern but…he’s a freaking Green Lantern. Oddly, he ALSO worries about being able to stop them without killing them, despite the fact that he’s wearing an honest-to-goodness wishing ring. What’s with all this concern about killing the bad guys all of a sudden? Since when have these two ever DONE that? Fortunately, he performs better than Ollie (he could hardly have done worse), and easily disarms and traps the kids.
It’s almost as if random brainwashed kids with guns aren’t actually worthy antagonists for a man armed with the most powerful weapon in the universe….
UNfortunately, Joshua and the Canary escape and come across the injured Archer. Despite the cult leader’s orders to shoot the helpless hero, Dinah can’t bring herself to do it and overcomes his control. Hal holds back his aid, letting her break the brainwashing on her own so she’ll have no doubts in the future. It’s a nice gesture…until you think about the fact that he’s gambling (as he admits) with the Archer’s life.
Well, I know what you’re thinking. All of this, and we haven’t had any pretentious preaching from Ollie all issue. Maybe we dodged the bullet! Don’t’ be silly; O’Neil wouldn’t pass up an opportunity to talk down to his audience and make Green Arrow come off like a self-important, holier-than-though windbag. As the heroes are reunited, Ollie takes the opportunity to browbeat a still reeling and emotionally drained Black Canary, telling her that it’s her fault she was brainwashed because there is something bad in all of us that allows monsters like this to bring people to their side. Classy Arrow. Real classy.
This comic has some potential, like most of the others, but it simply has the wrong stars. There is a good story to be told, and it will be told elsewhere, about the unsettling and sinister nature of a charismatic madman’s grip on impressionable minds. Try this setup with someone like Batman, the Question, or another more investigative type, and you’d really have something. Unfortunately, that interesting plot isn’t given enough room to grow, with the unnecessary secondary elements with the bikers and the random kid crowd it down to insignificance. The central conflict with Canary and the emotions she’s been fighting is interesting, and, once again, given more space, it could have made for a moving turning-point for her romance with Ollie. This too gets short shrift. Still, it is really fascinating to see the comics dealing with contemporary history, struggling with the questions we all have about what makes monsters like Manson able to work their dark wills. It is noteworthy for that, if not for the quality of the issue itself. As always, Adams’ artwork is spectacular and really gives the book more gravitas and interest than it probably deserves. In the end, I give this issue 2.5 Minutemen, making this week’s scores unanimous.
Well, let’s see if we can’t finish up our trip into July 1970 soon and get on with our adventures Into the Bronze Age! Please join me later this week for the final post in this month of comics. Until then, remember to tell your significant other that they are really awful inside!