Into the Bronze Age: December 1971 (Part 2)

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Detective Comics #413


Cover Artists: Neal Adams and Gaspar Saladino

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

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

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

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

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

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

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

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

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

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

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

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


“The Kingpin is Dead”


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

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

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

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


Flash #211


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

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

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

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

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

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

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

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

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

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

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

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


Is This Poison Legal?


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

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

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

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

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

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

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


Green Lantern/Green Arrow #87


Cover Artists: Neal Adams and Jack Adler

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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


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

Into the Bronze Age: November 1971 (Part 3)

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Welcome back to the second Bronze Age blog post of the new year!  I hope that 2019 is treating all of you well, my dear readers.  So far it seems to be a bit kinder than 2018 for the Greys, but it’s far too early to tell.  As for the reason we’re here, this post has a Flash comic and another iteration of the growing Fourth World saga for our superheroic scrutiny.  We’re on the way to seeing what November, 1971 had for us, and in this pair of comics, there are some weird ideas.  Ready for some Bronze Age bonkers books?  Then let’s see what we’ve got, shall we?

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


Roll Call


(You can see everything published this month HERE)

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

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


The Flash #210


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“An Earth Divided!”
Writer: Cary Bates
Penciler: Irv Novick
Inker: Dick Giordano
Cover Artist: Murphy Anderson

“A Tasteless Trick!”
Writer: Steve Skeates
Penciler: Dick Giordano
Inker: Dick Giordano

“The Invasion of the Cloud Creatures!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Murphy Anderson
Letterer: Gaspar Saladino
Editor: Julius Schwartz

Well, back to the unnecessarily complicated future adventures of the Flash….yay?  I think these future-jaunts are my least favorite part of the Silver/Bronze Age Flash setting, mostly because of the bonkers way it ties in with Iris.  On the plus side, check out the sneaky Adam Strange cameo on our cover!  As for that cover, it’s an odd choice to have our hero be watching the inciting incident on a TV (albeit a weird, robot TV, though at least it isn’t Mike!), and that choice pushes their shock-value concept into a tithe of the image real-estate, giving it proportionately less power.  It’s not a very exciting or interesting cover, and I can’t say that it made me excited to read the book, however wacky and unusual the premise.

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Speaking of, Bates loses no time in jumping into his crazy concept with both feet, and we join Abe Lincoln in his study, taking notes on a taperecorder.  Now, don’t let the presence of the tape throw you; this is actually supposed to be a futuristic scene!  As “Lincoln” waxes on with a combination of exposition and paraphrases of historical speeches, John Wilkes Booth shows up and reenacts history by shooting him with a ray gun, shouting “Sic semper tyrannis!” (Thus always to tyrants).  History buffs will note that those are the words said by the real Booth when he shot the real Lincoln.  Confused yet?

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“Thus always to robot overlords!”

Well, it’s all about to become as plain as it ever will be in a goofy story like this, as we join Barry and Iris as they prepare for a trip to the future to visit her real parents, because someone thought that whole retcon was a good idea.  There is a cute exchange, where Iris keeps her hurried hubby waiting in a small bit of revenge for all the times the Fastest Man Alive has been the slowest date on record.  When they arrive, her parents explain our ridiculous premise, that the future nation of Earth West created an android duplicate of Lincoln to guide them through the difficult period of tension with Earth East and try to reunite the planet.

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That’s an…interesting choice.  Yeah, he presided over the nation through the Civil War and successfully reunited the country…but he did that by force, and it was probably the greatest national tragedy in our history.  If you’re trying to prevent a war, maybe pick someone who didn’t ended up in exactly the type of situation you’re trying to avoid?  The shaky logic of that idea aside, in response to its implementation, the tyrant of Earth East created his own android, modeled on John Wilkes Booth, designed to kill the robot Lincoln….because that was the only rational solution, obviously.

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Booth-bot tries to escape Earth West by traveling through the “Wild Region,” which is a section of the planet blasted by nuclear war and afflicted by weird radiation that can have strange effects.  Flash, who of course sets out to pursue the android assassin, follows him into the wasteland and manages to avoid the…radioactivity…by running…fast?  It’s odd, but the Wild Region manifests its danger as grasping spectral claws…because comic book radiation is magic!  Unfortunately, once through, the Scarlet Speedster is captured by a high-tech chain trap that grows ever tighter and is so dense he cannot vibrate through it.

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When Booth-bot reports to the tyrant, Bekor, his master zaps him with his own gun, but unexpectedly, the Lincoln bot reforms, having outguessed his nemesis and used a device that effectively stored his atoms and reassembled them when the gun was fired again.  Explanations finished, mecha-Lincoln decides to deliver an old fashioned, 19th Century back-woods whuppin’, and jumps Bekor.  Now, however odd a choice Lincoln may have been to bring peace to a world-divided, he was, by all accounts, quite the bare-knuckle boxer and butt-kicker in his day.

 

 

Meanwhile, the Fastest Man Alive was in danger of becoming the fastest ghost in the graveyard, with all efforts to free himself failing.  Finally, he hit upon a winning idea, and began to spin, until the terrific centrifugal force of his whirling unwrapped the chain.  The free Flash arrives just in time to rescue the Abedroid and capture Bekor, bringing both back to Earth West.

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This is a weird tale, with the type of unlikely premise that could only come from comics…or perhaps Star Trek.  I guess Bates must have been a Lincoln buff, especially given how the android Abe is actually the hero of this story, with the Flash relegated to little more than a fancy taxi service in the end.  The whole thing is pretty silly, but it isn’t a bad read, despite that.  Honestly, the craziness just feels of a piece with the Flash’s already ridiculous future setting.  There’s a subplot about Iris setting up a news service for the future folks, but it never really goes anywhere, which is a shame, because that could have been fun.  In the end, I’ll give this goofy gaff of a story 2.5 Minutemen, though I suppose I should watch my backs for Booth-bots!

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“A Tasteless Trick”


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The real star of this comic is, once again, the Elongated Man backup, which is delightful.  It begins the way most Elongated Man stories I’ve read tend to, with his mystery-loving nose starting to twitch.  What starts it moving is an unusual occurrence in the form of a man buying a magazine from a stand, then biting a big chunk out of it.  Ralph smells a mystery and immediately strips out of his street clothes, loading poor Sue down with them, and setting out to trail the magazine masticator and his companions, by stretching to the rooftops!

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He follows them to a theater and, discovering that his target is a magician, concludes that it must just have been a trick.  Returning home, Ralph can’t get any rest, as his nose keeps on twitching.  When he reexamines the magazine, he realizes that it contains a story about a millionaire’s mansion, including a floor-plan.  Concluding, in a fairly gigantic leap of logic, that the magician was trying to tip him off about a robbery at that estate, the Ductile Detective ducks out the door and races for the Savin Mansion.  When he arrives, he discovers the prestidigitator being forced at gunpoint to find a hidden safe and overhears that the thieves are holding his daughter to ensure his cooperation.

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In a fun bit, the Stretchable Sleuth disarms the leader and takes out his gang, but the leader recovers his gun and threatens their other hostage, Mr. Savin.  In another clever bit, Ralph stretches his foot all the way around the room and kicks the gunman from behind.  Unfortunately, in the melee, the magician is knocked out, and we discover that the gang was going to kill his daughter if they didn’t return very shortly.

 

 

The Ductile Detective searches for clues, but then makes another giant leap of logic, and deduces that the gang-leader’s reference to “the Pad” was about a specific place rather than slang, since he didn’t use slang in the rest of his speech.  Racing to the nightclub, “The Pad,” Ralph arrives just in time to save the magician’s daughter.  After this dramatic rescue, the Magician explains his clue and Ralph explains his deduction, but neither really makes sense.

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Nonetheless, despite the pretty huge logical jumps where the story progresses at the speed of plot, this is a really fun little lark of a tale.  Ralph’s adventures are just a blast, and even in the small amount of ‘screen time’ that he and Sue get, there are some fun interactions.  The Elongated Man is just a great, entertaining character, and he is quickly becoming a favorite of mine and making these Flash comics more enjoyable by his presence.  Skeates and Giordano are producing some really good backups for him.  I hope they’ll be continuing on this strip for a good while.  Giordano’s art is especially good, with Ralph always stretching or moving in fun and creative ways, and constantly solving his problems with interesting applications of his powers, as well as his agile mind.  I’ll give this delightful little backup 3.5 Minutemen, because it is so much fun that you forget about the weak writing as you get swept up in the story.

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The Forever People #5


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“Sonny Sumo”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

“Crime Carnival!”
Writer: Joe Simon
Pencilers: Joe Simon and Jack Kirby
Inkers: Joe Simon and Jack Kirby
Letterer: Howard Ferguson
Editor: Whitney Ellsworth

“The Young Gods of Supertown”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

We return to perhaps the least popular (it’s something of a contest with Jimmy Olsen) of the King’s Fourth World books, with another issue of Forever People.  Last issue proved surprisingly interesting, but this one doesn’t quite live up to that level.  We’ve got a solid, if unexceptional, cover, with the dramatic reveal of a new character, Sonny Sumo…who is something of a mixed bag, but more about him later.  The actual image features the whole team and a nicely threatening array of guns, but there really isn’t that much to say about it.  Sonny himself does not make for that interesting of a central figure, being just a guy with a headband and trunks.  His orange coloring is also a bit odd, making him seem more like an alien than an Asian, which is its own brand of problematic.

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Inside, we meet Sonny in earnest, amidst some of Kirby’s more purple prose, as the young man prepares to fight a gigantic robot….as an entertainment act!  I feel like there’s got to be easier ways to make a living.  There is a great two-page splash setting up the conflict, and it is pure Kirby.  The young fighter puts on an impressive showing against Saguta, the robot, but is badly burned during the brawl.  Interestingly, he focuses intently and heals his wounds, then turns the table on his artificial antagonist.

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Back in the locker room after the fight, we see that his healing was only temporary, and his wounds begin to overwhelm him, until Mother Box, which teleported to him last issue, forms a connection with him and heals him.  Suddenly, Sonny finds that he can understand the device, which requests his aid, and, as it is “a mission worthy of a samurai”, he agrees.

 

 

He finds himself transported to the carnival of carnage, Happyland, where Desaad is holding the Forever People, and one by one, the wrestling warrior frees the youths from their perilous prisons.  The feedback destroys the master torturer’s “Psycho-Fuge”, through which the monstrous malefactor feed upon his victims’ fears.

 

 

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This is a lovely sequence, nice twist on ‘Sleeping Beauty.’

In response, he sends his troops after the team.  When cornered, Sonny is able to connect with the Mother Box in order to overcome the guards’ minds and put them to sleep, a feat which impresses his newfound companions, who realize that he unknowingly possesses the dreaded Anti-Life Equation!  The adventure ends with Darkseid, still not looking like himself, having overheard the Forever People’s startling statement, and he gives the order to kill them all and capture Sonny Sumo!

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So, this isn’t a bad issue, really, but it does have its problems.  It’s got some fun elements, and Kirby gives us some nice, dramatic moments.  Once again, the Forever People don’t really have much to do, as Sonny takes center-stage.  You can’t help but wonder what the team is actually good for at this point.  Sonny himself is an interesting new character, and he certainly has a memorable introduction.

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He represents an admirable attempt by Kirby to bring a bit more diversity to his books and his new world, but that presents its own problems.  Sonny’s size and depiction make him seem less like a human with Asian ancestry and more like another strange Kirby-creature.  His exaggerated coloring at times doesn’t help that impression.  The fact that he’s running around in just trunks, like the Thing, while everyone else has elaborate costumes, makes him stick out further.  I just found him a little odd and off-putting, visually, because of the excesses of his portrayal.  Still, we’re a long way from the ‘yellow peril‘ portrayals of Japanese people in comics, so it’s a net win, I suppose.

The promising and intriguing set-up from last issue, which dealt with perception and reality, doesn’t really amount to much in this one, which is a shame.  I’m guessing that the King was moving so quickly, spinning out so many different concepts and ideas, that he either abandoned the themes he had been working on in favor of a new idea or just plain forgot about them.  In the end, this is a fine comic, but it doesn’t really take advantage of an interesting setup, nor do anything particularly fascinating.  The art is solid, with a few standout panels and pages and no real noticeable missteps.  I’ll give this tale 3 Minutemen, as it is a fairly average offering.  I will be curious to see what Kirby has in store for Sonny.

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“The Young Gods of Supertown: Lonar”


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We get the start of a new backup strip this issue, and it is an interesting one.  In my first read-through, I remember being very intrigued by these teasing glimpses of the wider world of the New Gods.  I was really struck by the untapped potential in these brief peeks into the unexplored corners of the Fourth World and the fascinating characters and concepts that remained hidden in them.  You can’t help asking what might have been, if Kirby had been able to continue?

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This particular tale focuses on Lonar, soon to be known as The Wanderer, who forsakes the safety and comfort of the floating Supertown and explores the wild places of New Genesis, sifting the ruins of the Old Gods’ cataclysmic final conflict.  In the remains of a shattered city, the explorer’s Mother Box detects something still alive, and with its help, he excavates a mound of solidified ash.  Inside, he discovers a lone survivor of the world that was, a mighty warhorse of the old gods.  As the ruins collapse around him, destabilized by his discovery, he leaps astride the horse, and together they escape.

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That’s it, four frantic, all-too-brief pages, and the hints of who knows what hidden wonders.  Once again, we see a fascinating instance of “the illusion of depth.”  I’ve always liked Lonar, and I truly wish Kirby had been able to explore his wanderings.  What might he have had in store for us in the strange, unexplored wilderness of New Genesis?  I’ll give this teasing glimpse of a wider world 3 Minutemen, as it is too brief to accomplish much more than to whet our imaginative appetites.

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And with that double dose of Kirby, I’ll close out this post.  I am enjoying my second visit to the Fourth World, but I am particularly looking forward to more New Gods, which was always the best of the books, to my mind, the real core of the series.  If I remember correctly, the next issue of that book features the criminally underused aquatic antagonists, the Deep Six, in what I recall being a great yarn.  As for the Flash, I am getting quite tired of this era of the book.  Looking ahead, I see a much more promising run, with some actual villains, not too far in our future.  Here’s hoping that will represent an improvement.  Until then, I hope you will continue to join me as we delve deeper Into the Bronze Age!  Keep the Heroic Ideal alive!

Into the Bronze Age: September 1971 (Part 3)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


The Flash #209


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

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

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

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

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

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I love how sad Boomer looks.

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

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

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

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

 

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

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

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

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

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

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“Coincidence Can Kill”


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

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

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

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

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

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The Forever People #4


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

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

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

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

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

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

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

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

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

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

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


G.I. Combat #149


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

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

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

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

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

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

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

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

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

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

Into the Bronze Age: September 1971 (Part 2)

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I am vengeance, I am the night, I am Bronze Age awesomeness!  Welcome, Internet travelers, to another edition of Into the Bronze Age, where we’ve got a set of Bat-comics on the docket.  We’ve got the whole Bat-Family in attendance, as well as some friends of the cowl, so let’s we what they’re up to!

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.


Batman #234


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“Swamp Sinister”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artists: Neal Adams and Dick Giordano

“The Outcast Society”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano

“Castle With Wall-to-Wall Danger!”
Writer: John Broome
Penciler: Carmine Infantino
Inker: Joe Giella
Letterer: Gaspar Saladino

This month, our headline tale is another episode in the growing saga Ra’s Al Ghul, but this time it doesn’t have Neal Adams’ peerless pencils to help it.  According to our credits, he was involved in the cover, but it looks much more like Dick Giordano to me.  Either way, it’s a solid composition, capturing a nicely dramatic scene, though something of a cheat.  The story within is not quite as good as the earlier entries in the set, but the last one makes an especially hard act to follow.  It begins, dramatically enough, with a body delivered to Bruce Wayne’s penthouse apartment!  As the great detective begins trying to piece together where his deceased guest might have come from, the mysterious Ra’s Al Ghul arrives and helpfully explains.

It seems that the head of the League of Shadows himself sent the body, by way of a calling card.  The horribly disfigured corpse was once one of his men, a researcher named Pollard, who, together with another named Striss, was working on a chemical compound for him, a compound that “renders molybdenum as weak as tinfoil.”  Yet, instead of delivering the formula once it was prepared, they planned to steal it.  Interrupting the theft, Al Ghul was struck down, and the thieves escaped.

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Talia discovered her father and set out after the traitors, while their doctors managed to revive the Demon’s Head.  Notably, for the first time we begin to get a sense of Al Ghul’s immortality angle, as he mentions having been revived often before, but there is no sign yet of the Lazarus Pits.  As for the corpse, it seems that the chemical the thieves stole has an unexpected side effect.  If left exposed to the air, it becomes a deadly plague.  The horrible disfigurement of Pollard is the result.  Having been exposed during his attack on Al Ghul, Pollard died shortly thereafter, but Striss escaped, ignorant of the danger of what he carried.  Now Al Ghul must locate the fugitive before his daughter, who is ignorant of these facts, does, and he needs the World’s Greatest Detective to do so in time.

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The Dark Knight agrees, as if he has any choice, and takes off.  He theorizes that Striss will want to test his chemical, and he goes to the closest supply of molybdenum, which is held by an eccentric billionaire.  At the fellow’s mansion, Batman discovers an attack already underway.  The gate has been gassed, and masked men stalk the grounds.  Taking out the marauders in a nicely drawn sequence, the Caped Crusader makes his way into the mansion itself, where he finds a frightened French housekeeper who tells him that the invaders took the master of the house to “the small stream.”

The hero is momentarily stumped, knowing there are innumerable smalls streams around, but then he realizes that, in French, the word for “small stream” is “bayou,” and he makes an important connection.  He realizes that Striss has taken his billionaire captive to the eccentric fellow’s private fallout shelter, which is located in the Louisiana bayou.

Tracking them with the help of Ra’s, Batman bails out of a plane over the swamp and begins his search, finally interrupting an confrontation between the villainous doctor and Talia.  During the ensuing struggle, the chemical vial is shattered, and Striss falls into the lethal liquid.  The others escape, and Al Ghul’s doctors manage to treat them for the plague.  The tale ends with Batman noting that the grateful kiss he receives from Talia would be much more enjoyable if he hadn’t just witnessed her cold willingness to kill.

This is a fair enough little adventure, and we get a few interesting moments with Al Ghul, including the hints about his unnatural resiliency.  Yet, there isn’t a lot to it, and the final result feels a little lackluster, especially in comparison to the rather breathtaking chapter that preceded it.  Al Ghul isn’t quite as mysterious or fascinating  a figure, and although Batman and Talia share an intriguing moment at the end, she doesn’t really have much to do either.  In the end, the tale feels a bit cramped, and Novick’s art, though solid as usual, isn’t quite as striking as Adams’, especially when it comes to R’as himself.    I’ll give this story 3.5 Minutemen.  It’s fine, but it isn’t exceptional.

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“The Outcast Society”


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Our Robin backup continues the hippie commune-centered adventure of the previous issue.  Robin is fairly appalled at the poor conditions in which the commune inhabitants live, with rickety shacks for shelter, no power, and carrying their water from the nearby stream.  The leader of the dirty hippies, Jonathan, tells the young hero that they don’t want his “plastic world.”  There’s an interesting connection there to a recent Green Lantern issue about the growing artificialness of the world.  Despite the protestations of the hippie head-man, Robin insists that he must arrest Pat Whalon, as the bullet that his girlfriend wears around her neck, the same that was dug out of his leg, matches the gun of her policeman father, who was shot down in the previous issue.

The ‘Outcast Society’ refuses to let the Teen Wonder take the punk, saying they have to vote about whether or not to allow this.  Funny, but I don’t think the cops would see it that way.  Robin agrees to be patient and gets the grand tour.  He sees the hippies building, working, and farming, and the portrayal of the place is full of starry-eyed optimism.  Dick takes part and pitches in, while Pat makes a nuisance of himself, bragging about his radical exploits and generally being a real jerk.  Finally, the Community votes to let the Teen Detective arrest the rabble-rouser, but Pat sets a nearby field ablaze and escapes!

This a decent little tale, though not terribly compelling.  Novick and Giordano do a really good job with the art, though, bringing energy and personality to the various characters inhabiting this world that helps to make this story where not much happens still feel somewhat worthwhile.  Robin in particular looks great, with his cape always whipping about dramatically.  It’s rather funny to see the sympathetic treatment of hippie communes here from a modern perspective.  Old ‘Touchy-Feely’ Friedrich is in full swing.  Notably, most communes didn’t fare too well or last too long.  Unsurprisingly, taking a bunch of ignorant kids who don’t know how to do anything and don’t have any kind of solid moral code and sticking them in a field to make their own way didn’t generally turn out all that well.  I’ll give this particular Outcast tale an average 3 Minutemen.  It isn’t bad, but it isn’t particularly great, either.

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The Brave and the Bold #97


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“The Smile of Choclotan!”
Writer: Bob Haney
Penciler: Bob Brown
Inker: Nick Cardy
Editor: Murray Boltinoff

“Who Has Been Lying in My Grave?”
Writer: Arnold Drake
Penciler: Carmine Infantino
Inker: George Roussos
Editor: Jack Miller

Our bi-monthly dose of Zaney Haney comes with another helping of Wildcat this month, which is always welcome.  As I’ve said before, the character that Haney really had the best handle on was ‘ol Ted Grant.  Yet, this issue doesn’t really take advantage of that familiarity.  Our heroes are partnered up on the cover, but that isn’t quite the case in the comic itself.  The cover has nice Nick Cardy art, and it makes for a striking image, though it is a fairly massive cheat, in terms of the story it represents.  There’s not even that much of a defense of the image as symbolic.

That story begins in fine fashion, with Bruce Wayne, vacationing in Acapulco, watching a young man preparing for a demanding cliff-dive.  Suddenly, the bold billionaire sees a rifleman, preparing to kill the kid.  When the native makes his dive, so does Bruce, as Batman!  Using his cape as a parachute (which we haven’t seen too often at this point, I think, but will eventually become a staple of the character), the Dark Knight manages to ruin the would-be killer’s shot.

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Later on, Bruce, back in-mufti, follows the assassin’s target, a young native named Luis.  He spots a poster of his old friend, Wild Cat, apparently boxing in the local arena under the name El Tigre.  Strange!  Just then, the hapless kid is jumped by a trio of knife-wielding thugs.  Batman intervenes once more, but by the time he dispatches the desperadoes, Luis has vanished.

That night, Bruce attends the fight, only to see the former champ get drugged and knocked out.  When the hoods try to get to him under cover of the ensuing riot, the Masked Manhunter takes a hand once more.  Rescuing Ted and his assistant, who turns out to be Luis, the Dark Detective takes them to their shack, where he learns their story.  It seems that Ted had once fought Luis’s father, and after the Mexican boxer refused to take advantage when Ted got resin in his eyes during a match, the pair became great friends.

brave and the bold 097 011Years later, when Luis’s father began to search for a lost cultural treasure of Mexico, an idol of the ‘smiling god,’ Choclotan (which is, of course, fictional), the old champ came to help.  Yet, when the pair were searching the mountains for the lost treasure, Luis’s father was killed and Ted’s head was creased by a bullet, leaving him amnesiac.  Apparently there is a sinister band of smugglers after the treasure as well, headed by a shadowy figure known as El Grande.  They are the ones behind the attacks on the duo.

brave and the bold 097 014Luis found his costume and has been helping him make a living by fighting as ‘El Tigre,’ while the youth cliff-dived for tourists.  Yep, sounds like a great plan.  Have the man with brain damage fight in boxing matches!  Anyway, poor judgement aside, Batman agrees to help, and they set out to search for Choclotan.  They encounter an old friend of Luis’s family on the way, a rancher named El Sordo, who owns a massive stead in they area they are traveling.  Apparently he was Luis’s father’s manager, and he offers to guide the group in their search.

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On the way, Ted suddenly snaps out of his fugue for a moment, telling the group they need to climb a nearby cliff.  When the agile Luis does so, he sees massive jaguar prints carved in the valley, leading the way to the treasure, and tells Batman that jaguars were the sacred animal of Choclotan.  As they push on, the group realizes they’re being followed, and that night, while El Sordo is on watch, the Dark Knight makes his own patrol, only to be attacked by machete-armed muchachos.  Suddenly, Wildcat appears and lends a hand, and the pair manage to fight off the fiends and discover an apparently wounded El Sordo.

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Yet, when they finally reach the end of the trail, a flooded volcano crater, and Luis dives in to locate the treasure, his reemergence reveals treachery!  El Sordo is, in fact, El Grande, and he has captured the heroes.  Insisting that Ted is merely faking his memory loss, Grande/Sordo has his beastly henchman, called ‘The Ox,’ attempt to beat the truth out of the boxer.  Despite the champ’s best efforts, he takes a beating and finally tells their captors that he remembers.

The treasure, he claims, is in a nearby cave, and his confession is taken as a terrible betrayal by young Luis.  Yet, when the smugglers enter the cave, Wildcat suddenly stops Luis from following, and moments later, a massive jet of water shoots out of the cavern, washing the would-be thieves away!  The treasure chamber was booby-trapped, and Ted’s memory had come back, allowing him to recall this and trick their enemies.  Finally, the trio discover the grinning god, and Choclotan can return to his people.

This is a fun yarn, and it is honestly rather tame for a Zaney Haney offering.  The plot is relatively unified by his standards, and while the exotic Mexican setting provides plenty of flavor, there aren’t any particularly insane flourishes to speak of.  Sadly, Wildcat isn’t really present for much of this story, instead he’s present in name only, as his amnesiac self lacks any real personality.

There are some nice elements to the adventure, like the surprisingly subtle hint about El Sordo, when we learn that this wealthy rancher was formerly just a fight manager, which should make an attentive reader suspicious.  Of course, such a reader would also notice that Wildcat effectively killed several men in the finale, a fact that is barely acknowledged.  Yes, it’s mostly an example of a ‘hoisted by your own petard‘ trope, but Ted’s role is a bit more direct than those usually are, as he willfully sends them into a situation he knows will probably kill them.  That’s problematic, but such concerns never slowed Zaney Haney down one bit.

On the art front, I can’t say I’m fond of the combination of Bob Brown and Nick Cardy.  Brown seems to be trying to ape Cardy, or Cardy is overwhelming Brown, but the final result is less somewhat than the sum of its parts, seeming like a poor compromise between their two styles.  I suppose I’ll give this fine, Indiana Jones-style adventure 3.5 Minutemen.  It’s an entertaining read.

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Detective Comics #415


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“Challenge of the Consumer Crusader”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artists: Neal Adams and Dick Giordano

“Death Shares the Spotlight!”
Writer: Frank Robbins
Penciler/Inker: Don Heck
Letterer: Ben Oda

“The Forbidden Trick”
Writer: William Woolfolk
Penciler: Leonard Starr
Inker: Leonard Starr
Editor: Whitney Ellsworth

“The Case of the Finders Keepers”
Penciler/Inker: John Prentice

Our issue of Detective Comics this month is notable, not so much for its story, which is fair enough, but for the real-life people it is based on, which provide another of those intriguing glimpses into the zeitgeist of the era that I love.  We’ve got a solid enough cover, a dramatic image of the hanging Batman, though it is, unsurprisingly, something of a cheat.  The tale within begins with the Dark Knight following, of all things, a garbage truck!  He’s trailing two trashmen when they jump a man in a suit and prepare to throw him into the compactor in the back of their truck.  The Caped Crusader intervenes, and with the help of the would-be victim, he manages to chase the thugs off.

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After the action, the Masked Manhunter discovers that their target was none-other than Tom Carson, famed “consumer crusader” and “leader of ‘Carson’s Consumer Commandos.'”  That’s right, there’s a Ralph Nader in the DC Universe!  This fascinates me.  Ralph Nader is a champion of consumer rights and has been a huge factor in holding government and industry accountable for their deeds in the U.S. in the last half century.  He also created “Nader’s Raiders” and “Public Citizen,” a pair of watchdog groups that advocated for public interests.  Nader was in the headlines in the early 70s, and it is fun to see him and his work referenced in such a way in comics.  What an unusual topic for a superhero story!

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Detective415-07Anyway, this pseudo-Nader, Tom Carson, tells Batman that he has a lot of enemies because of all of the big companies he’s ticked off by exposing their malfeasance.  Yet, the most recent case is Magna Industries, who were preparing to introduce a “microwave anti-pollution device.”  Carson’s group was testing their product, and he notes that a poor result could be disastrous for the company.  The Caped Crusader drops Carson off with Barbara Gordon for safekeeping, which is a fun little detail, and then he heads to check out Ben Ames, president of the company in question.  He notes that, as Bruce Wayne, he knows Ames personally, and can’t believe he’s behind the hit.

Detective415-09At the Ames estate, the Dark Knight sees a light on and reasons that the corporate bigwig might be waiting for a certain call.  Disguising his voice, Batman fakes the call from the Carson’s car, which he borrowed, and proves Ames’ guilt.  In order to figure out his motive, the hero tries a more theatrical approach.  He uses some of Carson’s spare clothes and some phosphorescent paint to stage a ghostly visitation.  Suddenly, Ames is confronted by the “ghost” of the man he tried to have killed!  During the confrontation, Ames declares that Carson drove him to it because he tried to blackmail his company, threatening to release a damning report, despite the fact that the device was perfectly safe.

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One mystery solved, the Masked Manhunter sets out to find who is in back of the blackmail scheme.  Heading to Carson’s headquarters, he interrupts his assistant, Joan Wilde, in the middle of a call to Ames.  Unfortunately, she has confederates.  In a neat sequence, they attack Batman, using the various testing devices in the consumer products laboratory.  After a desperate and colorful battle, the Dark Knight manages to turn the tables on his antagonists, who get caught in their own trap as the machines turn on them.

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You’ve heard of jungle Batman and snow Batman, but how about disco Batman!  Staying alive, staying alive!

Pursuing the femme fatale behind the caper, the hero leaps into a convenient car to give chase to her, only to realize it is hooked to a crane for crash testing.  Before he can react, the Dark Detective finds himself hurled high into the air, only moments from a cataclysmic collision with the ground.

When the car comes crashing down, Miss Wilde is certain she has disposed of her foe, only for Batman to emerge, a little worse for the wear but uninjured, from the smoke.  He tells her that he threw himself into teh air to avoid contact with the car, and that, plus the airbags, allowed him to survive.  I’m not sure that would actually work, but it makes comic sense, so I’ll give it a pass.  The issue ends with Carson discovering the corruption in his organization and being cleared of any involvement.

This is a solid little mystery, and the fight in the testing laboratory is pretty fun and creative.  It’s a really clever setting for a superhero fight, filled with lots of bizarre gadgets and silly contraptions that make for good superheroic fodder, all of which could realistically exist in such a place.  It’s also really quite interesting to see the consumer rights revolution make its way into comics, albeit obliquely.  Who knew the DC Universe had their own Ralph Nader?  You keep up the good work, Tom Carson!  So, I’ll give this tale 3.5 Minutemen.

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“Death Shares the Spotlight”


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Detective415-21Our Batgirl backup picks up where the last left off, with Babs dashing off to ‘call the police,’ an excuse she uses to go into action.  She contacts the agent who had been in charge of auctioning off the props from the Mesa movie studio, one of which was used in that night’s assassination attempt.  The girl detective learns that a hundred of the prop guns are still in Gotham, being used in a wild west show featuring a former Mesa movie star.  At the same time, Jason makes his own connection and sets off as well.

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Counting on the powder-burns on would-be killer’s hand to identify him, Babs is disappointed when all the show’s players begin using prop guns.  That doesn’t stop the star of the show, Chuck Walla, from letting his guilt and self-consciousness drive him to flee the spotlight in an attempt to destroy the evidence, his gloves, before anyone notices.

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When Batgirl confronts him, the actor catches her at gunpoint.  He admits that he tried to kill Tiz, who was once his girl, before joining up with her new husband.  Just then, Jason jumps in, having followed his own trail to the assassin.  The Daredevil Dame pitches in, taking out Walla but making her beau think it was his blow that did it, which is rather cute.

This is a brief and rapid-paced tale, feeling even shorter than normal, but it is reasonably complete.  I did feel a bit disappointed that there wasn’t a bit more to it, and Walla’s panicked display of guilt was a bit much.  Unfortunately, this also features some of Don Heck’s worst work we’ve seen so far.  It’s very rough and awkward in several scenes.  I’ll give this lackluster offering an average 3 Minutemen.  It’s not bad, but it isn’t particularly good either.

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And that does it for this iteration of Into the Bronze Age!  Bat-books galore!  I hope y’all enjoyed the post and that y’all will join me again soon for another dose of classic comics.  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:

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

arrowheadglheadAquamanhead.jpgAquamanhead.jpgAquamanhead.jpgbatman-family-6-cover.jpg2f52ff2370b3a87769869427faeac69darrowheadAquamanhead.jpgbatman-family-6-cover.jpgMister_Miracle_Scott_Free_00014aa6e3fed1467a75dcac3f9654a2c723glhead

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: August 1971 (Part 2)

DC-Style-Guide-1

Welcome to another edition of Into the Bronze Age!  I know I’ve been quite remiss in delivering you some more Bronze Age goodness, but I’m getting back in the swing of things, so I hope you can look forward to some more frequent posts.  Thank you all for your patience and your continued support!

As for this post, we’ve got a double dose of the Dark Knight on tap, including a Bronze Age first, the return of one of the great Batman villains!

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.


Batman #234


Batman_234

“Half an Evil”
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Vengeance for a Cop!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Trail of the Talking Mask”
Writer: Gardner Fox
Penciler: Carmine Infantino
Inker: Joe Giella
Letterer: Gaspar Saladino

We’ve got an important milestone here, as this issue features the return of a classic Batman villain, the first of many due in the coming years.  As you can probably tell from the cover, our mystery guest is that bifurcated badman, that champion of chance, Two-Face!  I knew that he had been long absent from the Bat books, but when I looked him up, I was astonished to discover that he last appeared way back in 1956, in Detective Comics #228.

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It’s hard to believe that a character now considered to be one of the major Batman villains could be absent from these books for over a decade and a half, but so it is.  Notably, DC seems to realize the significance of this story, as the cover copy touts the return of the villain.  The cover itself is okay, but it isn’t really all that impressive.  We’ve got a nice depiction of Batman’s plight, and Two-Face’s laughing visage is fairly striking, but the whole tableau is more confusing than evocative.  What exactly is going on here?  Has Two-Face turned uglier than average pirate?  We are left to ponder the question.

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The book opens with a lovely, moody splash page presaging the showdown that will eventually take place in the swamp at the end of the story, but the action actually begins during the “Gotham City Merchants’ Parade,” which bears a striking resemblance to the annual Macy’s Thanksgiving Day Parade.  This particular festival is interrupted by a strange theft, as two clowns break character to hijack a giant hotdog balloon, which floats up to be received by a waiting helicopter.  Note the label on the float.

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This crime, unusual as it is, attracts the attention of Batman, and we get a funny scene in Commissioner Gordon’s office, as resident anti-Batman loudmouth, Councilman Arthur Reeves, is busy boasting about how he’s going to put the vigilante in his place, only to flee in terror when the Dark Knight, having silently arrived behind him, says “boo.”  It’s a great little humor beat that provides some levity while not detracting from Batman’s brooding presence or serious attitude, striking a balance that isn’t easy to achieve.  The annoying Reeves having been removed, Batman and the Commissioner compare notes, but their conference is interrupted by an alarm at the Nautical Museum.

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Batman234-09Arriving there ahead of the police, the Masked Manhunter sees a car take off, but realizes that it is a diversion.  Continuing his search inside, he encounters the two criminal clowns from the first robbery, and he captures one, though the other escapes with the loot, a diary of an old sea captain named Bye.  Interrogating his captive, the Caped Crusader receives a shock.  The mastermind behind these thefts is always flipping a coin and keeps his face in shadow.  Sadly, the cover rather spoiled the reveal, but I imagine the next scene still had to be exciting for long-time Batman fans, as Two-Face is slowly revealed, first with a focus on his scarred coin, and then his equally scarred visage.  It’s a nice, dramatic scene, and it ends with the evil side of the coin winning out, setting the stage for more mischief.

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Having sussed out the identity of his foe, Batman reminisces over Two-Faces history, and I was surprised to discover that the Pre-Crisis villain actually had his face repaired and was healed at one point in time, only to have another disaster scar him once more and drive him back into madness.  Poor Harv can’t catch a break!  Back in the present, the world’s greatest detective begins to put the pieces together, realizing that Captain Bye’s former ship is still preserved in a marina nearby.  When he arrives to investigate, the Batmobile is met by a pair of gunsels, but Batman isn’t in it!  Using an automatic pilot to control the car, the Dark Knight gets the drop on the gunmen and takes them out, only to arrive on the dock just as the schooner explodes and sinks!  The Masked Manhunter realizes that he’s missed something and tries to examine his assumptions.

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In another funny scene, a drunk is floating elsewhere in the river on an inner tube, only to be slowly hoisted out of the drink by a mast emerging from the water.  The schooner slowly floats to the surface, and Batman is there to see it.  When the ship is fully afloat, he climbs aboard to await the arrival of his foe, but even the great detective is stunned to see the drunk hanging obliviously from the mast, and he’s distracted enough for Two-Face, who had stowed away with a SCUBA rig, to sneak up and knock him out.  It seems that the mastermind stole the parade balloon to help him raise the ship after he sank it, having chosen that particular balloon because it belonged to the Janus (two-faced god) hot dog company, labelled “Doubly Delicious,” thus making it doubly appealing for Two-Face!

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The scarred scalawag discovered that Captain Bye had hidden a treasure of gold doubloons on his ship, and he had sunk it in order for the tide to deposit it in a secluded cove, then he raised it with the balloon so he could recover the hidden fortune in secret.  Lashing Batman to the mast, Two-Face plans to sink the ship once more, but the Dark Knight points out that this will kill the tramp on the mast.  A flip of his coin forces the villain to save the drunk, and this gives the Caped Crusader time to free himself, and with a single blow, he knocks his foe out, bringing the adventure to an end.

This is a fun story, with a lot of entertaining moments and a nice mix between humor and drama.  It isn’t necessarily the most impressive return for Two-Face, though it’s nice that his convoluted plan almost works, only to be thwarted by his own fixation on his coin, in the custom of all the classic Two-Face tales.  This feels like a Two-Face story in that way.  It’s a tradition that Batman’s foes tend to defeat themselves thanks to their own particular shades of madness, and this story is right in line with that history as well.  Yet, I was a bit disappointed that the Dark Knight defeated Two-Face so easily.  It seems like Harvey should have been more of a physical threat, ‘strength of a madman’ and all that, as the old stories had it.  On the art front, Dick Giordano’s heavy inks bring a certain darker atmosphere to this tale, and for once the difference is striking enough that even I can notice it.  This works well for Batman, though it brings a rougher look to Adams’ pencils.  The artwork is excellent and very effective throughout, with Adams doing a particularly nice job on the reveal of Two-Face’s scarred visage.  So, taken all together, this is a solid if not spectacular return for a great villain.  It lacks just enough in Two-Face’s portrayal and the development of the mystery to keep it from being great to match.  The coin dictates that I give Two-Face’s reappearance 4 Minutemen, a pretty good score, and I’m not one to argue with the coin.

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“Vengeance for  a Cop”


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The Robin backup features an odd but thoughtful little yarn.  It begins, oddly, with a police officer named Robert Beeker apparently breaking the fourth wall.  He seems to be talking directly to the reader, as he talks about how his beat, on the edge of Hudson U’s campus, places him between angry and frustrated portions of society, the townsfolk who think he’s too soft on the “long-haired anarchist law-breakers,” and the kids, who think he’s just “a head-busting establishment pig.”  It’s an interesting monologue, and it highlights the divide afflicting the culture and his own difficult, delicate role as a peace officer.  Yet, as he talks, a shadowy figure shoots him down, though he gets off a shot in return.  This seems to be in response to his speech, so what exactly is going on is a bit uncertain.

Either way, who shoot Officer Beeker is a mystery that attracts Robin’s attention, as he thinks to himself that “too many cops are getting the short end of the stick these days,” which is an interesting perspective given the enduring national anger following events like the Kent State Shootings in 1970.  The Teen Detective investigates, but finding nothing, he visits the wounded officer.  Beeker, recovering well, asks the young hero to bring his daughter home.  The silly girl has bought into the counter-culture promises of the day and run off to a commune, hating her father for defending a corrupt society.

 

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Charming girl…

 

When the Teen Wonder heads to the commune, he finds the girl, Nanci, headstrong and passionately convinced of her own righteousness, as is often the case for the young and foolish.  She condemns her father and shows Robin a police bullet she wears, taken from the leg of one of the ‘family.’  Just then, Terri Bergstrom arrives with a note from Batman that warns his ward that the shooter may actually be at the commune as well.  When asked how she found him, Terri is vague once more, continuing to imply that she knows more than she’s letting on.  I suppose the he should really be used to this by now from his time around that master of vague nonsense, Lilith.  Nonetheless, it’s then that Dick meets Pat Whalon, Nanci’s boyfriend, who has a wounded leg and who admits to having been at Hudson U.  Curious.

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Aiming to investigate the commune, Robin approaches a bridge, only to be confronted with a towering hippie who speaks in a strange, archaic fashion, and who declares that the Titan must best him with a staff to gain entrance.  Shades of Little John!  Dick loses the fight, but he loses with humility, and this is apparently the real test, but it doesn’t explain the weird put on Shakespearean act (nor how the young superhero gets his head handed to him by this hippie Merry Man).  Nonetheless, in addition to a dunking, the fight also provided Robin with a clue to the culprit, and he points out the perfidious one.  Yet, the hippies declare they won’t let him take the gunman back to town.  The identity of the villain is kept a mystery for the moment, but I’m guessing it is pretty clear.

Batman234-28This is a story with some really worthwhile elements and some really strange touches as well.  The odd opening and the random anachronistic dialog that doesn’t get explained are rather off-putting, but the central mystery and, more importantly, the attempts to address current social concerns, are really decent.  Friedrich does a solid job setting up the mystery in a small space, but there just aren’t many characters to work with.  It might have been better to go to the commune immediately and filled in the backstory briefly.  Nonetheless, his attempts to address the anti-police sentiments abroad at the time are worthwhile and surprisingly effective, humanizing Beeker, briefly but well, with his lament about being stuck in the middle, and touching obliquely on the dangers of returning violence for violence and hatred for hatred.  It’s all rushed, but it’s fascinating to see these themes being addressed, especially in the Robin feature, which seems aimed specifically at the college crowd.  So, I’ll give this ambitious but uneven tale 3 Minutemen.  It’s worthwhile, but clumsy.

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Detective Comics #414


Detective_Comics_414

“Legend of the Key Hook Light House”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: Gaspar Saladino
Editor: Julius Schwartz

“Invitation to Murder!”
Writer: Frank Robbins
Penciler/Inker: Don Heck
Letterer: John Costanza

“The Australian Code Mystery”
Writer: David Vern Reed
Penciler: Alex Toth
Inker: Sy Barry
Letterer: Gaspar Saladino
Editors: Mort Weisinger and George Kashdan

“Private Eye of Venus”
Writer: Gardner Fox
Penciler/Inker: Carmine Infantino
Editor: Julius Schwartz

We’ve got a lot of backup material in this issue, with two very different mystery stories rounding out the Bat-tales, which is always neat to see.  We’ve got a military-style spy story, complete with code breakers and double dealing, as well as a classic 50s-style sci-fi yarn.  Yet, our cover story is definitely the highlight.  It’s a surprisingly touching story where the action and adventure take a distant backseat to the human drama of one unexpectedly sympathetic and well drawn supporting character.  As for the cover itself, it is just okay.  It’s got that soft, ghostly effect that we’ve seen often lately, and it actually rather inverts the events of the actual story.  Still, it is nicely menacing and dynamic.

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It begins with an unusual tale of love and betrayal set forty years in the past.  A lighthouse keeper lets himself be distracted from his duties by his young love, and a ship wrecks in a stormy sea (Tom Curry would be disgusted!).  Unable to live with what he’d done, the keeper killed both his lover and himself, leaving the tower…haunted!

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Detective414-04In the ‘present,’ Batman is poised in the rafters of a Florida bar, spying on a meeting of arms smugglers.  Notably, the narration focuses on the humidity and heat of the night (and if you’ve ever been to the Gulf Coast, that will be no surprise to you), and I can’t help but think, ‘man, Bats must be DYING under that cape and cowl!’  Anyway, the Dark Knight’s comfort aside,once the guns are revealed, the Caped Crusader descends on the hoods, taking out the muscle in a nice fight scene.

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Detective414-06Yet, among this motley band of mercenaries are a mismatched pair, a tall, Amazonian blonde named Lucy and a little fellow named Arnie, who has brought the guns down from Gotham.  When the Masked Manhunter confronts the Lilliputian driver, Lucy attacks the hero.  This leads to a fun little exchange where Batman tells this fiery femme that “I don’t want to hit a member of the fair sex–but if the need arises…”  That feels very fitting.  In order to save the diminutive driver, Lucy offers to make the Dark Detective a deal.  She offers to bring the Caped Crusader to the head of the gang, if only he’ll let Arnie go.

Detective414-07Batman agrees, and as he and Lucy board a boat and head for the abandoned lighthouse for which the guns were originally destined, we learn why this brassy belle was willing to make this trade.  Beautifully illustrated by Novick, who perfectly captures Lucy’s care-worn face, we learn a bit of her backstory.  With a lovely, rough-hewn charm, she describes how she was once an up-and-coming singer in Jersey, and Arnie was her manager who wanted to marry her.  She wanted nothing to do with the little fellow, and instead lived a fast, flashy, and ultimately hard life, losing her beauty and her voice chasing the wrong type of men and the wrong types of thrills.  Only then did she realize her love for the sweet-natured Arnie, but then he wouldn’t have her.  It’s sweet, and sadly beautiful, and it’s delivered in just one great panel and a few word balloons.  It’s a real feat of storytelling to create something touching in so brief a space, and another example of the power of this medium for narrative economy.

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Once on the island, Batman lays in wait for the buyers, a thoroughly vicious South American general named Ruizo.  Lucy leads his men into a trap in the lighthouse, and the Dark Knight takes them out swiftly, taking advantage of the darkness.  But Lucy is left outside with Ruizo, who shoots her in revenge!  This old dame is tougher than she looks, though, and thinking that the General will go after Arnie, she drags herself across the beach and into the surf in order to wrap a cable around the getaway boat’s propeller.

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Detective414-15The Caped Crusader takes advantage of the situation to confront Ruizo, but the rough seas knock him off his feet, and he strikes head!  The General draws his sword and prepares for the deathblow, only to be surrounded by a corona of blinding light and an unearthly voice speaking of redemption.  Desperate to escape the ghostly blaze, the would-be dictator leaps into the sea and swims towards another phantom glow that he thinks is the lighthouse, only to sink into the depths.  Batman rescues Lucy, and they have a nice moment.  Then, he climbs into the lighthouse and, realizing that it has been deserted for years, he realizes there must be a spiritual explanation for the strange occurrences and he says…’thanks,’ as the restless spirit finds redemption.

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Detective414-16 - Copy

Detective414-17 - CopyThis is an odd little tale, with the haunted lighthouse not quite fitting in smoothly, but it really becomes worthwhile with the brief but touching story of Lucy, her wasted life, and her heroic struggle to save the only man who had treated her with love.  She’s wonderfully sympathetic, and I wish O’Neil had cut out the ghost angle and just spent more time with her.  Novick’s art is serviceable throughout, occasionally rising to be excellent, but one of the only flaws of this story is that he struggles to consistently portray the age and wear on Lucy’s face.  She’s as gorgeous as Black Canary most of the time, with only a few panels really capturing the older, more world-weary face she’s supposed to have.  It makes it a little hard to take her tale of faded glory seriously.  This is, of course, a common problem in superhero art, as artists tend to only be skilled at drawing heroic types.  Despite its weaknesses and the ill-fitting element of the haunted lighthouse, this story is nonetheless memorable because of the charming portrayal of this single random minor character.  I’ll give it 4 Minutemen in honor of “Loosy’s” hard-knock life.

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“Invitation to Murder!”


Detective414-20

This month’s Batgirl backup features a night at the theater, as Jason Bard, the poor man’s Dick Grayson, takes Babs to see a new show, only to arrive to find the place seemingly deserted!  The only other showgoers are a couple in one of the private balconies.  Nonetheless, the show goes on, only to be suddenly interrupted when Jason notices a rifle pointing at the other guests from nearby their nosebleed seats.  He tries to intervene, only to receive a buttstroke for his troubles.

Babs strains credulity for her secret identity, switching into Batgirl and tackling the gunman.  She stops his next shot, but the fellow tosses her over the edge of the balcony.  Fortunately, she manages to grab onto the rail, and she sees her dear detective try to tackle the gunman again, only to get his head handed to him…again.  Switching back to Babs in the interim (are we sure she doesn’t have super speed powers?), she picks up her battered beau, who in turn picks up the sniper’s weapon.  It’s a lever-action rifle, a prop from “Mesa Productions,” which recently went bankrupt.

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Wondering who their rogue rifleman was shooting at, the couple goes to investigate, only to find that the targets were Hollywood royalty, “Tiz and Robbie Marlow,” clear analogs for Elizabeth Taylor and Richard Burton, who were THE Hollywood couple of the mid-century, which is a fun little detail.  Incidentally, America’s celebrity obsessed paparazzi culture really took off with those two, which is a sad memorial to their relationship.  While you’re pondering that anecdote, our heroes are pondering who would want to take a shot at these beloved figures.  It seems that one of the bullets at least managed to find its mark, and Richard, err…Robbie, got hit in the arm.

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After “Tiz” sobbingly wonders why anyone would do such a thing, especially on their anniversary, Jason begins to put some of the pieces together.  He deduces that the Hollywood couple had booked the entire theater for their anniversary, and the ticketseller had misheard the sleuth and given him tickets for the seventh instead of the second, tickets which he didn’t bother checking…and apparently neither did the ticket taker, who they just rushed past.  Odd.  Yet, even odder, the Marlows didn’t buy out the house, the tickets were a gift from “an anonymous admirer.”  Clearly a setup.  It seems only their manager, Joe Ryan, knew of their plans, but Jason’s playmate didn’t seem to be him.  The tale ends with Babs stepping out, ostensibly to call the police, but really to pursue a hunch of her own!

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This is a fun little story, and it has the makings of a good two-parter, but there’s not quite enough here to make for a substantive mystery.  We don’t even meet a single suspect.  Nonetheless, Robbins gives us a colorful and interesting setup, and the playful reference to the real-life stars is fun.  There’s also a nice dynamic between Jason and Babs, with Batgirl’s paramour being a detective in his own right, which gives their adventures a rather different flavor than those of most heroes in their secret identities.  It’s also beginning to get a bit comical that Jason can’t seem to win a fight to save his life.  Unfortunately, Don Heck’s art continues to be a poor fit for this feature, still producing a number of awkward, stiff figures and rough compositions.  Yet, there are also some really nice panels, and some of his facework is quite good.  The overall effect is serviceable, if not exactly good.  So, I suppose I’ll give this crazy curtain call an above average 3.5 Minutemen, as it has just enough of interest to raise it above the crowd.

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This was an enjoyable pair of Bat-books, with the long deferred return of the bifurcated badman, Two-Face.  I’m hoping that this heralds a return of supervillains to the book in general, though I know we’re still a little while away from the Joker’s triumphant and legendary return.  We also get an intriguing glimpse of 70s popculture, with the appearance of an ersatz Liz Taylor and Richard Burton, who I imagine were easily still in the headlines here in the early 70s, even if their heyday had passed with the 60s.  In fact, each of our stories in this bunch have something to recommend them, from the socially relevant Robin tale to the surprisingly touching Detective yarn.  I’d call this a memorable pair of comics.

 

Into the Bronze Age: June 1971 (Part 2)

DC-Style-Guide-1

Hello comic fans and lovers of literature, and welcome to another edition of Into the Bronze Age!  We’re continuing our march through June of 1971, and it is already proving to be an intriguing month.  This pair of comics isn’t quite as fascinating as the last few, but we do have an enjoyable batch of books to explore.  So, further up and further in!

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

 


Roll Call


(You can see everything published this month HERE)

  • Action Comics #401
  • Adventure Comics #407
  • Batman #232
  • Detective Comics #412
  • The Flash #207
  • Justice League of America #90
  • Mr. Miracle #2
  • The Phantom Stranger #13
  • Superboy #174 (reprints)
  • Superboy #175
  • Superman #238
  • Superman’s Pal, Jimmy Olsen #138
  • Teen Titans #33
  • World’s Finest #203

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


Detective Comics #412


Detective_Comics_412

“Legacy of Hate”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz
Cover Artist: Neal Adams

“The Head-Splitters!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Don Heck
Letterer: Ben Oda
Editor: Julius Schwartz

Under this pretty excellent cover, beautifully drawn by Neal Adams, we have a very conventional yarn.  The cover composition is exciting, with our hero facing mortal peril in a nicely rendered and atmospheric image that has the added benefit of actually occurring in the comic.  The headline tale is, despite its medieval trappings, a rather hackneyed plot, and though I can’t put my finger on it, I think I have read another Batman story that was extremely similar.

It’s another murder mystery in a castle, and on that front, this story hearkens back to the first Dr. Darrk story, only six issues ago.  Nonetheless, it’s an enjoyable enough read.  It begins with an old mystery device, as Bruce Wayne receives notice that a distant relative, Lord Elwood Wayne, is dying at the ancestral Wayne estate in England, though I’m fairly certain that we’ve never really had any mention of such family ties in Batman’s backstory.  Nonetheless, it’s the standard setup, an ailing relation, the gathering of the distant family from the four corners of the world, related, but unknown to one another, and a spooky locale for setting.  Bruce heads to England to answer the summons and meets Wilhemina Wayne, an orphan from South Africa, Rev. Emelyn Wayne “a missionary among the unenlightened Asian ‘heathen,'” and Jeremy Wayne, an Australian ranch hand.

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To add to the atmosphere, they are picked up in a hearse (the weather being too bad for horse and carriage) and driven to an imposing old castle on a stormy night, there greeted by an equally imposing butler, Asquith, a descendant of the servant of the original inhabitant of the ancient pile.  During the journey, the grim driver tells the gathered Waynes that the place is haunted by the murdered first lord of the estate, Lord Harold.  Once arrived, they meet the aged Lord Wayne and his friend and physician, but the meeting is necessarily brief.

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Detective412-06They are informed that the estate will be split between them, and any accidents will divide it among the survivors.  A perfect setup for intrigue, of course.  That night, Bruce is having a drink with ‘Mina,’ because of course he is, when suddenly she sees a figure in medieval armor on the battlements!  The millionaire comforts the girl and pretends he saw nothing, but he gets into costume, once again endangering his secret identity beyond all bounds (I wonder if the guy from Gotham has anything to do with the hero from the same city showing up here in the middle of nowhere..), and begins an investigation.

The Dark Knight hears a scream as he prowls about and arrives in Mina’s room, only to find himself confronting the armored figure of a strange intruder!  After a skirmish in which that very armor proves very handy against hand-attacks, his opponent escapes.  The Caped Crusade continues his search, wondering which of the gathered family and friends could be masquerading as a phantom.  He hears sounds of a struggle coming from the Aussie’s room and kicks the door in to discover the man, lightly wounded, but alive, having fended off another attack, and the hero sets off again in pursuit.

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Detective412-13After stopping to stage his bed to make it seem like Bruce Wayne is sleeping….while everyone else in the castle is running around like crazy, because that will be foolproof, the Caped Crusader hears another cry from Mina.  Her door was locked, but someone was trying to force it.  Pursuing the culprit into the marsh outside, the Dark Knight suddenly finds himself in desperate straits, stuck in the muck and being charged by a spurious spectral knight with a lance.  The strike seems to go home, and the warrior rides on, crying out that his vengeance can now begin.

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Yet, Batman lives!  He snatched up a tree branch and used it as a shield, though the impact almost knocked him out.  He rushes to the castle armory, thinking that he knows the supposed spirit’s identity.  There he confronts “Lord Harold,” and after a quick battle, the armored figure is unmasked as…Asquith?!  The spooky butler speaks in a strange voice, claiming to be Harold and saying that he was wreaking just vengeance.

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The batty-butler leads the Masked Manhunter to a hidden chamber where the real Harold’s brother had imprisoned him to usurp his title, and then, bizarrely, the sepulchral voice declares that Asquith has failed him, and the servant simply dies…yet the voice briefly continues, promising to continue its quest for revenge!  The story ends with Batman making notes about the case, pointing out that Lord Wayne had died that same night and pondering if this were a case of haunting or madness.

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This is a solid enough murder mystery, but it has too many characters and too little space to be entirely successful.  Batman figures out the culprit on very thin evidence, noting that none of the relatives would have vengeance as a motive, despite the fact that, rationally, neither would Asquith.  The art is nicely atmospheric, and there are several fittingly Gothic moments, especially the showdown in the swamp.  Bob Brown does a good job throughout, rendering some nicely dramatic images and doing some good work on the various supporting characters, giving them personality, despite their lack of development.  Perhaps most notably, he really works to create a well-realized setting, putting a lot of detail into panel backgrounds and giving the old castle a real sense of presence.  In general, there’s more show than there is stay to this story, but it is still an enjoyable enough read.  It is very familiar, but the confirmation of an actual haunting makes it a bit more original than most of this type, though I wish they had left the ending just a tad more ambiguous.  I’ll give this one an average 3 Minutemen.

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“The Head-Splitters”


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Our Batgirl backup certainly can’t be accused of being unoriginal this month!  It has one of the more unique murder weapons I’ve encountered in comics.  The tale begins with a woman awakening screaming, and the next morning the papers carry the headline that a wealthy socialite divorcee was mysteriously killed, her “head cracked like an egg!”  The same morning, breakfast at Commissioner Gordon’s house sees he and his daughter sharing a meal.  The head cop is baffled by the crime, but he reveals that the victim had a thing for wigs, which, according to Babs, is no clue at all because “What now-gal doesn’t dig wigs!”  Yikes, that slang!  Anyway, this gives Jim a clue, but for his daughter’s birthday, not the crime.  He offers to let her pick out a wig, for which he’ll foot the bill.

That day, Babs visits “Vazly,” the most fashionable wig-maker in town, where she and another divorced socialite happen to come in for fittings at the same time.  Ironically, they both pick out the same style, which causes the fiendish fashion-monger some concern.  It seems that he and his assistant are using their wigs to blackmail wealthy young women, fitting the headgear with an ingenious mechanism that can cause it to constrict with devastating power.  If they mix up the wigs and should accidentally target the police commissioner’s daughter, that could spell trouble, but they are careful to arrange them.

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Unfortunately, “Fate steps in,” and a cleaning woman tries on a few of the wigs and mixes up the two in question, and the dangerous one goes to our red-haired heroine.  Following the instructions that came with it, she sleeps in the wig, only to awaken in agony at the touch of a control by Vazly’s assistant.  Babs calls the wig-maker, and he tells her he will happily take it off, if only she’ll cough up $100,000.  In a pain-induced panic, the young librarian scrapes up the meager funds she can and heads to his shop, but when she arrives, the would-be blackmailers discover their mistake.

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They play the whole event off, easily removing the wig and telling the confused Miss Gordon that she must have dreamt the whole thing, yet they plan to kill her once she is safely away from their headquarters.  The fire-tressed female doesn’t play their game, however, having seen a cracked dummy head in the trash and put the pieces together.  She arrives in costume to confront them moments later and lets them know the jig is up.  She clocks Vazly, but his assistant plops a wig on her head and triggers the constriction.  Dun dun DUN!

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This is certainly a new angle, though it rather defies belief.  I have to think that a mechanism that would make a wig constrict with bone-crushing force might just be detectable…but then again, it works in a comic book-y kind of way, so I’m willing to give it a pass.  After all, this is the kind of ridiculous, over-the-top plot that makes comics great.  Vazly looks suitably sinister, and the mix-up with our heroine is a quick way to get her into the mix.  This story does suffer a bit from its lack of space, being only seven pages.  Still, it’s an entertaining read, one that once again matches Batgirl up against a fashion-felon, which might be a bit much, with two tales in a row.  I’ll give this one 3 Minutemen.

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The Flash #207


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“The Evil Sound of Music!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Murphy Anderson
Cover Artist: Neal Adams

“Phantom of the Cafeteria”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Dick Giordano

Well, what do you know?  Kanigher leaves The Flash, and we finally get an issue that is really  enjoyable.  It even features a supervillain, after a fashion, and ahead of schedule!  We actually get a foe worthy of the Flash earlier than I expected, just judging by the covers that awaited us, which makes this issue a pleasant surprise.  Speaking of covers, this one does the story within no favors.  It’s got a nicely creepy looking monster, but it suffers from the Flash’s weird pose and the fact that, even with the cover copy, the scene isn’t exactly clear.  It’s just not a very effective image, not doing the tale it represents justice.

And that tale is actually a fun read.  It begins with the World’s Fastest Man in a hurry, leaving monitor duty on the JLA Satellite to race home and pick his wife up for a rock concert.  Yet, as the Allens prepare, we visit with a sinister looking figure in a darkened room, pouring over ancient books.  This is Sargon the Sorcerer, former Golden Age mystic hero turned current villain…sort of.  It’s a bit complicated.  Apparently he appeared back in issue #186 in his not-so-triumphant return to the DCU, wherein he clashed with the Flash.  It seems that he is out to regain his lost mystic gem, the Ruby of Life, which is the source of most of his powers.  He also wants revenge on the Speedster, who thwarted his last efforts.

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Novick really draws the heck out of Sargon throughout the issue.

Back in the Allen household, we get a cute scene between Barry and Iris, as Mrs. Allen notes that her husband, usually a slowpoke out of costume, can’t stand still when music is playing.  He teases her because, for once, she has made them late with her ruminations.  Apparently the couple are bound for a rock concert, headlined by the oh-so-cleverly named “Washington Starship.”  I wonder who that might reference…!  The lead singers just happen to be named Paul and Grace.  Anyway, Barry and Iris arrive just in time, thanks to a dose of super speed, and it is a super psychedelic show, accompanied by Friedrich’s narration, which is almost touching and insightful but manages to be just a little too pompous and overblown to be successful.

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I wonder if the couples are supposed to be anyone famous….

During the concert, Sargon strikes, using his magic to turn the music into a psychic attack, which panics the crowd and paralyzes the band.  While the unflappable Iris stays behind to cover the unfolding story, the Scarlet Speedster springs into action, using his powers to pull the crazed crowd out of the venue and prevent anyone from being trampled.  Given the then recent history of tragedies at concerts, this scene has a little extra significance, with the hero preventing events from going bad in the ways they had before, a type of cathartic, escapist fiction that is very much part of the purpose of comics.

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Yet, after the concert-goers have escaped, Sargon steps in again, seizing control of the Speedster and sending him to retrieve the Ruby of Life from a special vault in the Flash Museum.  The sinister Sorcerer looks positively evil as he places the jewel upon his brow and revels in his returned power.  While he is distracted, his spell over Flash ends, and the hero and the guitarist, Paul, both find themselves watching helplessly as the malicious music-spawned monsters menace their lady loves.  Each of them strains mightily and overcomes the siren song, but only Flash has the speed to save his girl.

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But they are not the only ones observing this tragedy-in-the-making, and Sargon looks on in horror as his spell spins out of control.  We discover that Grace is actually his niece, and while Flash saves Iris, the magician intercedes to rescue the songstress.  The Sorcerer tries to apologize to the young woman, but she will hear none of it, and he departs in despair.  The tale ends by checking in with each of our characters a little later, with Iris taking care of a slightly ruffled Barry, Paul happily reporting that Grace and their unborn baby have a clean bill of health, and Sargon himself contemplating how he has come to such a state, willing to use his own niece in his quest for power.

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This is a surprisingly good story.  I have grown to rather dread these Flash comics, but this one is a fun and interesting read.  Mike Friedrich doesn’t get as sappy and melodramatic as he sometimes can, though the comic is rather overwritten in his customary style, with the narration during the concert being particularly purple.  Speaking of his writing, this entire issue is a love letter to the music of the era, with the obvious reference to Jefferson Starship setting the tone, but Friedrich gives us a lot more than that.  He also sprinkles song titles throughout the entire issue.  I counted nine different songs, but it’s possible I missed some.  They are:

  • “White Rabbit”
  • “Homeward Bound”
  • “The Sound of Silence”
  • “Come Together”
  • “Penny Lane”
  • “Let It Be”
  • “My Sweet Lord”
  • “Bridge Over Troubled Waters”
  • “Down This Lonesome Road”

We’ve got some Jefferson Airplane, of course, as well as plenty of Beatles and even some Simon and Garfunkel.  What an interesting collection!  This is a fun little set of Easter eggs, but they come at a cost, as Friedrich can’t quite slip all of them in naturally.  Thus, his desire to include these references sometimes results in some rather awkward and tortured sounding dialog.  Still, I found the whole thing charming, and it is an unusually direct glimpse of the impact of the culture on the comics of the day.

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In terms of the plot itself, it was nice to see the Flash actually face a foe that was something of a threat to him, and I found myself fairly fascinated by Sargon.  I’m really curious to know what his story is and what he’s after.  I quite liked that we got only hints about him and that he escaped, not unmarked by his experience, but uncaptured by our hero.  His brief moments of characterization are intriguing, and I look forward to seeing what comes of them.  I also enjoyed the little character moments between Barry and Iris, with her evincing a more classic taste in music and the like.  I wouldn’t really expect ‘ol square Barry to be into the rock scene in 71, but it leads us to a fun tale, so I can buy it.

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Irv Novick does a great job with Sargon and some of the more bizarre, otherworldly elements of the art here, especially the music monsters, but there are a few moments where his work doesn’t quite capture the drama of a scene, like in the climax of the story where the sequence of the two struggling paramours and Sargon’s intervention could probably have used a bit more space to breath.  Still, on the whole, he turns in a nice looking comic with some real personality and emotion to it.  I suppose I’ll give this enjoyable little rock ‘n romp 3.5 Minutemen.

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“The Phantom of the Cafeteria”


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It looks like we’re going to have Kid Flash and Elongated Man trade off for the backup slot in The Flash, which is fine by me.  This month, we get an interesting little Kid Flash tale that has some familiar elements.  It begins with our fleet young friend, Wally West, pondering the dilemma of hiding his super speed in the cafeteria line at school, where he finds himself last, which is worth a chuckle.  Suddenly, food starts disappearing right off of kids’ plates, and there’s not a sign of the culprit!  Someone starts screaming about ghosts, which, in the DCU, is not all that far-fetched, but Wally keeps his head.  He calms down the students, even getting commended by the principal later on, but he continues to wonder about what happened.  When a pretty young lady asks him about their date that night at the “peace rally,” he’s so distracted that he temporarily forgets about it.

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Fortunately, he’s quick with an excuse as well as with his feet, and that night he’s at the rally when more food starts to go missing.  Wondering if the thief might be someone else with super speed, the Fastest Boy Alive gets into costume and races about in search, spotting another speedster and giving chase!  Despite being knocked aside by the blurred figure, Kid Flash isn’t to be discouraged and eventually finds a trail of food wrappers and other trash which lead him to a small, amphibious looking alien, passed out before a cliff-face.

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Thinking quickly, Wally determines that this creature is some type of unknown lifeform with an incredibly fast metabolism that moves at super speed.  It is emaciated and must have been starving, stealing food to survive.  Noticing a recent rock-slide, Kid Flash drills through into a cave system, and just then, the creature comes to and speeds into the cavern.  Theorizing that the being was a youth from a strange subterranean race that came out to explore, only to get trapped by the rock-slide, Wally seals the entrance and cleans up after the unusual but harmless visitor.

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This seven page tale lacks the great pacing and jam-packed content of one of Kanigher’s Robin backups, but it tells a complete if somewhat underdeveloped story.  The setup is a tad familiar as well.  I know The Flash had encountered various super-speedster aliens from time to time in such mysteries, but this version does have the charm of involving Kid Flash and his youthful setting, starting in the school and the like.  We’ve also got a nod towards realism, with the subterranean stranger’s appearance helping to explain its powers.  I’m wondering if Skeates is thinking about trying to do some world-building in these backups the way Kanigher has managed in his Robin tales.  It will be interesting to see if the red-headed Dana makes a return later on.

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It’s also notable that our young hero is seen going to a peace rally in this book, positioning him fairly clearly with the youth anti-war movement.  While his fellow Titan, the Teen Wonder, has been around the outskirts of such events, he’s maintained a certain neutrality.  While such politics were certainly not the focus of this story, it’s fascinating that the rally is featured here incidentally but deliberately.  Anyway, I suppose I’ll give this entertaining mini-mystery 3 Minutemen, as it doesn’t have quite enough substance to warrant more.

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And with the super-speed sortie of Kid Flash behind us, we will write finis to this post.  We had a solid set of books here, nothing groundbreaking or of enduring fame, like last post’s introduction of R’as Al Ghul, but we do have some interesting evidence of growing cultural influence and some efforts at building continuity and creating ongoing plotlines in The Flash.  I hope that you enjoyed my commentaries and that you’ll join me again soon for another step on our journey Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: May 1971 (Part 2)

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Welcome to another edition of Into the Bronze Age!  Today I bring you a special treat.  This post features the return of Batman’s greatest villain.  His most magnificent foe.  A felon more felonious than all of the many and storied members of the Dark Knight’s rogue’s gallery.  He is more colossal than Calendar Man, more outrageous than the Outsider, more catastrophic than Condiment King, more dangerous than Dr. Double X, more cataclysmic than Crazy Quilt, more sensational than Signalman, and even more crazily kinetic than Killer Moth or Kite Man!  I am, of course, speaking of the raw star power that is….the Ten-Eyed Man!

That’s right, my favorite utterly ridiculous Mort of a villain returns in this month’s issue of Batman, and his presence overshadows everything else in these books in its epic import.

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.


Batman #231


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“Blind Rage of the Ten-Eyed Man!”
Writer: Frank Robbins
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artists: Neal Adams and Gaspar Saladino

“Wiped Out!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza

Brace yourself for the awful majesty of that emperor of the oculus, that vizier of the visual, that sultan of sight, the Ten-Eyed Man!  Be still your beating hearts, my frantic fellow Batman fans, and enjoy the literary masterpiece presented here for your edification.

Batman_231_05We’ve got a cool concept in this cover, as it tries to play with perspective, but the weird representations of the finger-eyes (feyes?) with little pictures of Batman don’t quite work, and the whole thing has to contend with the silliness of the basic concept, putting it at an immediate disadvantage.  The result is a cover that ultimately suits the content within, a mixture of bad ideas executed relatively well.  And the story inside is certainly something else, though not as over the top and silly as you might expect for a tale featuring such a ridiculous villain.  Instead, Robbins plays it pretty much straight, adding realism and internal consistency, such as the Ten-Eyed Man, Reardon, having to wear gloves to sleep since he can’t close the ‘eyes’ on his fingers.  That attention to detail doesn’t make up for the fact that he has eyes on his fingers, however.  The seriousness of the yarn really makes it all the more hilarious, with the splash page positively screaming that Batman and the Ten-Eyed Man are “The deadliest enemies that fate ever brought together!”  Forget that Joker guy!  He’s old news!  The new nemesis of the Masked Manhunter is the Prince of Perception (you thought I had run out of them, didn’t you!).

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Trying so desperately to be cool and failing so tremendously…

The plot begins after the events of Reardon’s previous appearance, with the blinded former soldier obsessed with revenge on the man he blames for his condition, Batman!  In order to accomplish that goal, he sets out on a rather convoluted plan to lure the Dark Detective to the Vietnam jungle so that the fight can be on Ten-Eye’s ‘home’ ground   The Oligarch of Optics begins his operation by getting a job as an air marshal (another sign of this being the Golden Age of Skyjacking), using his ‘feyes’ to spot a threat and pass the test.  On his first flight, Reardon pulls his gun and hijacks the plane himself!  Ohh the irony!  He routes the aircraft to Vietnam and issues a challenge to Batman, demanding that the Dark Knight meet him in the jungle.

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When the Caped Crusader lands, Reardon toys with him before leading his foe into the bush, which the hero quickly discovers is full of booby traps.  Batman barely avoids some punji stakes, but he manages to trail Ten-Eye through the trees (though one thinks swinging from vines would probably blind that buffon).  Unfortunately, his foe is one step ahead of him and has prepared a trap involving a blinding flash grenade.  When it goes off, the Dark Knight seems to be stunned, but when Reardon drops his guard, Batman drops him!  The hero revealed that he was watching the villain’s hands, and when the ten-digited-doofus hid his ‘feyes,’ the hero protected his own eyes, allowing him to capture his “deadliest foe.”

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You just have to wonder why in the world Frank Robbins looked at all of the great stories he had written, at the characters he had created, including the honestly great concept of the macabre Man-Bat, and decided that this guy, this ridiculous, goofy, and utterly worthless Z-lister was the one that deserved a return engagement.  Robbins clearly isn’t a bad writer, and he also is heavily involved in the growing maturity and style of the Batman books, but for some reason, he told not one, but two different stories about a guy with eyes in his fingers.  The fact that they were so clearly meant to be taken seriously separates these comics from even the zanier efforts of Bob Haney and the like.

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Aside for the silliness of the antagonist, this story is just a bit lackluster on its own merits.  I suppose that so much time is spent on catchup and setup that the actual confrontation in the jungle, which could have been pretty exciting (with a different villain), is given short shrift.  Essentially Batman dodges one trap and then just utterly owns the loser who drew him halfway around the world.  It’s certainly a fitting ending given how worthless the villain is, but it isn’t supposed to be that way in context.  So, I’ll give this strange story  1.5 Minutemen.  It’s not boring, and it’s not just downright annoying like others, but it certainly is goofy.  Novick draws the heck out of the tale, but he can’t rescue it.  Apparently this will sadly be the last appearance of the Emperor of Eyes (last one, I promise!) until 1975, but I’m astonished that he’s going to be coming back that soon!

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“Wiped Out”


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Batman_231_23The Robin backup strip continues to entertain me, in contrast to this month’s headline tale.  Mike Friedrich also continues to demonstrate his skill at cramming a lot of plot and even some character development into seven pages at a time, which is pretty impressive.  We pick up with Robin after the apparent death of campus radical Hank Osher in the previous issue.  I have to say, I’m surprised that Hank really seems to be dead and that the bombing plot actually was resolved with the explosion that claimed his life.  I really expected there to be more to that, and I’m slightly disappointed.  The way it stands, that arc ended a bit too abruptly.  We’re left with the dangling thread of the orange shoed yahoos who jumped Robin, giving him the once-over.  The story begins with Dick ruminating on his failure to save Hank and feeling rather down about the job he’s been doing as Robin.  Suddenly, a knock at the door heralds the arrival of a pretty young girl named Terri Bergstrom, who apparently just ‘sensed’ that she and Dick had been matched by a computer dating service.

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Batman_231_28This girl could give Lilith lessons in being cryptic, as she seems to have a 6th sense about everything, but seeing as this is the first real inkling of anything unusual with her, I’ll give it time to develop before I make a judgement about how this works.  The two set out for a date, swinging by her place to check movie listings, only to find her room has been ransacked.  They check back at Dick’s room and find the same, with his valuables stolen.  The young hero begs off the date and sets out to catch the thieves, reasoning that if anyone were spying on the computer dating service (common theme in these years, it seems), they could have known he and Terri were out of their rooms on a date.  So, he heads to another member of the service who he knows is out on a date and finds a thief making his get away.

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The Teen Wonder puts an end to that escape and threatens a lead out of the punk kid.  He discovers that the “Bronco” frat, the orange shoed punks from the previous story, are behind the thefts, so he goes to confront them at the gym.  Feeling like he’s got something to make up for after the beating they gave him (and he really does), Robin throws it into high gear and utterly annihilates the three thugs he finds there with some nice acrobatic attacks.  It’s a reasonably good payoff for the uncharacteristic trouncing the hero took previously, and Novick makes it look great.  The tale ends with Terri and Dick making up their date, as he explains how Robin captured the thieves and had Batman take down their Gotham-based fence.

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Check out dapper young Dick’s fabulous pink ascot.

This is a good little story, building on what came before to maximize narrative space.  It’s cool to see Robin get his revenge on the Bronco buffoons who flattened him the first time, and we discover that their attack actually tied way back to the political scandal several issues ago.  We also get a sense that Terri has more going on than at first appears, and have a love interest officially introduced in their date, about which I find myself ambivalent.  As I’ve said before, I’ve always got a soft spot for the Robin/Batgirl romance.  Nonetheless, I continue to find myself enjoying these college adventures of the Teen Wonder significantly more than I expected to.  I’m still a bit disappointed that there wasn’t a bit more to the bombing plot, but I’m looking forward to what comes next for my favorite sidekick!  I’ll give this one 3.5 Minutemen.  It moves away from the heavier themes of the previous stories but still delivers a solid, small-scale adventure, and the ease with which Robin handles these teenage toughs seems fitting for Batman’s partner.

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Brave and the Bold #95


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“C.O.D. Corpse on Delivery”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza
Editor: Murray Boltinoff

Zany Haney returns, and he’s as zany as ever!  We’ve got a mystery guest star this month, and a gimmicky cover to capitalize on that.  It’s an okay image, pretty much solely designed to take advantage of the unknown guest, which the tale inside lives up to remarkably well, with the resolution to the mystery being a fairly dramatic reveal.  This issue is a heck of a fun and entertaining ride, but it is definitely not a Batman story.  The whole thing has the feel of a film noir flick dressed up in superhero garb, with schemes, betrayals, and classic adventure beats filling it.  The characters involved are pretty much superfluous.  The whole thing would work much better with Humphrey Bogart than Bruce Wayne.

brave and the bold 095 003The crazy tale opens with Batman waltzing into the lobby of the “Big Double R,” the skyscraper headquarters of the richest women in the world, ruthless industrialist Ruby Ryder.  The Dark Knight passes through security, emphasizing just how far this portrayal is from the still developing hero of the other Bat-books who broods in the shadows.  After being approved (like he doesn’t have weapons in his utility belt?  I’m thinking that guard should be fired), Bats strolls into Ryder’s office, where she tries to buy his services with a five million dollar donation to the charity of his choice.  That’s already a bit odd, especially for the super-rich Bruce Wayne, but his dialog is even more out of place, as he tells her “That’s a lot of bubble-gum wrappers!”  The lovely lady begs the hero to seek out her fiance, who has gone missing in South America, and despite the fact that the Caped Crusader tells her, “hunting criminals is my bag-not missing bridegrooms,” he agrees when she begs him on her knees.

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Living up to his name, the Masked Manhunter heads down to South America, where he finds a low-life pilot who supposedly flew the missing man, Kyle Morgan, out into the bush.  The pilot refuses to talk, so Batman gives him some ‘gentle’ encouragement.  The fight scene is beautifully rendered by Cardy, of course, and we get a nice action beat.

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The furious flyer, Jake Angel, relents and gives the hero a lift to the remote village to which he supposedly delivered Morgan.  After dropping his passenger off amidst a crowd of headhunters, the perfidious pilot takes off again, abandoning him.  Batman whips out a smoke bomb and disappears, scattering pictures of his quarry among the natives, and this overawes them enough that they point him to a hut in their village.  Inside, he sees a shrunken head!

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Yet, it turns out to be a fake, and after a dangerous journey back, Batman squeezes the truth out of Angel, finally being led to a deliriously feverish Kyle Morgan.  This is just page eight!  Despite the pilot’s efforts to stop him, the Dark Knight takes his plane and his charge and flies back, though when the missing man awakens, he attacks his rescuer.  Batman spins the plane, and we get a clever upside down panel, with dialog to match, and he disables Morgan.

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brave and the bold 095 016brave and the bold 095 015Unfortunately, the reunion of the lost lovers isn’t quite what the Caped Crusader imagined.  Ruby Ryder pulls out a pistol and shoots Morgan in cold blood, framing Batman for the murder…which seems like more than a little bit of a stretch.  He’s found with the body, the gun, and the check, but he’s also inside her building.  Either way, the Dark Knight escapes by diving through a high-rise window!  Later, and quite ridiculously, Batman, dressed in a hat and trenchcoat, OVER his costume, waylays the fiery femme fatale’s lawyer at Morgan’s funeral to try to get some information.  It’s a really silly image.  Not so silly, however, is the fact that, unseen, the casket opens and something emerges!  Dun dun DUNNN!

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Batman sets out to track Ruby Ryder down, as she’s gone into hiding outside the country, but as he pursues his investigation, people try to kill him, but he is saved by a mysterious figure that he never quite sees.  Ohh, and the bad guys totally discover his secret identity because he’s sloppy and gets observed going and coming from Bruce Wayne’s window, but they are too stupid to put the pieces together and assume he’s just using the millionaire’s identity.  Finally, the Dark Detective finds a mysterious note left in his locked room that point him towards Marrakech (spelled Marakeech).

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Crossing the desert towards Ryder’s hideout, Batman is once again rescued by his mysterious ally, who rises out of the sand in strange, undulating shapes and, apparently, kills the hero’s traitorous guide.  Keep that in mind when we get to the reveal.  The Dark Knight finally captures the vicious vixen, taking out her guard and avoiding a trap, and brings her back for trial.  After she is sentenced to death, we jump to the date of her execution.  Fortunately for her, the Masked Manhunter has finally put the pieces together, and he rushes into the chamber and unmasks her would-be executioner as her still very much alive former fiance…Plastic Man?!?!

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Yep, that’s right, the goofy, humorous, devil-may-care Ductile Detective, Plastic Man, was Kyle Morgan.  Apparently he got tired of living as a “freak,” and decided he wanted to settle down and get married, so he took on a desirable identity and appearance, and fell in love with Ruby Ryder.  However, when he discovered how cruel and vicious she was, he faked his death to leave her.  Of course, when she shot him, it didn’t do a whole lot of good, and he wanted her to face her death and see how it felt, though he swears he wouldn’t have flipped the switch.  Given the fact that he’s apparently killed at least one person already, that seems a tad dubious!  After this revelation, the dangerous dame goes free, and Plastic Man is left trying to decide what to do with his life.

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This is such a wild story, and, as usual with Haney, it is utterly packed to the gills with plot.  It moves at a rapid pace, and yet there is even a little time for characterization with Ruby Ryder and (mis)characterization with Batman and Plastic Man.  Yet, Batman is really and unquestionably miscast here.  He’s just way too casual and chatty, and even the ‘Policeman’s Friend’ Batman of the Silver Age wasn’t usually quite so trendy in his speech as is the slang-slinging version that Haney pens.  The story doesn’t really fit the character either, and the role could have honestly been more fittingly filled by a hardboiled character like Slam Bradley, Jason Bard, or Johnny Double.

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The Plastic Man reveal is actually quite well done, and if you don’t happen to know it’s coming, there is a good chance that it will surprise you.  Of course, Haney applies his usual filter to the character, and ‘down on his luck has-been’ was his favorite angle to take with a B&B co-star.  Despite the incongruous character elements, this is actually a pretty solid story, and a very enjoyable adventure yarn that is remarkably efficient in its storytelling.  Haney could really tell a tale when he was of a mind, even if he could rarely be bothered to make it fit in with anything else.  Ruby Ryder herself is a really impressively drawn character.  She is just bursting with personality, as are so many of Haney’s supporting characters, but she is something special.  Brought to beautiful life by Nick Cardy, not only is she a femme fatale, she is also a powerful and capable business tycoon.  This is a very independent woman, one who is cold and calculating, yet with the viciousness of a woman scorned.  This character is pretty significant, standing out from the crowd in 1971 by treating a woman as quite the equal in a man’s world.  I’ll give it 3.5 Minutemen, and though I really enjoyed it, I can’t quite justify giving it 4 because of its mischaracterizations.

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And thus we bid adieu to a new character who is really quite interesting in Ruby Ryder and a recent character who is only worthwhile for his complete goofiness!  Our next set of books sees the introduction of another femme fatale, one who would go on to play a fairly major role in the DC mythos in years to come.  Tune in soon for another addition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: March 1971 (Part 3)

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Welcome to another dose of Bronze Age goodness!  We’re moving through March of 1971, and I’ve got a pair of issues and a foursome of stories for you today, my good readers.  I hope that y’all will enjoy my coverage of these comics!

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #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.


Detective Comics #409


Detective_Comics_409“Man in the Eternal Mask!”
Writer: Frank Robbins
Penciler: Bob Brown
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

“Night of the Sharp Horns!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Dick Giordano
Letterer: Ben Oda
Editor: Julius Schwartz

We’ve got a decent if not particularly spectacular Batman tale in our headline slot.  It features a mystery that is more about the ‘why’ than the ‘who,’ which culminates in an appropriately dramatic confrontation.  The story begins with an unseen assailant attacking a portrait hanging in a museum and scrawling “Die Jinx, Die!” onto the canvas (shades of Ace Ventura!).  In the morning, the vandalism is discovered, and neither the curator nor the security guard can figure out why or how the artwork was attacked.  After all, it’s a portrait of a beloved philanthropist who no-one had cause to hate.

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Meanwhile, Batman pays a visit to the artist of the piece, Rene Leclerq, where he is due for his own portrait.  That’s a bit odd.  I can’t really see the Dark Knight just standing around in an artist’s studio when he could be prowling the streets.  ‘Well, there’ve been 10 muggings and 3 murders while I sat around here, but that is a darn good likeness!’  Robbins needs the Masked Manhunter to get involved in the plot, but I have to think there was a better way to accomplish that.  Either way, when Leclerq prepares to resume work on the hero’s portrait, he finds it has also been defaced with a similar message.

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Batman reasons that, though there are many people who might find him a jinx, the only connection between this incident and the first is the artist himself.  Though Leclerq can think of no-one who would hold a grudge against him, the Caped Crusader arranges a trap, hoping that a public unveiling of the repaired painting will flush the deranged art critic into the open.  Yet, when the painting is revealed, there isn’t a sign of a telling reaction from anyone in the crowd, though the pair do notice Tracy Calhoun, the “Adonis Athlete,” a football star that the artist had painted five years before.  The Law of Conservation of Detail should make you sit up and take notice of this.

That night, Batman lies in wait for the anti-art attacker, and when a dark figure lashes out at the portrait, he finds more than he bargained for, as it leaps to life and grapples his knife away from him.  The Dark Knight has posed as his own portrait, which is a tad Looney Toons-ish, but I’ll give it a pass.  After a struggle, the vandal lands a lucky blow and knocks the hero out for a while.  Sadly, this doesn’t quite count for our Head-Blow Headcount, as Bats takes it on the chin and not the back of the noggin.

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Nonetheless, when he staggers to his feet, he realizes that the fight actually pointed him to a suspect, as his opponent had a “chin like a rock,” and was obviously very athletic.  This makes him think of Tracy Calhoun, who was described in just such a fashion during his heyday.

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The mystery of why Calhoun would want to destroy Leclerq’s art remains, and when the Masked Manhunter goes to find the artist, he discovers that he’s been called to an unknown client’s house in the middle of the night.  Deducing what is afoot, the Caped Crusader speeds to Calhoun’s house while the young man confronts the artist and explains why he hates him.

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Apparently, on the last day of their sittings, Leclerq begged for a few minutes more after their time had run out, and Calhoun reluctantly agreed.  Then, late for a date, he sped away recklessly and suffered a terrible car wreck that left him horribly scarred.  When the artist protests that he’s as handsome as he ever was, the embittered athlete removes one of those ubiquitous life-like masks, which are apparently available in every corner store in comic universes, to reveal a terrible, shattered visage.

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Clearly insane after the loss of his good looks, which he let define him, Calhoun blames Leclerq for the accident caused by his own recklessness, and he’s decided that the man must suffer.  The former footballer first destroys his own portrait with a saber, then prepares to pinion the painter as well.  Just then, Batman arrives, and while Calhoun holds him at bay for a time, eventually he is once again hoisted by his own petard, as he strikes his portrait while preparing a blow, and the entire heavy painting collapses off the wall, crushing him.  He had accidentally cut the supports when he attacked the artwork, and the object of his hatred destroyed him.  Unfortunately, the final image is rather more comical than tragic, with the madman’s arms and legs poking out of the canvas like he’s a cartoon character.

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This is a solid enough story, and the ‘attractive person turned hideous and embittered’ is an old archetype that still works pretty well.  It was nicely subverted in the Freedom Force villain Shadow, but we’ve seen it played straight many times in comics.  Dr. Doom, anyone?  We certainly all know folks who are too concerned with their appearances, so it isn’t hard to imagine someone so obsessed that a loss of their beauty would send them over the edge.

I enjoy the irony of the final confrontation, as a man who has destroyed his own life by his choices insists on blaming someone else, only to have his continued self-destructive choices finally finish the job.  It’s not the most memorable story, but it does its work well enough, even if it is a bit too rushed to give us much of a real mystery.  I’ll give it an average 3 Minutemen.

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“Night of the Sharp Horns”


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The backup tale, however, once again proves better than the headline.  We pick back up with Batgril’s adventures in Spain as she searches for the mysterious figure who had killed the arrogant but aging El Granados’s bull the night before.  She had just discovered that another sword was missing from the estate, so she takes to the grounds in order to keep a watch.  Her lonely vigil is rewarded with the sight of a cloaked figure slipping into the pastures where he begins to perform multiple passes with the chosen bull, El Aguila.  Babs thinks that his athleticism and agility mark him as Paco, the young firebrand who had rescued the older bullfighter in the ring during his last performance. 

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Detective409-25Just as the stranger prepares to slay his bovine opponent, Batgirl intervenes, snaring his sword in her cape.  When the bull charges, she rescues the trespasser and realizes that her suspicions were correct.

Yet, the young man denies that he had killed the previous bull, and when he escapes (ungrateful punk), she finds her hands full dealing with the now unencumbered El Aguila.  Making like a Minoan, the daring dame leaps over the bull’s horns and runs to the estate’s arena for safety.

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Yet, that safety proves short-lived, as a dark figure appears riding a massive bull!  Charging her like some particularly awesome cavalryman, the bull-rider tries to skewer the young heroine with a sword.  Fortunately, Babs has some skill with a rope, and she lassos the bull, sending her assailant flying into the air.  After hog-tying the beast in a fashion that would make the Vigilante proud, she confronts her attacker, who is revealed to be Manolos, the aged servant of El Granados!

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What was he doing killing his master’s bovine opponents?  He tells the girl detective that he was still faithful, but his master was getting too old to continue his career, so he had set out to kill the bulls before they killed the bullfighter, knowing that former champion was too stubborn to retire.  El Granados himself arrives and confronts his old friend.  While angry at first, he realizes the truth of Manolos’ words, and he agrees not to fight again.  As they reconcile, Batgirl vanishes.

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It’s a nice ending, but it sort of leaves an important point unaddressed.  While everyone can probably forgive the killing of the bulls (except PETA), Manolos did also straight-up try to murder Batgirl.  He attacked her with a sword while mounted on a charging bull.  I don’t think he just wanted to scare her!  That bit of craziness aside, this is a good story, and the two-part tale gives us a surprising amount of character development and drama, while also delivering some nice action.  Batgirl herself comes off much better in this half, as she doesn’t get knocked out by a hat or anything equally embarrassing.  I’m impressed by how successful Robbins is at creating a character-driven mystery with such little space to work with.  The reconciliation between the bullfighter and his mentor is suitably touching, and Paco’s arrogant attempts at stealing his rival’s glory provides a solid, if somewhat unlikely, red herring.  I was impressed with Don Heck’s work on this feature, and I’m not always a big fan of his superhero art.  He turned out several really pretty pages and nice, dynamic action sequences here.  In general, this is a good backup story, doing a lot with a little.  I’ll give it 4 Minutemen.

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The Flash #204


The_Flash_Vol_1_204“The Great Secret Identity Expose!”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson

“The Mind-Trap”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Murphy Anderson

Our Flash headliner for today is something of an oddball.  There’s really not that much too it, and if it weren’t for the fact that last month’s bonkers issue was penned by Robert Kanigher, who is also the schizophrenic scribe responsible for this screwball story, I’d think that it was an attempt to immediately bury the bizarre retcon of that tale.  As is, the yarn seems somewhat pointless.

This outing begins the morning after last issue’s decade-spanning daring-do, with Barry and his wife celebrating their safe return from the future and reminiscing about Iris’s uncovered origin.  I always enjoy these little domestic moments between the couple, and this one has the potential to be charming, though not much is made of it.  They are admiring the locket that had been sent into the past with her when their reverie is interrupted by a call that sets them on a new adventure.  The call summons Iris to cover a banquet honoring a business tycoon, and at the function, the reporter suddenly leaps up and declares that the guest of honor is, in fact, a fraud!

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Barry, thinking fast (‘natch), pulls her out of the ballroom, only to discover she has no idea she said anything.  Just then, the police arrive to confirm her declaration.  Apparently, the fellow is a fraud, having kidnapped the real business magnate and masqueraded as him.  Determined newshoud that she is, Iris charges off to get the story, leaving her husband stunned.

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He changes in to the Flash, just in case, and on their way back from the banquet, the couple sees a pair of disabled musicians playing for donations on the street-corner.  Suddenly, Iris declares that these two are really disguised fugitives.  Naturally, the hidden hoods don’t take too kindly to this, and the Flash has to take them out as they fill the air with bullets, for all the good it does them.  Once more, Iris has no idea what she’s done and refuses to believe either her husband or the shouted threats of the captured gangsters who promise that their organization, the Generic Gang, will get revenge for her actions.

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The next day we get the most interesting part of the issue, where the JLA have a cameo as they arrive en mass to testify in court about one of their cases.  What makes this interesting is that here we’ve got a story that implies the existence of something equivalent to the cape laws in the Watchmen, where superheroes can give testimony in costume, which is neat in a nerdy kind of way.  And after all, nerdy kinds of neat are really our bread and butter here at The Greylands.

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Iris is a very stubborn woman.  I sympathize, Barry!

Anyway, as Batman prepares to take the stand, Iris suddenly leaps up and reveals that he is really Bruce Wayne!  Fortunately, once more Barry is quick on the uptake and he chatters his teeth at super-speed in order to scramble the soundwaves of her dramatic courtroom confession.  I guess that makes sense in a comic-booky kind of way, but it’s a bit of a stretch.

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Batman, who of course can read lips, realizes what has just happened as the Flash scoops the renegade reporter up and zips her out of the courtroom.  In a telephone booth  Barry again confronts his wife with her actions, and she swears that she doesn’t even known the League’s identities.  Suddenly, Superman summons the Scarlet Speedster and declares that he’s needed for an emergency meeting of the League.  The Fastest Man Alive has to do some fast talking as he tries to explain what even he doesn’t understand.  The JLA is understandably concerned, and Flash tells his teammates that there is clearly something going on and vows that if he doesn’t get it sorted out in 24 hours, they’ll never see him or his wife again.

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Superman is being super-pushy.

When he goes to find Iris, the Flash discovers that she’s been kidnapped by members of the Generic Gang, which is gunning for her.  They hustle her into an armored truck, and somehow the man who can move at the speed of light can’t get to their victim before the doors close.  The Fastest Man Alive takes after the fleeing gangsters, taking their pursuit car out in a blink and conveniently overhearing that the door of the armored truck is rigged to blow if opened.

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Ahead, the drivers of the truck bail out, sending their vehicle careening into the drink.  The hoods hose down the dock with machine gun fire, but the Flash takes them out easily in an admittedly fun sequence.  He dives off of the dock and tears the armored doors open by projecting his vibrations forward like a cutting beam, which seems a bit out of his usual line, and then zips Iris away before the explosives can blow.

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I do enjoy how the entire sequence takes place while the truck is in the air, a nice display of Flash’s speed, if a bit awkwardly handled.

Determined that Iris can’t just be left around to blurt out secret identities willy-nilly, the Scarlet Speedster determines to go to the future with her where both she and his secrets will be safe.  His wife objects that he can’t give up his life (regardless of the fact that he’s also giving up her life), and he replies that she’s his wife, for better or worse, so where she goes, he goes, which is fairly sweet.  However, on the way, their progress is halted, and her locket begins to glow and emit energy waves.  Somehow Barry deduces from basically no evidence that the locket had absorbed some weird temporal energies, and it was the source of her sudden ESP, so they return to their own time and Iris agrees never to wear the necklace again.  Problem solved.

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This is a weird little tale.  It’s entertaining enough, but the resolution is pretty random, about as random as the gimmicky conflict that drives the plot itself.  The Generic Gang are little more than mobile obstacles to Barry, offering no real threat to the Fastest Man Alive.  This supervillain drought is really starting to get old.  One wonders just why writers were for so long unwilling to use Flash’s villains, who comprise one of the best rogue’s gallery in comics.  It makes absolutely no sense, though I suppose it’s indicative of a  larger trend.  Super villains are very scarce in general these days.

While the League’s cameo is neat, Kanigher doesn’t really do much with their interview with the speedster.  Almost any line spoken by one of the heroes could have been assigned to another one without making any difference.  Barry’s willingness to give up his life to stay with his wife is sweet, but it really feels like he gives up on solving the problem way too easily.  With all the resources that the League has to bring to bear on something like this, it seems worth at least one visit to the Satellite or something.  In the end, this is a forgettable and somewhat pointless little story, with a goofy, logic-leaping conclusion.  On the plus side, Irv Novick’s art is great on the Flash, if a little light on details in the action sequences.  I’ll give it 2.5 Minutemen.  Man, Kanigher’s score are just all over the place!

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In a  fun bit of synchronicity, “The Ballad of Barry Allan” came on my radio station while I was writing this feature.  Very apropos!


“The Mind Trap”


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We get another Steve Skeates penned Kid Flash backup here, and I’m always happy to see part of the SAG team in action.  The story Skeates spins is very promising, but unfortunately it’s rather starved for space.  Its premise is an old but enduring one, featuring a mind-hopping villain, something of a telepathic virus, traveling from host to host.  It has shades of many a horror tale, though this version doesn’t manage to harness a harrowing horror tone. 

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It begins with Wally West and the rest of his class on a tour of an exhibit on ancient Egypt at the local museum, hearing a legend about a terrible tyrant, Pharaoh Rama-Skeet (Skeates having some fun at his own expense?), who swore that death wouldn’t stop his drive for power.  Just then, a car wreck outside attracts their attention, and the kids watch in wonder as a man pronounced dead suddenly stands up and hurries off in an imperious manner.  Wally switches into his ‘work’ clothes and takes after the apparently stunned man.  When he finds the fellow, the man touches him, and Kid Flash suddenly finds himself fighting a terrible mental battle, realizing that this is the spirit of Rama-Skeet trying to wrest control of his mind.

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Wally sinks into darkness and knows no more until he finally comes to himself several minutes later, having just touched someone else.  The young hero watches helplessly as the man undergoes the same mental trauma that he himself had faced, but he wonders why the spirit would leave a super speedster for a regular Joe.  He begins to suspect that the 15 minutes the ghost inhabited his mind might be all the still weakened Pharaoh can manage at once.  This is a bit of a jump, and if the story had more room to breathe, we might have seen this pattern repeated once or twice more to really establish it.  As is, Skeates is working at a feverish pace.

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In order to throw the power-mad phantom off his guard as he begins to rant and rave, Kid Flash kneels before him, but this is just a ploy, and the Fastest Boy Alive slams into super-speed, dragging the possessed man behind him.  He plans to keep the host helpless until the 15 minute limit is up in the hopes that the spirit will be destroyed by the host’s mind in that time.  Though the task is incredibly taxing on a body already exhausted by his mental struggle, the teen hero manages to keep up the pace until the Egyptian ghost runs out of time.  With a terrible cry, the specter departs, leaving his host confused but unharmed.  Exhausted but victorious, Kid Flash collapses to rest.

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This is a fine little story, but it could have been much, much better with some space to grow.  This kind of challenge, as Wally himself admits, is really out of his line, but his solution to the problem is really fairly brilliant.  Despite that, the very brief tale just didn’t have the time to develop the creepy atmosphere and mystery that these types of plots really thrive on, and the result is that the villain is both entirely forgettable (having almost no real dialog) and not terribly threatening.  That’s a shame, as this could have been much more.  I suppose we must judge a story on what it is and not what it could have been, so I will give this too-brief tale 3 Minutemen, as it is enjoyable if not impressive.

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P.S.: Interestingly, I am apparently not the only fan wondering where all the supervillains have gone.  This issue includes a letter demanding their return and marveling at their long absence.  Notably, this letter is written by future DC luminary, Bob Rozakis!  Rozakis, DC’s future Answer Man, got his start in these very letter columns, which would also be where he would do much of his work on the other side of the pen.  I love things like this, little traces of DC history buried in their letters.  How neat!


And on that note, I’ll wrap up today’s post.  I hope that y’all enjoyed my commentary and found something interesting and worth your time herein.  Though these weren’t the most amazing issues, they have their moments.  The real highlights of this month await in the books to come.  Our next post will introduce Forever People #1, the next Kirby Fourth World book, so don’t miss that!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: March 1971 (Part 2)

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Welcome to another edition of Into the Bronze Age!  Today we’ve got the all teen version, apparently, as we have not one, not two, but three separate stories about young people losing their freaking minds and blowing stuff up!  If that’s not enough to pique your interest, I don’t know what would, so check out today’s tales!

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.


Batman #230


Batman_230“Take-Over of Paradise!”
Writer: Frank Robbins
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“Danger Comes A-Looking!”
Writer: Mike Friedrich
Penciler: Irv Novick
Inker: Dick Giordano
Editor: Julius Schwartz

This cover looks very Black Panther-ish, but the story inside features a different type of gang.  The headline tale continues to engage themes of youth involvement and demonstration, though Robbins’ handling of these ideas is a bit strange.  It begins with Batman intervening in a gang fight between two groups of young punks.  When he shows up, both of them turn against him, which doesn’t work out too well for their leaders.  I rather enjoy how little patience the Dark Knight has for their nonsense throughout this issue.  He gives them a speech about how, if they really care about their ‘turf,’ they should try to make it better, not tear it apart, and he reforges the kids into a singular community action group called ‘the Brave Barons.’  They channel their anger into productive avenues, cleaning up their neighborhoods and trying to make a difference.

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It seems like Batman has helped them find their way until a year later when Alfred draws his master’s attention to a news story featuring the Barons themselves.  They have taken over a new luxury apartment building in order to demand the city build affordable housing for its poor inhabitants.  They surrounded the building with a chain of explosives and are holding the structure hostage until their demands are met.

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Batman230-06The Masked Manhunter is furious at them and declares that they’ve made their beds, so they can lie in them.  He refuses to take a hand.  Now, I’m of two minds about this.  On the one hand, Batman is a hard fellow, so he might just let people too stupid to learn from their mistakes learn how much they can cost.  On the other hand, with Gotham in danger, he’s not one to sit on the sidelines, regardless of his personal feelings.  I guess you could say that he didn’t consider these kids any real threat, but it still strikes me as a bit off.

Yet, as the siege wears on, the Barons two leaders, Shades and Rap demand to talk to the Bat himself, hoping he can negotiate for them.  Tensions begin to show between these two as they wait, however.  While the Dark Knight reluctantly agrees to deal with the gang, Rap and Shades begin to fight.  Shades wants to demolish the building to make a statement, but Rap isn’t willing to go that far.  They struggle, and we cut away before we see what happens.

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Meanwhile, the Caped Crusader arrives and meets two more of the gang, Mouse and Kitten, who let him through.  Mouse leads the hero to the headquarters where the leaders had holed-up, but when they arrive, they find Rap dead!  The young man fills Batman in, then bolts as they begin searching the building.  Shades uses a megaphone to tell the Barons to clear out, and the Dark Knight zeroes in on his location, finding him in a closet with the detonator.  They fight a desperate battle, but Batman is able to put the kid down and disable the device.

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Strangely enough, when Shades tells Batman to take him in because he’s guilty of killing Rap, the Masked Manhunter is preoccupied, waiting for someone else to arrive.  He tells Shades that he didn’t actually kill Rap.  When the Baron’s leader blacked out, the real murderer finished Rap off!  Just then, the killer, anxious about the distinct lack of explosions in the building, comes to investigate, and the hero and the gang member capture the shadowy figure.  Only then do they realize that it is actually Kitten!

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Apparently this cat has some wicked claws, and she murdered Rap and framed shades so that she could take over and “show them what a femme leader could do”!  Yikes, that’s taking women’s lib rather far.  Batman suspected the truth when Mouse recognized the body even though he could only see its legs.  Yet, the hero didn’t suspect that it was Mouses’s girlfriend, rather than he himself, who had done the deed.  The story ends with Shades declaring that, even if things turned out badly, at least they got their ‘message’ across and that they’re willing to pay the price, which is a strange note to end on.  It almost seems to justify the Barons’ terrorist tactics.

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This is a story with potential but not enough space to actually accomplish its aims.  There are too many characters in too cramped of a plot to be effective.  We barely meet the two leaders before they are at each other’s throats, and we don’t really meet Kitten at all until she’s revealed as the killer.  The social themes at play here don’t have enough room to breathe either, though they add an interesting dimension