Into the Bronze Age: May 1971 (Part 6)

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Hello Internet travelers, and welcome to the final edition of Into the Bronze Age for May, 1971!  We’ve got three tales to finish out the month, and though quality varies, there’s plenty here to enjoy.  I hope that all of my readers are safe and sound, having escaped from the various disasters plaguing us at the moment.  Speaking of escapes, let’s do just that, find our way to a world full of heroes and find solace in the fantastic and the wondrous!

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.


Superman’s Girlfriend, Lois Lane #110


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“Indian Death Charge!”
Writer: Robert Kanigher
Penciler: Werner Roth
Inker: Vince Colletta
Cover Artist: Dick Giordano

“The Face of Fate”
Writer: Robert Kanigher
Penciler: Ross Andru
Inker: Mike Esposito

Well, we’ve got quite a cover on this month’s Lois Lane issue.  I…hardly know where to begin.  It’s beautifully drawn by Dick Giordano, but it certainly is unusual.  Lois protecting a Native American baby is one thing, that getup is something else.  It really is a pretty striking image, with a crowd of angry white faces threatening in the background, even throwing rocks.  Given the attitudes about racial mixing that still exist today, you can imagine what it might have been like in 1971, seeing a white woman with an Indian baby, claiming it as her own.  The ridiculous elements of the image aside, it still probably created something of a stir.

The story within seems an obvious attempt by Kanigher to capitalize on his success with his previous excellent racial story.  Sadly, this one isn’t nearly as good. It begins in a similar way, with Lois pursuing a feature in the ghetto of Metropolis, where she is interviewing candidates for the Daily Planet’s “Mother of the Year” contest.  Yet, just as in the previous book, she is rebuffed by the natives of the place, though this time not because of her race.  Instead, a mother rather unkindly attacks the reporter because she is not a mother and so is unfit to pick one.

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The career-minded Lois replies with biting sarcasm and flippant wit…oh wait, no, she is immediately consumed by an existential crisis because a stranger pointed out she doesn’t have children, and she weakly tells Clark that she would have a family, if only Superman would marry her.  This little scene bothered me a bit, though I suppose I should have expected it.  I want Lois to be the confident, self-assured woman we’ve been getting glimpses of lately, and this seemed a bit weak for her.  Nonetheless, she begs off the story with Perry and is sent to cover a Pueblo Indians rain dance on a reservation in the west, with Clark along to cover the same story for TV.

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ll110_07While there, we get a cross-section of the tourists, all saying various terrible things, which sets the tone for the encounter.  The Pueblo tribesmen declare that they won’t hold the dance, as it is a religious ceremony and not a circus.  The crowd gets ugly, and Superman has to intervene to prevent a riot.  He whips up a dust storm to blind and separate the crowds, and while he is working, Lois tries to help a young Indian mother get her child to safety, but the girl declares “My baby must learn to expect hurt from the white man!”  Wow!  Yeah, no-one in this country has gotten a worse deal than the Native Americans, but I’d still say that doesn’t exactly make her mother of the year material, what with the willful endangerment of her infant and all!

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As the crowds break up, Lois follows the Pueblo people, offering to help.  They refuse her aid, but let her accompany them, telling their story.  It is a sadly familiar tale of exploitation and corruption, the eradication of the buffalo herds and the theft of land, but it has a particular wrinkle.  The Indian leader, Johnny Lone Eagle, shows the reporter a dam being constructed that threatens to flood their village.  What’s worse, the dam isn’t fated to provide power to a city or anything so useful or productive.  No, it’s only going to create a lake for a rich man’s fishing preserve.

The Pueblo tribesmen plan to attack and dynamite the dam, risking their lives, women and children too, to protect their homes.  Lois observes their war dance the night before the attack, but convinces their leader to let her report the story….with smoke signals.  Oookay.  That’s a bit much, and it rather undercuts the seriousness of the story.  A little later on, the young Indian mother, Singing Rain, is discovered laying on the ground, apparently badly injured, though she looks more like she just can’t be bothered to get up.

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Deathly ill or just mildly annoyed?

On the morning of the showdown, the Indians and the construction workers face off, about to come to blows, when Superman scoops up the entire dam, angry crowds in tow, and drops it into a mountain valley, quickly shaping the place into a replacement pond with super strength, and thus solving the problem.

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Yet, Singing Rain has apparently worsened, and she dies, but not before giving her baby son to Lois to raise as her own.  Lois is touched and promises to care for ‘Little Moon,’ though no-one, white or red, is happy about it.  We see her happily taking care of the little tyke, but things take a turn when a sleazy publisher who would give even J. Jonah Jameson pause tries to get her to sell the rights of her story.  When she refuses, the fellow twists the facts, claiming she approached him, and soon the foster mother finds herself the center of competing protests.

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Shortly thereafter, Lois is driving when she is forced off of a bridge!  In other words, it’s a Tuesday.  She and the baby plunge into a river, and though the reporter finds herself trapped, she desperately pushes the child to the surface, only to be rescued at the last moment by a Native American soldier.  She awakens in the hospital to find Joseph Bright Wing, Little Moon’s father, who was missing in Vietnam.  He was in the truck which sent her careening off the bridge, on his way home, having escaped from a V.C. prisoner of war camp.

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He thanks the girl reporter for caring for his son and notes that she almost gave her life for the boy.  She bids Little Moon a tearful farewell, and the story ends with an unexpected ceremony, wherein Lois Lane is surprisingly selected as the Daily Planet’s (foster) mother of the year.  Yet, one moron in the crowd can’t keep his mouth shut, and he calls out that she’s color-blind, caring for an Indian baby.  We get a real clunker in  her reply, as Lois answers back that: “It’s you who are blind!  My heart and Little Moon’s are the same color!”

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It’s…an unsatisfying conclusion, really.  Superman snaps his super fingers and solves the racial conflict, giving both sides what they want, despite the fact that the sides were not equal in merit.  The trouble is that the rich jerk who was willing to flood an entire village so he could take a private fishing holiday didn’t deserve to get what he wanted.  I’d have rather seen some of the social justice-oriented Superman we glimpsed in O’Neil’s run, smashing the dam and changing hearts, not just placating the bullies pushing around the little guys.  The ending to Lois’s plot is okay, but just packed full of convenience.  It’s positively deus ex machina.  She happens to run off the road right in front of the child’s father, who just happened to be coming home from Vietnam at that exact moment.  Kanigher is clearly trying to recreate the magic of the previous story’s powerful ending with their hospital room meeting, but this one just doesn’t come together naturally or effectively.

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This issue has a great message about the humanity and dignity of America’s abused native population and about the insignificance of racial difference, but they are rather lost in the shuffle of competing elements.  This comic ups the drama and the stakes compared to the previous tale of this type, but it moves too far too quickly.  There was something remarkably realistic, despite the fantastic trappings, in the previous yarn.  This one tries to cram a bit too much into the plot, leaving too little room for pathos.  Instead, it descends to bathos.  Yet, Kanigher’s heart is certainly in the right place, and it is interesting to see him focus on native peoples and the continuing themes of racial divisions.  Perhaps the most striking thing about this issue is the blatant racism on display in many of the background characters, an ugliness that is treated pretty straight-forwardly.  It’s surprising and arresting.

As for Roth’s art, for the most part it is beautiful and detailed, as it usually is.  I’m still really enjoying his tenure on this book, but there are a few moments where his work fails in its storytelling duties, as when the supposedly injured Singing Rain looks more like she’s mildly perturbed rather than desperately hurt.  Still, Roth fills the book with interesting and detailed faces and delivers some solid emotional work throughout.  All things considered, I’ll give this ambitious but rather flawed issue 2.5 Minutemen.  It just doesn’t manage to capture either the quiet dignity or the gentle impact of Kanigher’s previous effort.

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“The Face of Fate”


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Topping off this issue is another Kanigher-penned tale, the continuation of his Rose and Thorn feature.  This one picks up where the last left off, with the titular Thorn haunted by the spirit of a wronged woman that wants vengeance in order to find its peace.  The plea for revenge has found the right type of audience, and the next night, the Thorn sets out to find the girl’s killer, Albert Talbot, and bring him to justice!  On her nightly prowl, the female fury finds her boyfriend, Detective Danny Stone, getting his head handed to him by a pack of 100 thugs.  It’s just possible that Stone is really bad at his job given how often she has to rescue him!

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The Baleful Beauty comes on like Gang Busters and takes out the gunsels, only to discover that Stone’s sister may be following in her ghostly guide’s footsteps, falling for the charms and hollow promises of her target!  This is…a bit convenient and an unnecessary complication.  However, because the supernatural is involved, you could hand-wave it as the workings of fate.  A bit of dialog drawing attention to this fact would have gone a long way, however.

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Following the slightly dented detective’s lead, the Nymph of Night manages to locate Talbot’s estate/hideout, and she scales the fence, taking out a pack of dogs and then a passel of guards with various trick thorns in a rather nice looking set of sequences.  Finally, the Vixen of Vengeance earns her name by facing down the felonious fiend who murdered poor Selena.

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Talbot has taken Detective Stone’s sister hostage, but as he threatens her with a candelabra, he unwittingly sets the drapes alight in his panic, setting the whole house ablaze in no-time.  The Thorn saves the foolish girl, but she is unwilling to let even such a despicable lout as Talbot meet his fate in a fire, so she rushes in to save him as well.  She succeeds, pulling him from the flames, but he is horribly burned, meeting a similar fate as his victim.  To add ironic salt to his wounds, the Baleful Beauty leaves him the same mask worn by Selena years ago.  When she returns home that morning, the Thorn sees Selena’s spirit fade away, finally able to find peace.

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This is a brief and absolutely packed story!  It’s actually pretty good, which adds to my growing impression that Kanigher was actually best in small doses.  He really crams plot into these few pages, and though he over does it a bit, the end result is a pretty solid tale of vengeance. The final showdown is rapid-fire but quite dramatic, and the irony of the ending is pretty effective.  The villain meets a fairly grisly fate, and this type of approach to justice continues to set this feature apart from the rest of the DCU.  It’s rather refreshing to find a tale like this as the exception, rather than the rule in a superhero universe!  There are some slightly clunky elements, as with the random element of Stone’s sister and history repeating itself, but she does add to the tension in the final scene and add a bit more urgency to the plot.  I’m actually a bit surprised that Kanigher wrapped this arc up in just two issues.  I rather expected it to have a bit more buildup, and it may have benefited from such.  Nonetheless, the final effect was pretty solid, and Rose and Thorn continues to be a strong feature.  I’ll give this outing 3.5 Minutemen.

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World’s Finest #202


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“Vengeance of the Tomb-Thing!”
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella
Editors: Julius Schwartz and E. Nelson Bridwell
Cover Artists: Neal Adams and Dick Giordano

Rounding out the month of May, we’ve got another adventure of the world’s finest team, and it’s a fairly solid one.  We’ve got a wonderfully dynamic cover with the two super-friends locked in deadly combat.  The strange enthroned figure behind them looks suitably alien, though the featureless orb isn’t as menacing as it might be.  I’m reminded a bit of the titular Robot Monster.  The cover text boldly proclaims that this image is not a cheat, which is certainly intriguing.  It’s a beautifully illustrated composition, which makes the opening splash page of the book, which largely recreates it, a tad disappointing.  Dick Dillin is a fine artist, but comparing his work to Neal Adams’ is a losing proposition in my book.

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The actual tale begins with a stormy night over a distant Middle Eastern desert, where a familiar flying red and blue form is struck by lightning, and, strangely, knocked out of the sky by the bolt!  A gang of desert bandits hear the impact and are soon astounded when Superman walks out of the rain and into their camp.  Even more amazing, the Man of Steel seems to have lost his memory, and the bandit leader, ‘Bedouin Brakh,’ decides to use the confused hero to forward his own nefarious goals.

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The next day finds Lois Lane (of course) covering a nearby archeological dig of the tomb of ‘King Malis,’ (I bet he was a real nice guy) when they are suddenly attacked by bandits.  The archeologists take a page from Dr. Jones and prove that any well stocked expedition is a well armed one, opening fire on the raiders.  Yet, one of them proves bullet-proof, and he smashes through the guards.  Lois, displaying rather insane levels of courage, bare-handedly attacks the man she just saw shrug off rifle bullets, revealing him as Superman!  Unfortunately, it’s an amnesiac Man of Tomorrow who doesn’t recognize her, and the girl reporter finds herself taken prisoner.  The bandits use the confused champion, dressed up as a ghost, to scare away other visitors and take over the dig in order to loot it.

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Back in the states, a certain millionaire playboy hears about the mystery surrounding these events on the news and decides that Batman should investigate, which is a tad random.  O’Neil gives us a few touches of realism as Bruce complains about the heat and closes his eyes to prepare to enter the tomb without being blinded by the change in light.  Such little details are welcome. and add to the slightly higher tone of the tale

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As the Dark Knight springs into the supposedly haunted tomb, he surprises the Bedouin guards and acquits himself well until Superman suddenly appears.  The Masked Manhunter thinks his friend is playing a part, so he goes along with what he expects to be a staged fight, but only too late does he realize that the conflict is in deadly earnest.  The Man of Steel chokes his friend out, and the bandits take the Gotham Guardian prisoner!

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Meanwhile, we see Superman…or rather, SuperMEN, smashing into icy cliffs in the arctic.  What is this?!  It seems that the real Metropolis Marvel has been at this Fortress of Solitude working on his Superman robots, trying to get them functioning properly.  O’Neil hits his one of his favorite notes as we’re told that the trouble is too much pollution in the air, which is making the bots go haywire.  That bugged me a bit, because it felt a tad forced.  An increase in radiation affecting the machines would make a certain amount of sense, but this just seems a bit silly, an excuse for mentioning the author’s pet subject.  Nonetheless, the Kryptonian decides that he can’t trust his doppelgangers any longer, despite his best efforts, and he discovers that one of his robots is missing.  Heading back home, he hears about Lois’s disappearance and streaks off to the rescue.

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Arriving at the tomb, he confronts the bandits, who have enslaved their prisoners, forcing them to excavate the site.  Of course the sinister Superman is, in fact, the renegade robot.  Interestingly, when the real Man of Steel orders his artificial android back home, it refuses for an intriguing reason.  While its master has never treated it as anything but a machine, Brakh has treated it as a friend, and so it chooses to stand with him.  That’s…actually almost touching if you think about it.  Superman is entirely unmoved by this and doesn’t bother to ask if androids dream of electric sheep, just smashing the apparently sentient super-bot without a qualm!

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Batman gets in on the action, dropping the bandit, but the tomb is opened in the struggle, and a strange red light escapes from it, weakening the Metropolis Marvel.  Suddenly he is no match for the renegade robot, who lays a vicious beating on him in revenge for his mistreatment.  The Dark Knight tries to intercede, but the machine easily cleans his clock.  Just then, a glowing figure emerges from the darkness of the sepulcher in a nicely dramatic appearance.  It’s a mummy with a glowing red globe for a head, and it starts smashing everyone nearby.  This could look rather goofy, but I find it a surprisingly effective design.

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Taking a gamble, the Caped Crusader comes to his senses just in time to rescue Superman, tossing his cape over the creature’s glowing gourd.  His hunch was right, the creature’s head is some kind of device that gives off radiation similar to that of a red sun, weakening the Kryptonian.  When the antagonistic android tries to intercede, Batman gets some revenge, smashing the machine, and when the recovered mummy attacks again, Superman returns the favor, knocking the shinning sphere off of its shoulders with a boulder and then smashing what is revealed to be its robotic body.

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The exhausted champions theorize that the legendary King Malis was actually some type of advanced android created by an alien race and imprisoned on Earth centuries ago.  Sure.  That makes sense in a comic book-y kind of way.  The heroes suspect they’ll never learn the details of this weird case, but the Man of Steel notes that, whoever those beings were, “they had problems very like ours!”

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Ohh!  Batman with the bad-A one liner!  Nice!

That’s a droll ending to a fun adventure.  O’Neil gives us a solid romp here, full of dramatic peril and heroic efforts.  While Batman’s ignominious defeat by the Superman robot the first time is a bit disappointing, for the most part we see the wit and energy here that characterizes O’Neil’s better stories, as when Superman casually notes that he’d have to be foolish to make his own robots stronger than he is.  Strangely, despite the fact that O’Neil is doing such a bang-up job on the Batman books at this time, he doesn’t quite seem to capture the Dark Knight’s voice in this yarn.  Other than that, there are only two real flaws here, one being that the Masked Manhunter is captured, but not turned into the Maskless Manhunter, which makes no sense.  Why in the world wouldn’t the villains want to unmask Batman?  It’s a common trope, but not a good one.

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Perhaps more significantly, nobody at all seems even mildly concerned that this robot has suddenly developed sentience and free will, perhaps making it, in C.S. Lewis’s terminology, hnau.  Instead, his creator seems just mildly miffed that his walking toaster is talking back to him.  Frankenstein this ain’t, is what I’m saying, but as has often been the case with the stories we’ve encountered so far, this tale raises the specter of themes that it doesn’t have the interest to pursue, and that’s a shame.  Still, despite that oversight, O’Neil delivers a fun read here.  It might have benefited from being a two-parter and developing Malis and this strange alien race some more, but we’re left with the impression of depth.  Dillin’s art is really quite good throughout as well, and we’re not seeing some of that stiffness that often accompanies his JLA work.  There are several really nice sequences in this story.  I suppose I’ll give this adventure 3.5 Minutemen, as it is fun, but not quite living up to its potential.  On an unrelated note, it looks like the next issue features Aquaman.  Yay!

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The Head-Blow Headcount:

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We’ve got no additions to the Wall of Shame this month, but we’ve still collected quite a list of characters.  Who knows how many head-blows the future holds?


Final Thoughts:


Well, it took me a while, but I’ve gotten through another month in our journey!  Quite a month it was, featuring the return of legendary (and legendarily bad) Bat-villain, the Ten-Eyed Man…for some reason!  The ridiculousness of that story alone made this month of comics worth the read for me!  Still, there was a lot more here than just the Emperor of the Occulus.  We’ve also got Batgirl’s fashion adventures, an (almost) guest appearance by Spiro Agnew and Richard Nixon, and a cameo by Alfred Hitchcock.  You don’t see that every day in comics!

We encountered my least favorite JLA issue to date, thought it was certainly fascinating as a cultural artifact, providing a brief glimpse of the pop-culture production of the early 70s, as well as some biographical elements of a famed sci-fi writer.  Perhaps most notably, it pointed to Harlan Ellison’s involvement with comics in this era and the overlap and cross-pollination between mediums that is always the case.  The Flash continues to be a real, real drag, ironically enough, though the inclusion of an Elongated Man backup should help to lighten the blow.  O’Neil’s Superman, on the other hand, is staying surprisingly strong, delivering fun, even somewhat thoughtful, comics.  Now that he’s got full-length books to work with, it is paying off well.  It’s a shame that his Green Lantern/Green Arrow work can’t evince the same sense of adventure and wit.  I suppose he is trying too hard in that book.

On an even more exciting note, Jack Kirby’s Fourth World saga continues to develop, and with second issues, we’re starting to get into the meat of his stories.  Having read through his Fantastic Four run since the last time I read these books, I have a new perspective on how he is developing as an artist and storyteller, and it is fascinating to see.  Of course, it continues to be really interesting to see the context of his efforts in the Fourth World, and what is going on in the rest of the DCU really illustrates just how innovative and different his work was.  This month’s brief glimpse of cosmic, psychedelic elements in the Forever People is just a hint of such difference, but it is a telling one.

In terms of cultural significance, we saw a continued interest in the turmoil on campuses in both the Robin backup and our weird Supergirl tale this month, though it isn’t given as much focus as it has been.  Lois had another racially charged adventure this month, and despite its lack of success as a story, it points to the increasing social awareness in the DCU and, in particular, a focus on Native American issues.

Notably, we also saw the creation of a character by the ever unpredictable Bob Haney that really defied expectations for this era in the form of the feminine yet entirely independent and self-possessed Ruby Ryder.  Strangely, this was actually one of the elements of the month’s books that I found most interesting.  When even heroic women like Black Canary are still occasionally depicted as shrinking violets, it’s interesting to see Haney’s femme fatale hold her own in a man’s world, a businesswoman in an era when that type of thing was exceptionally rare.

Well, that will do it for the month of May, 1971!  I hope that y’all enjoyed the ride as much as I enjoyed the reads.  Stay safe out there in the real world!  For those of you in the paths of hurricanes, fires, floods, or earthquakes, I wish you all the best, and you’re in our prayers in the Grey household.  Remember folks, do what you can to help out, as there is a lot of need.  Until next time, keep the heroic ideal alive!

Into the Bronze Age: May 1971 (Part 5)

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Welcome to another edition of Into the Bronze Age!  With the world apparently either burning or drowning, this seems like a perfect time to read stories about super beings and heroes.  In desperate times, some light-hearted adventure is often just what the doctor ordered!  We certainly have some interesting titles in this batch.  We’ve got one of the weirder Justice League issues I’ve ever read, but we also have some more epic Kirby goodness to cleanse the palate, as well as more of O’Neil’s interesting Superman run.

Hi-ho Bronze Age!  Away!

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.


Justice League of America #89


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“The Most Dangerous Dreams of All!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

Okay guys.  Brace yourselves.  This is a weird one.  In fact, that doesn’t do it justice.  It’s just plain bizarre and…well…I’m afraid it is also just plain bad.  I love the JLA, and I can appreciate an experimental story, but what we have here is a failed experiment.  We start with an unusual cover, nicely drawn by Neal Adams, but rather uninspiring.  It claims the reader will have a chance to inhabit the role of Batman or Superman…what about Aquaman?  Anyway, inside, we begin with a JLA meeting, with Aquaman acting as chairman, which is mildly fun.  Sadly, this is the last semi-useful thing he will do in this issue.  The gathered Leaguers break up and head back out among the populace, dressed in some really swinging 70s fashions.

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Bruce Wayne thinks he’s cool with his ascot, but check out Aquaman’s duds!  That takes confidence!

Oddly, we suddenly cut to Mike Friedrich, a character in his own comic, who tells us that sometimes stories exert their own pressure and insist on being told.  O-okay?  We cut to LA, where Black Canary is apparently just walking around the street in costume for no particular reason, when she runs into the cleverly named ‘Harlequin Ellis.’  Those of you with a taste for science fiction and some background in its luminaries may well recognize both name and figure.

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That’s right, this guy is an homage to Harlan Ellison, famed fiery sci-fi writer for TV, movies, and print.  The comic character also happens to be a TV writer with a fiery personality, and he sets his sights on the Blonde Bombshell.  Another strange note here is that the narration is second person, inviting the reader to identify with Dinah, though that doesn’t last.

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They meet and there is an instant connection, as in, love at first sight, which is hokey enough on its own, but an established trope.  Add to that ‘ol ‘Touchy-Feely’ Friedrich’s narration, and the scene is rather cringe-inducing in saccharine tone.  The pair grab a cup of coffee and stare longingly into each other’s eyes until Green Arrow shows up and reacts about as well as you’d expect when he finds Ellis making time with his girl.  The writer laughs the situation off, but he offers a chance for Dinah to meet him if she wants to “dump this crude bozo.”  Here the narration switches to the standard omniscient third person.

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He’s really lucky the Ace Archer doesn’t turn him into a pin cushion…

Afterwards, we follow ‘Harlequin,’ back to his…home?  Office?  It’s unclear, but his secretary and some other guy are there, presumably people actually connected to the real Ellison, but they add pretty much nothing to the story.  The writer is deaf to their pleas, sitting at his typewriter, dreaming up stories concerning the JLA.

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Suddenly, Green Arrow and Black Canary find themselves transported to Mexico, where they find a curio store with a strange artifact.  When they touch it, they fade to black, and we cut to Superman, or, maybe Ellis imagining Superman?  Either way, at this point the narrative perspective shifts again, and suddenly we’re supposed to identify with Ellis, who is apparently creating real events with his imagination, fueled by his broken heart…somehow.  It is…confusing to say the least, and this artifact is never explained.

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Superman, guided by Ellis, spies Canary, who is no longer in Mexico, I guess, and swoops down to carry her away, speaking romantically, which confuses the heroine.  Then the Man of Steel spots the JLA, trapped in a cave by a cyclops, and he says he’s somehow responsible, presumably because Ellis has imagined all of this.  What’s worse, Aquaman is dying!  Super-Ellis charges the Cyclops, and, in a sequence with really heavy narration that drowns out the art, he overcomes the monster, only to arrive too late.  Aquaman is dead!

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Except, not really, of course.  The Metropolis Marvel suddenly turns into Harlequin, and the League vanishes, leaving the Emerald Archer and the Dynamic Dame back at the restaurant where they started.  Black Canary once again displays her ‘woman’s intuition’ powers and gets a sense of what’s happening, with a weird visualization of the ‘pit’ of despair that threatens to swallow Ellis, who is heartbroken over the rejection by the girl who he just met.

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Heading to club where he offered to meet Black Canary, his mind drifts again, and suddenly he is Batman, observing Green Arrow facing a ‘Minotaur,’ which is clearly a centaur, while the lovely Mrs. Lance looks on.  The unfortunate archer’s arrows are ineffective, and when Black Canary moves to intervene, Bat-Ellis jumps in to save her, using his cape to blind and defeat the beast.  Once again, he is revealed to be the writer, and the scene fades, but the Emerald Archer is still hurt.

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Summoning help, Dinah leaves Ollie to go meet Ellis, and we get another weird visualization of despair as she explains that her heart belongs to someone else…and apparently doesn’t bother to follow up on how this guy has incredibly potent reality warping powers.  She just lets him walk away, and the comic ends with another appearance by Friedrich, who builds on his earlier statement, talking about how he identifies with all of his characters.  It is a weird and not terribly clear or satisfying ending.

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Yikes!  This dialog!

So, this is one weird issue.  It’s got a strange, dream-like structure that is confusing and disjointed.  It’s trying so desperately for pathos and emotional weight, and it is just failing spectacularly in that regard.  This is clearly a personal project for Friedrich, a fan letter to Harlan Ellison, which is fine, but it just doesn’t work for the rest of us.  It is badly conceived, badly executed, and badly written.

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Friedrich tries several interesting tactics here, but none of them really work.  His structure, meant to evoke a certain stream-of-consciousness storytelling, leaves the readers unable to follow the plot (I’m still trying to figure out the magic artifact thing).  The narration is another failed idea.  Second person narration is traditionally used to place the reader in the story after a fashion, but he breaks whatever success that move could have had by switching characters multiple times.  While I’m sure it would have been neat to see the wink at Harlan Ellison during this era, whose name was showing up all over the place in the 60s and 70s, including on some story credits at Marvel around this time, the story is just a mess.  I’ll give it a sad 1.5 Minutemen.

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New Gods #2


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“O’Deadly Darkseid”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

Fortunately, we have another issue of Jack Kirby’s epic New Gods saga to make it up to us!  It has another photo-collage cover, though you can hardly tell, as the image is dominated by Orion’s tortured form.  That part of the composition is pretty great, but I think the three floating heads would have been better as just one figure, whether of Darkseid or his minions.  Either way, it’s something of a mixed bag.  When you open the book, however, the splash page more than makes up for it.  It’s a great image of the opposed worlds of Apokolips and New Genesis with a nicely written bit of narration that catches new readers up on the mythic origins of our tale.  I particularly like the description of Apokolips, with “its stark and functional temples–in which creatures of fury worship a creed of destruction!”  Not half bad!

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The story really begins with Highfather, who is communing once more with the Source, which tells him that it is time for more inhabitants of New Genesis to follow Orion to war.  The young Lightray begs to make the journey, but he is refused, while on Earth, the man in question makes a disturbing discovery, as he finds Darkseid waiting for him at the home of one of his new human allies.  The great villain sits impassively in a chair, and when Orion hesitates in his instinctive attack, the master of Apokolips taunts him with secret knowledge.  Then, from behind the door springs one of his minions, who attacks the Dog of War with a “shock-prod.”  Orion pushes through the pain and grapples his foe, eventually knocking him through the wall and sending him plummeting into the air, only for both Darkseid and his dance partner to disappear.

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The scene seems slightly…beneath Darkseid.  It isn’t quite grand enough, fitting more with a gangster film than a cosmic epic, with the single heavy hiding behind the door.  I think Kirby is still finding the right tone for the character, as I suspected might be the case.  After the fight, Orion’s five rescued companions introduce themselves, giving him an instant supporting cast.

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Now, as I remember, these five contribute almost nothing to this book, but we’ll see if my memory has been unkind to them.  They certainly don’t’ evince an excess of personality in this issue.  I assume the King wanted to provide a human perspective on the grand cosmic tale he’s telling, but I think a single human sidekick could have filled that function more easily than five of them.

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At any rate, the next scene follows the escaping Darkseid, who goes back to his hidden base and quickly displays his displeasure with his flunky’s failure.  There he finds Desaad, who is working on a device to trigger abject panic in its targets in the hopes of triggering the brainwaves for which they are searching.  After a successful test on the hapless workers nearby, Darkseid orders the device into action.

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That’s some glorious Kirby-tech!

Meanwhile, Orion uses his Mother Box to fill his newfound friends in on the conflict into which they’ve stumbled, and we get previews of some of the Apokoliptian threats that face the Earth, including Mantis and the Deep Six.  The fact that Kirby never had Aquaman encounter those aquatic aliens is a massively missed opportunity.  This section serves as a bit of a catchup, bringing readers up to speed on the current state of affairs across the 4th World books, including a glance at the Wild Area from Jimmy Olsen.

Show and Tell time is interrupted by the unleashing of the fear ray, which sends the city into a panic.  Orion dons his Astro Harness and rides to the rescue, and once again, I can’t help but feel like we’re probably missing some detail in some of these panels, thanks to Coletta.  Either way, our ferocious hero arrives at the source of the ray, a giant billboard, but it has defenses of its own.  He is blown out of the sky, but not before he blows it away in turn.  Orion manages to stop his careening fall with a blast of his ‘Astro-Force,’ saving himself and returning to his friends.  Darkseid, for his part, is disappointed at the lack of results, and in his dialog with Desaad we get yet more hints about Orion’s origins.

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This is a pretty good issue, though it is largely setup and catchup.  Still, it manages to provide us with a solid adventure tale and several moments of plot and character development.  In terms of the art, it is absolutely beautiful for the most part, and if Kirby’s work got a bit too cramped and rushed in this month’s Forever People, that is absolutely not the case in this book, where he gives us not one, not two, not three, but FIVE lovely full-page splashes, not counting a gorgeous double-page image of New Genesis.

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All of this eye candy robs us of some plot and action, leaving this issue feeling a bit thin, but it admirably serves its purpose of setting the stage for the adventures to follow.  There are still a few spots where Kirby’s pencils are a bit off, notably with Orion looking a bit funky in a few panels, but his dialog is, thankfully, missing that occasional clunkiness we’ve noticed in these books.  Taken on its own, this story is flawed but fun.  I’ll give this issue 3.5 Minutemen, with the art making up for the paucity of plot.

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Superman #237


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“Enemy of Earth”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson
Cover Artist: Neal Adams

Our final book for this post is another issue of Denny O’Neil’s Superman run.  So far, these comics have proven to be pretty solid, if a bit strange at times.  Let’s see how this one stacks up!  First off, we’ve got a really striking and unusual cover.  Adams has certainly rendered the bizarre mutations of the crowd well…but I’m not sure that the effect isn’t more comical than dramatic.  Either way, the cover certainly piques a reader’s interest.  The tale inside is a pretty solid adventure story, and there’s a certain amount of personality and wit that raise it above the average.  It begins in standard Superman fashion, with the Man of Steel racing to save a crashing plane.  Yet, the aircraft in question is an experimental device that has been up into space, and when the Kryptonian sets it down and rescues the pilot, he finds him hideously mutated!

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superman 237 0005After taking the unfortunate flyer to a hospital, where the doctors are completely stumped, the Man of Tomorrow reasons that the illness could be the result of an alien disease.  To ensure that he isn’t contaminated, Superman just takes a quick jaunt to the radiation belt to take a bath in deadly rays, as only Superman can.  This is a fun little scene, though there is a rare failure in Swan’s art as he can’t quite pull off an interesting illustration of the phenomena.  I would rather have liked to see what Kirby would have done with that!

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Returned to Earth, our hero changes into Clark, after which he is ambushed by Morgan Edge, who tries to give him a tongue lashing for not getting the story on the experimental ship, only to have Mr. Mild Mannered very politely but firmly let him know that the reporter was on the way to deliver that very scoop on the air.  It’s a brief but nice scene, giving Clark a chance to show some personality, which is too rare in these older stories.

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Yet, during the broadcast, the Kryptonian begins to feel weak, only to discover that the Sand creature that has been following him is nearby.  Turning back into the Metropolis Marvel, Superman confronts his dusty double, but his efforts to communicate are met with silence while an attempted touch is met with a burst of energy so powerful it knocks him through the roof!  Even worse, when the Action Ace regains his feet, he finds the Daily Planet staff have been affected by the same strange alien disease as the pilot!  It seems clear that the radiation bath was insufficient and Superman has infected them.  This leads us to a nice dilemma.

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Superman realizes that he’s responsible for this and that he’s a danger to everyone he’s around, but just then he hears a mayday from Lois, who is on assignment in South America.  Her plane is going down in an area being overrun by a horde of army ants that are consuming everything in their path.  O’Neil displays a bit of personality and cleverness in Superman’s exasperated reaction as he observes “that girl just can’t lead a normal life!”  It’s another small but enjoyable moment.

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After alerting the hospital, the Man of Tomorrow takes off for South America, still trailed by the Sand-man (no, not that one!).  Meanwhile, Lois’s plane has crashed, apparently because her moronic pilot forgot to put fuel in it!  This is a weird little detail.  What’s the point of it?  There’s no real payoff, and it just seems too stupid to be believable.  Nonetheless, that’s the explanation we’re given, and things get worse when bandits arrive!

Superman arrives to help, but when he lands amidst the marching army ants, two of them that touch him immediately grow to massive size and attack him.  After disposing of them, the hero discovers that one of them grew even further after he hit it, and he wonders why.  Disposing of the ants by throwing them into space, the Man of Steel faces a terrible choice.

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He’s seen first hand how dangerous his mere presence can be, infected as he is with the strange disease.  He wonders if he should head out into space, never to return, thus leaving Lois to her fate, or intervening and risking who knows what effects on Lois and perhaps even the microbes in the air itself.  Now, this is, even in context, a bit extreme given the existence of sources of help like the Green Lantern Corps., but we’ll give it a pass for the dramatic weight it achieves.

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Meanwhile, an ill-conceived bit of heroism leads to the pilot being knocked out and the bandits abandoning them both.  Lois tries to lug this albatross around her neck to safety, but he’s too heavy and the ants are too swift.  This leads to another really good moment, as the reporter contemplates just leaving the idiot, especially because this is his fault in the first place, but she decides she has to do the right thing, no matter the cost.  That’s a great character moment for her, and it reveals the type of woman Lois should be.

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Elsewhere, the doctors have cracked the case and cured the disease.  They send out broadcasts to let Superman know, but in some good dramatic irony, he is sitting in space, unable to hear.  Just then, the sand creature arrives, now somewhat colored after their contact.  Realizing that the energy explosion after their encounter was the reason one of his hands didn’t infect one of the ants, the Man of Steel takes a desperate chance, embracing the creature and triggering a tremendous blast that sends him hurtling earthward like a meteorite.

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superman 237 0029 - CopyHe lands with a tremendous impact near Lois, and though he is weakened, he is stills strong enough to carry her and her burden to safety, handily capturing the bandits in the process.  Just when it seems like everything is going to be alright, the sandy stranger arrives, finally able to talk after their latest contact, and the dusty doppelganger tells Superman that he is the Kryptonian’s exact equal, and he fears that they cannot both survive!  Dun dun DUN!!  That’s a pretty solid cliffhanger.

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This is a pretty good story, even if it isn’t outright fantastic.  We get a pretty great problem for our hero to solve, and it’s one for which all of his great strength is useless, and there are several small but entertaining moments that demonstrate a surprising amount of personality and even provide some character development.  One of the strengths of O’Neil’s run is his tendency to provide Superman with interesting moral dilemmas, where his abilities are secondary to the problem at hand.  It’s a good way to provide drama to a character as powerful as he is.  I’ll give this one 4 Minutemen.

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And that wraps us up for this post.  It’s certainly an interesting trio of books, and the JLA issue especially is something of a time-capsule, both for fashion and for culture.  Thank you for joining me in my journey through these classic comics!  I hope y’all will join me again soon for the last issues of the month.  In the meantime, stay dry and safe out there in the real world!  Here in the Grey household, our prayers are with those affected by the hurricanes, fires, and floods.  Until next time, keep the heroic spirit alive, and as part of that, try to find some way to help those that need it!

 

Into the Bronze Age: March 1971 (Part 6)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman #235


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Superman’s Pal, Jimmy Olsen #136


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

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

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

 

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

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

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

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

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

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

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

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

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

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


World’s Finest #201


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

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

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

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

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

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

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

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

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

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I’ve…got nothing.

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

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

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

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

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

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Final Thoughts:


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

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

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

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


The Head-Blow Headcount:

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

Into the Bronze Age: March 1971 (Part 5)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #88


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Yay!  They’re all dead!

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

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

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New Gods #1


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Superboy #172


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

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

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

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

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

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


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

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

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

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

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

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

Into the Bronze Age: February 1971 (Part 7)

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Welcome to the final installment of Into the Bronze Age for February 1971!  It’s been a pretty solid month of comics, featuring some telling signs of the times.  For our final story this month, we’ve got an unusual World’s Finest, featuring a team-up between a hero and someone else’s sidekick, which is a fun change of pace.  So, shall we forge further 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 #397
  • Adventure Comics #402
  • Aquaman #55
  • Batman #229
  • Detective Comics #408
  • The Flash #203
  • Justice League of America #87 (AND Avengers #85-6)
  • The Phantom Stranger #11
  • Superman’s Girlfriend, Lois Lane #108
  • Superman #234
  • Teen Titans #31
  • World’s Finest #200

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


World’s Finest #200


World's_Finest_Comics_200“Prisoners of the Immortal World!”
Writer: Mike Friedrich
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

Don’t be fooled by this striking cover.  That mighty orange skinned alien is not, in fact, Mongul.  No, unfortunately, it’s a much less interesting villain.  Every time I see this cover, it takes me a moment to realize that the big, orange skinned guy in the purple costume with the yellow shape on his chest isn’t the cruel conqueror.  Nonetheless, the story within is an enjoyable one, even if it makes me wonder when we’ll see the alien annihilator in the Bronze Age.  Apparently he won’t make the scene for another decade!

Anyway, the story at hand is a bit uneven, combining several very different elements.  It begins, just like this month’s Titans issue, on a college campus.  This time, it’s Hudson University, the stomping grounds of the Teen Wonder himself, Robin.  The school is beset by protests and demonstrations, and Dick is right in the thick of it, helping to keep the peace.  The scene is being covered by Mr. Mild Mannered, Clark Kent, when suddenly the ROTC building gets firebombed!  What follows is really quite interesting from a historical point of view.

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During the 60s and 70s, there were several bombings of campus buildings that had a link to the military, so this little episode is drawn directly from the headlines of the day.  What’s more, in response the military moves in to take control of the situation, which intriguingly causes Superman to spring into action, as he reasons that soldiers on campus are apt to make the situation even more unstable in light of the Kent State Shootings and similar events.  The Man of Steel appeals to the governor and obtains orders for the troops to return to base, leaving the University in the hands of the campus police and the heroes and perhaps defusing some of the tension.

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WORLD'S FINEST COMICS 200 005Yet, not everything is resolved by this move, and Robin overhears two brothers, Davy and Marty, in a heated argument about the military.  They appeal to the young hero to help them settle matters, and as he tries to separate the two, Superman flies down and scoops them all up so that they can continue the conversation in more peaceful surroundings.

So far, we’ve got an interesting social story with some promising generational elements, but just at that point, the comic takes a hard left turn.  The quartet is swept through space by some type of teleportation beam (described, for some reason, as “magnetic body-grabbers,” because that’s how magnets work) and to an alien world.

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This is the home of a pair of immoral immortal brothers who, as they helpfully tell us, drain the power from captured super-beings to extend their lifespans.  They are currently over 150,000 years old!  The two bicker over the prospects for their next victim, and there’s the potential for some interesting parallel development between these brothers and the human siblings, but it doesn’t come together.

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The perfidious pair have set their sights on Superman, and when he arrives with his young companions, they use their “mind bands” to blast them with mental bolts, and Friedrich makes the first of a few strange choices, as the aliens talk about how the Man of Tomorrow’s body is invulnerable, despite the fact that they are presumably attacking his mind.  This will become a problem at the climax of the tale.

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With the Kryptonain captured, the immortals just dump Robin and the other two students in the inhospitable jungle of their world.  Inexplicably, we get a one-page origin and catch-up for Robin, which seems rather unnecessary.  Who doesn’t know who Robin is?  After wasting a page, we pick back up with the teen trio in a nicely bizarre alien setting.  Despite the wonder and terror of their situation, the two brothers immediately resume their fight.  Interestingly, Robin calls them ‘jackasses,’ which I was surprised to see in a Comics Code book.  His cool-headedness and impatience with their stupidity is entertaining.  The Teen Wonder organizes his little party, telling the boys to travel along the ground while he takes to the trees to act as a scout, and they make their way back towards the aliens’ citadel.

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Shortly, they are attacked by a group of hunters to whom they’ve been sold as game by the immortals.  They’re riding a massive, nicely exotic looking, horse-like creature, and they are thundering down upon the brothers.  Fortunately, Robin rescues Davy, though Marty gets mind-blasted.  The Teen Wonder is in his element up in the alien canopy, and he launches an acrobatic attack that allows him to scatter the stalkers.  Taking their ‘mind-bands,’ the trio continues their trek, soon arriving at the alien city.

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I always enjoy seeing Robin being awesome!

WORLD'S FINEST COMICS 200 018Meanwhile, the immortals have strapped Superman into their machine, only for him to burst free!  The Man of Steel quickly makes short work of their defenses, but they hit him with another mental beam, and he awakens to discover he’s been recaptured again.  It is then that the teen team arrives, and Robin takes out the guards with a batarang before leading an assault on the immortals and freeing the Metropolis Marvel.  Interestingly, Superman is held, not by bonds, but by a prison of the mind.  His escape and recapture was all in his head, designed to make him believe that freedom was impossible, which is a neat idea.

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Fighting Mad, the Man of Steel sets out to get his revenge, but the staging of the conflict is a bit odd.  Robin clearly freed him from the room that the immortals were in, yet the Kryptonian leaves by busting through the wall and goes somewhere else to attack them.  The internal continuity is a bit wonky here, and the scene that follows is where Friedrich makes his other strange choice.

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Pictured: half of a great two-page spread.  What the devil is going on with his legs?

The immortals recover and attack Superman, who overcomes them, not with his super strength, heat vision, or what have you, but by overwhelming their mental attacks with is own mental bolts.  That’s right, suddenly Superman has become Professor X!  It makes no sense, and there’s no way that he should be able to do this, making the resolution just feel cheap, especially because the immortals were already defeated by Robin and the others.

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The adventure helps Marty and Davy to realize that each of them has some merits in their points of view, and they shake hands, ending their argument.  The issue concludes with Clark Kent reporting on the boys’ strange experiences, focusing on the new unity between the brothers and hoping that the world can learn something from their example.

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There are a lot of good elements in this story, but they don’t combine into a single whole very smoothly.  The campus chaos raises some good questions, and the idea of real dangers helping us to put our differences in perspective is certainly a good one.  Yet, their intergalactic exploits are a bit too out-there for the moral to be as effective as it might be.  How often are aliens going to kidnap us to another world to be hunted for sport?  Well, I suppose the chance is significantly higher in the DC Universe.  Still, something more domestic might have been more effective as far as the message of the issue goes.  The alien adventure was good fun on its own merits, however, and it was great to see Robin in action, proving his independence and resourcefulness.  I really enjoyed how unflappable he was in the face of this crazy circumstance.  Superman’s inexplicable mental powers really take something away from the story, though.  Dick Dillin’s work is quite good for the most part here, especially on the alien flora and fauna, but he has a few weird panels throughout, like the two-page spread above.  I suppose I’ll give this one 3 Minutemen.  It evens out, more or less.

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Final Thoughts:


We have certainly had a very interesting month in this batch of books.  The stories have tended to be solid rather than stellar, and we’ve had a number of rather disappointing outings, with a few previously reliable books turning out weaker offerings, like Lois Lane.   Nonetheless, there is a good deal to catch our interest here.  The growing focus on youth culture and youth involvement is on great display, providing a definite common theme being shared by many of this month’s issues.  Dissatisfied young people fill the pages of everything from Teen Titans to Aquaman, showing up in a good number of surprising places, like today’s World’s Finest.  It seems like everywhere the unrest on the nation’s campuses, the spirit of rebellion and independence in the youth of the day, is reflected in the pages of these comics.  What a change from only a year before!  There’s a growing sense of the importance of the youth and their voice in society, a more serious treatment of the younger generations as a whole.  This is producing stories that are uneven but interesting.

In the same way, we’re also seeing increased moral and political maturity appearing with greater regularity, like this months’ Superman and Phantom Stranger.  While the Man of Steel’s adventure emphasizes a more nuanced ethos than just law=good, the Stranger’s title actually takes a surprisingly sober and realistic (however brief) view of the cycle of vengeance and the conflict in the Middle East.  Of course, there’s also still some more ham-handed attempts at the same, like Mike Friedrich’s weak-sauce, tacked-on anti-war message in JLA.

Speaking of which, this month also saw the first unofficial crossover between the JLA and the Avengers, which was fascinating to explore.  I really enjoyed the chance to read books across the Big Two and compare them, and the process really put the different approaches of DC and Marvel into context for me.  It was quite an eye-opening experience to directly compare the JLA and Avengers books, and I think that might have been my favorite part of this month’s coverage.  The comparison revealed the greater sophistication of Marvel’s storytelling and characterization in contrast to DC’s greater imaginative breadth.

We also saw the continued activity of the League of Assassins in the Bat-books, which forms one of the longer-running plot threads we’ve observed so far.  We’re still in a period of mostly self-contained stories, which makes the Aquaman title’s layering in of plot threads all the more innovative and exciting.  Continuing plots do seem to be becoming a bit more common, which is interesting because around this time Marvel handed down an editorial mandate to eliminate continued stories.  I’m curious to see how this trend develops.

This was undoubtedly a fascinating month.  I hope that all you readers enjoyed the journey with me, and I also hope y’all will share your thoughts and reflections as well.  Please join me soon as we begin our travels through March 1971.  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

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This month saw two new additions to the Wall of Shame, with both Batgirl and Hawk joining the august company here.  It was a bad month for teens, but at least Robin didn’t have a return engagement, though I’m sure he’ll be back before too long.  Let’s just hope Aquaman can stay away for a little while.  Three in a row was enough!

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

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

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Justice League of America #87


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Avengers #85


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

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

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

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

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

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

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

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

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

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

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

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

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Avengers #86


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

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

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

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Poor Pietro, perpetually in over his head…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Into the Bronze Age: December 1970 (Part 5)

DC-Style-Guide-1

Hello Internet travelers, and thank you for joining me for today’s stop on our journey Into the Bronze Age!  This is the very last post covering the banner year of 1970.  We are standing at the threshold for the 70s proper, and soon we’ll be exploring a whole new year of comics.  We’ve got a promising trio of titles to examine in this post.  So, hop in your Whiz Wagon and join me as I investigate these classic 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 #395
  • Adventure Comics #400
  • Aquaman #54
  • Batman #227
  • Detective Comics #406
  • The Flash #202
  • Green Lantern/Green Arrow #81
  • Justice League of America #84 (reprints, won’t be covered)
  • Justice League of America #85
  • The Phantom Stranger #10
  • Superman’s Pal, Jimmy Olsen #134
  • Teen Titans #30
  • World’s Finest #199

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


Superman’s Pal, Jimmy Olsen #134


jimmy_olsen_134“The Mountain of Judgment!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

We return to Jack Kirby’s Fourth World today in our second issue of Jimmy Olsen.  With this book we get a bit better of an idea about the setting Kirby is developing, but there are still far more questions than there are answers.  Kirby is setting up a great deal here, and my memory doesn’t quite serve to show me which threads will get paid off.  I have a vague notion that several of the ideas he sets up here won’t quite get the development they need.  Nonetheless, this issue is full of wild ideas and colossal concepts, including some classic Kirby artistic experimentation.

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It opens in grand fashion, with a full-page splash of a mass exodus from the tree-house like ‘Habitat’ we saw at the end of the previous issue.  It’s a parade of crazy, Kirby-esq vehicles, led by the wondrous Whiz Wagon.  Jimmy Olsen and the Newsboy Legion are leading the Outsiders out in search of the mysterious and oh-so-awesomely named ‘Mountain of Judgement.’  The Newsboys get into some antics as they try to film the crowd that turns up to see them off, and Flippa-dippa is already stretching for an excuse to make himself useful…which is not a great sign.  Yet, the festivities are interrupted by the newly recovered Man of Steel who tries to talk the crew out of pursuing their mission, intimating that he knows something they don’t.  Jimmy and the Legion insist they have a job to do, but their discussion is cut short by the antagonistic bikers, who mount another attack on the Metropolis Marvel.

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One of them tries to run Superman down with a rocket cycle, because apparently he’s a moron and doesn’t get the whole ‘more powerful than a locomotive’ thing, and that goes about as well as you’d expect.  The Man of Tomorrow catches it and plays rocket wrangler in a really cool panel.  Yet, the next attack is more effective.  One of these dropouts with their ridiculously advanced weaponry, targets the hero with a bazooka shell of kryptonite gas, and another finishes him off with a “green K paralysis gun.”  Of course, this is another example of that ‘everything is kryptonite’ problem with this era of Superman stories.  Fortunately, next month we get “Kryptonite Nevermore,” and I am really looking forward to that.

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Anyway, Superman is defeated and possibly poisoned, you know, what with the deadly element he was exposed to and all, and his best friend, Jimmy Olsen, casually and callously notes that now they can get on with their job.  This is the one point of the book that really bothered me.  Last issue, the attack on Superman was sudden and unexpected, and Jimmy had just taken control of the gang.  This issue, on the other hand, the attack goes on for some time, the young reporter is clearly more in control, and yet he does nothing to stop it.  What’s more, he greets his friend being knocked unconscious with all the concern that you or I might muster for seeing a stranger stub their toe.  That’s a beat that doesn’t ring true.  It seems like, at the least, they could have, you know, listened to what Superman had to say.

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After that kerfuffle, the convoy heads out, careening towards the foreboding Zoomway and beginning a race with death as they encounter obstacle after obstacle in their search for the mysterious Mountain.  First, Jimmy sends the Whiz Wagon straight through a camouflaged entrance to the roadway at top speed, ‘trusting in his instincts,’ which seems an unnecessary gamble, but what do I know?  Next, they must build up speed on a rock-strewn course in order to leap a chasm, a jump that some of the bikers don’t make.

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Then they wade into “the water course,” where Flippa-dippa actually contributes, by planting a charge on a blocked exit, though his incompetence nearly gets himself killed as the charge goes off too early.  Of course, the incredible Kirby-bikes of the Outsiders are equipped for submarine operation as well, because Jack Kirby’s reality is way more interesting than ours.

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Next, the crew encounters a reality-warping tunnel that messes with their senses, and they have to pilot by instruments as they lose all sense of direction.   This is portrayed by two bizarre pages of Kirby’s patented black and white photo-collages.  They’re fairly psychedelic and surreal, but it rather irks me that his model car doesn’t actually look that much like the Whiz Wagon.  I think he’d have been better off to incorporate some pencils, as he did in similar instances with the Fantastic Four.  I know that this was the King experimenting with the medium, pushing its boundaries and pioneering new techniques, but I never really cared for the effect that this type of gambit created.  According to the letters’ pages of the old Marvel books, though, it seems to have received at least some positive reaction from fans.  I wonder what DC readers would have thought of this in 1970.  If they hadn’t been reading Marvel books, it’s possible they wouldn’t have seen anything like this before.

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jo134-19At any rate, Superman has awakened during all this adventure, and he sets out after our young travelers, zooming past the dangers they overcame.  Along the way, he passes the bikers who were left behind in the madcap dash towards their goal, and, in a bit of a cheat, he notes that they are all unharmed.  I can’t help but wonder if that was a Comic’s Code sop, because you’ve got to think that the guys that failed that jump and plowed into the chasm wall probably didn’t do too well.  Nonetheless, the Man of Steel suddenly encounters a bizarre, Brobdingnagian behemoth, a boogeyman from the nightmares of a regular car, a gigantic converted missile carrier with a frightening facade that is screaming down the Zoomway.  This is the Mountain of Judgement.  Who should be caught in its path but the plucky Legion.  Pulling off a last minute save, the Metropolis Marvel carries the Whiz Wagon into the Mountain, which is Kirby-tech from top to bottom.  Instantly, the enigmatic Hairies who we heard about last issue spring forth and start examining the Wagon with delicate instruments.

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Only Kirby could design this gloriously mad vehicle.

Superman begins to explain but is interrupted by the discovery of a tiny but incredibly powerful bomb hidden in the car-mounted camera.  The Hairies lessen its power, and the Man of Steel smothers its blast, leaving the Legion boys entirely gobsmacked.  At this point, Jimmy finally begins to show some appreciation for the guy who is constantly saving his life.  It seems that Morgan Edge had an ulterior motive for sending this expendable little gang of kids on this assignment.  They were a Trojan Horse designed to destroy the Hairies.

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But, just who are these strange people, and what are they doing in this bizarre corner of the world?  Most of our questions remain unanswered, but their new hosts take the hero and his crew on a tour and show them the incredible insides of the Mountain, which serves as a giant rolling home for their enclave.  Essentially, theirs is a “mobile scientific society,” whatever that is, and Superman somehow knew about them.  The issue ends with the Legion wondering what game Morgan Edge is playing, and we get a glimpse of the man himself contacting a mysterious master, a strange character by the name of…Darkseid!

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This is another jam-packed issue, full of Kirby’s signature wild, rollicking action, an imaginative overload.  Unfortunately, our inker is the notorious Vince Colletta, so I imagine that we’re losing some of the nuances of the art.  Nonetheless, the book is full of fantastic visuals and wonderfully over-designed gadgets.  I don’t think he’s quite got the hang of Superman himself yet, as the Man of Steel occasionally looks a bit wonky, but the rest of the art in this issue is as gorgeous and creative as you’d expect.  The King delivers a plot that centers around a frantic race, which makes for a fun read, and the mysteries he’s introducing left and right are intriguing.

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Obviously, DC fans will recognize where a lot of this is going, but it is great fun to see the seeds planted.  The weakness, other than the odd moment with Jimmy’s indifference to Superman’s plight, is Kirby’s dialog.  It’s got a strange quality to it that I just can’t put my finger on.  Just check out some of the examples I posted above.  It has something in common with Beat poetry, an odd rhythm and cadence, combined with some silly 60s slang.  I’m definitely not the first to observe this, and while it isn’t a huge problem with this issue, this is something that marks the Fourth World books and can make them feel a bit dated, even for their contemporary milieu.  Still, on the whole, this is a fun issue, full of the manic energy that always characterizes Kirby’s plotting.  I’ll give it 3.5 Minutemen.

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Interestingly, despite several ads for more forthcoming Fourth World books due out this very month, we won’t see them premiere until a few months into the next year.  I wonder what happened there?

P.S.: Several of my friends over at Freedom Reborn have been kind enough to remind me of something that I really should have remembered.  Apparently, despite hiring Jack Kirby to draw Superman and Jimmy Olsen, DC’s top brass were concerned that he would somehow damage the characters by drawing them like Jack Kirby rather than like the house style.  They actually had artists like Al Plastino and Murphy Anderson retouch and sometimes completely redraw both of those characters, leading to the weirdness I noticed in the Superman figures above.  Here’s a great article by Kirby champion and expert, Mark Evanier.  It’s really a crying shame, and the few samples of existing Kirby Superman art really make me long for what might have been.  I had actually learned this years ago when I read through the 4th World omnibuses, but I apparently had forgotten.  Thanks guys!

P.P.S.: This issue also came with an odd, off-beat text piece by the King himself where he praises the possible development of real-life Whiz Wagons and ponders the world that might come.  It’s an interesting read, though Kirby’s strange prose style is a bit hard to get a hang of.  It seems that prediction like these were everywhere decades ago, and yet I still don’t have my flying car, my personal submersible, or my jetpack.  Clearly, we’ve failed to make the future as awesome as it should have been.  After all, we’re living in the 21st Century, and aside from the Star-Trek like device I carry around in my pocket, it doesn’t seem all that different from the 20th.  Buck Rogers would be heartbroken!

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Teen Titans #31


Teen_Titans_Vol_1_30.jpgGreed… Kills!”
Writer: Steve Skeates
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza
Editor: Dick Giordano

“Some Call It Noise”
Writer: Steve Skeates
Penciler: Carmine Infantino
Inker: Nick Cardy
Editor: Dick Giordano

Apparently we’re seeing a change in format with this issue.  Instead of a single story, we’re going to get two short yarns each month for a while.  I’m more than a little disappointed by that, as I’ve been looking forward to this issue because the cover indicated it would be Aqualad-centric, even featuring the fantastic but rarely used Aquagirl.  Imagine my dismay when I realized the promising cover only represented a brief backup tale (8 1/2 pages) rather than a full comic.  Promisingly, both of the stories herein are penned by Steve Skeates, but they didn’t quite live up to my expectations.

The first tale, which is actually not the cover story, sadly returns our titanic teens to the pointless Mr. Jupiter plot.  We find them engaged on a mission for the mysterious millionaire, costume-less and also rather clueless.  Lilith has had another vague vision, and she has brought them to a pawnshop she foresaw being robbed.  The team debates the value of following her “hunches,” and Kid Flash is particularly dubious.  Yet, the would-be thieves do show up, and while the boys tackle them, quickly dispatching two of them, the young speedster lets his pigeon get away.

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For some reason, he doesn’t use his super speed in pursuing the guy, and then he just stands idly by while the fellow stumbles into traffic and gets run down.  Now, it’s supposed to be sudden, but how sudden does it have to be for a kid with super speed not to be able to intervene?  That bothered me, and it smacked more of Kid Flash just choosing not to act than anything else, which is a failure on Skeates’ part.

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A scene follows with the police in the hospital that tells us that the injured man is Kevin Murphy (no, not Tom Servo’s alter ego), a notorious thief, thought to have died ten years ago.  What does all of this have to do with a job for Mr. Jupiter?  Well, wait and see.  The kids follow up on their “mission,” visiting a wealthy businessman, named Mr. Tout, from whom they are tasked with getting a donation for a charity to help first time youth offenders reform.  Mr. Scrooge, er…I mean Tout doesn’t react take too fondly to this idea, and he screams about how criminals can’t be reformed and how he won’t subsidize lazy bums who won’t get jobs.  Cardy really does some great personality work with this fellow, giving him a distinct and evocative look.

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Their plea having failed, Mal notes that Tout looked directly at him during his tirade and speculates that there were probably racial overtones in it.  The quintet try to decide what to do now, and Lilith surprises them all by insisting that they go visit the injured Mr. Murphy.  teentitans30-08It’s handy to have the powers of plot.  Meanwhile, Tout discovers the concussed crook’s whereabouts and, strangely, begins to panic.  He decides that he must take care of this situation, immediately!

When they arrive at the hospital, the former Titans discover gunmen attempting to take out the police guards and kill Murphy.  Fortunately for the lone cop still standing, the girls intervene, promptly incapacitating the two assassins in a nice Cardy action sequence that, like some of our previous issues, demonstrates the different fighting styles of the participants.  Interestingly, Lilith is actually useful in the fight, which I didn’t expect.

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The gunsels grounded, the kids get an explanation from Murphy, who is dying from his injuries (that’s entirely on you, Wally).  Apparently, he and Tout were partners years ago, and after a big score, the ‘self-made man’ went straight and built himself a business empire.  Yet, he was afraid that his former partner would one day be caught and turn on him, so he tried to have him killed.  Murphy faked his own death in order to escape, and when his identity was in the papers after his capture, Tout decided it was time to finish the job.  Strangely, the issue ends, not with the capture of Tout, but with the youths just wandering down the street, talking over the enigmatic events of the case.  Tout’s fate is implied, but not shown.

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This is a fine story, with an interesting twist, but the trouble is that it isn’t really a Teen Titans story, just like some of the earlier issues I’ve covered.  Replace little-miss plot device with a clue that connects Murphy to Tout, and you could lift the Titans entirely out of this plot without anyone noticing.  None of the team use their abilities, none of their secret identities come into play, and the characterization, while solid, isn’t particularly distinctive or necessary to the narrative.  There’s nothing at all that makes this a Teen Titans tale.  The kids aren’t even in costume.  Cardy’s art is as beautiful as usual, but it also suffers from the lack of costumes.  His Kid Flash and Speedy are pretty hard to tell apart without any of their action garb to aid us.  Cardy still turns out a lovely story here, but I miss his seeing his Titans in action.

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Part of the problem here is just the situation that Skeates inherited, but I’m disappointed that he didn’t just go ahead and disentangle the team from this narrative albatross around their necks.  There are some elements of social commentary here, with the bootstraps-businessman’s success not actually a product of his own hard work, the racial tension, and the counterexamples for criminal reform and the like.  It subtly pushes for a more liberal approach to several social issues, but there isn’t much made of those ideas.  I suppose I’ll give this story 3 Minutemen.  It’s about average.

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Oddly, this comic also includes a two-page, mostly text short story about Kid Flash encountering a bank robber with a portable whirlwind, who is definitely not Whirlwind.  I wonder if this was an experiment or just a space filler.


“Some Call it Noise”


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The story I was so eagerly anticipating proved more than a little disappointing in context, mostly from its brevity, which left Skeates just too little space to follow any of the fun and interesting ideas he introduced.  Nonetheless, it’s an enjoyable little adventure, and it is great fun to see Aqualad and Aquagirl in a story together, something we haven’t seen for quite some time, and never in a Teen Titans book, methinks.

This little yarn begins in an operating room where a desperate case is met by a daring doctor.  The patient has some type of head trauma that will prove fatal, unless, perhaps an experimental treatment the doctor has been developing is employed.  Meanwhile, everyone’s favorite aquatic adolescents hurry out of the waves on their way to a concert.  This is a fun idea, but unfortunately, Skeates just doesn’t have the time to do much with it.

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It does give us a charming image, though.

Just as the two young heroes reach the concert, the experimental surgery reaches its own crescendo, and the patient seems to be recovering well.  Yet, there is a terrible side effect of the new drug, and the recovering man goes mad!  His body chemistry thrown into turmoil, he develops superhuman strength, and he smashes his way out of the hospital.  Outside, he pulls a Grendel, catching wind of the merry music in the park and, enraged by the noise like that lonely fen-stalker, he sets off to put a stop to the revelry in most violent fashion.

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The maddened patient charges past the Aqua-teens, clocking poor Tula on the head and leaving her stunned.  Aqualad sets out in pursuit, realizing that this guy needs to be stopped before he kills someone.  Just as the crazed music critic prepares to smash the band, the Aquatic Ace attacks, laying into the fellow in a nice action sequence.  However, here we get one of my only real critiques of the issue.

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Aqualad thinks to himself that he’s able to throw a strong punch underwater, so he’s even more capable on the surface without the water resistance to fight.  Now, you might be thinking, ‘but that’s right!’ and you’d be correct.  My issue is that this really rather sells his abilities short, as he isn’t just able to throw “a strong punch;” he’s downright super strong!  I think Skeates, as much as I love him, forgets the super strength of his Atlanteans too often.  Still, it’s a minor complaint, and the kid still handles the enraged patient with aplomb.

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Yet, his encounter with his angry antagonist proved a dangerous distraction.  Aquagirl, injured more seriously than he realized, has wandered off in a daze, trying to head to the sea, but stumbling further inland in confusion.  In growing fear, as their one-hour deadline looms closer and closer, Garth sets out on a desperate search.  Following a few clues, he finds her leaning against a lamppost in town, and then we get one of the stronger beats of the story.  Aqualad notes that their hour was up five minutes ago, yet they don’t just drop dead.  Instead, they grow weaker, yet the young man pushes himself to a heroic effort, carrying the lovely lady all the way back to the beach.  He even passes out on his feet, but keeps stumbling forward blindly, collapsing mere inches from the sea.

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Fortunately, the tide comes in, reviving the exhausted Atlanteans.  It’s a great sequence, and it shows that Aqualad has some of his surrogate father’s force of will.  It also establishes that the one hour limit is not a hard and fast rule, but a general guideline that threatens, not immediate death, but growing weakness.  That’s a significant step in the right direction.  In the final half page, the two teens head out to sea, and I really love the spin Aqualad puts on their adventure.  He argues that, even though they missed part of the concert, it was worthwhile because he “saved a man from doing something he would have hated himself for for the rest of his life.”  That’s true, and an unusual angle on the events of the day.  It implies a thoughtful, empathetic quality for the young hero, which I enjoy.

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This is a fun little adventure, but it is definitely just that, a little adventure.  I really enjoy seeing Aqualad and Aquagirl get to share a story together, but it is so brief that Tula’s role is almost nonexistent.  She takes no part in the real action, and she’s even out of her head for half of the tale.  That’s a shame because she’s a great character who doesn’t get much focus in the first place.  Despite the fact that I wanted more from this backup yarn, it is effective and efficient, delivering a complete story in just a few pages.  I’ll give it a fun but limited 3.5 Minutemen.

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World’s Finest #199


worlds_finest_comics_199Race to Save Time”
Cover Artist: Neal Adams
Writer: Dennis O’Neil
Penciler: Dick Dillin
Inker: Joe Giella
Colourist: Tatjana Wood
Editor: Julius SchwartzE. Nelson Bridwell

This is the second half of our two-parter featuring the race around the galaxy between Superman and the Flash, and it is great fun.  The crazy cosmic adventure of the last issue continues here, though the scale gets reduced a bit for the finale.  Also, Jimmy faces more chronological conundrums.  Interestingly, the first issue promised, in no uncertain terms, that we would get an answer to the age-old question about who would win in a race, the Flash or Superman.  “There must be a winner!” declared the cover copy, and there is…sort of.  O’Neil still cheats a bit.  I wonder if that question was ever entirely settled in the Bronze Age.  Who wins, you ask?  Well, there’s only one way to find out!

Our story picks up right where it left off, with poor, time-displaced Jimmy facing a flight of airborne arrows.  The situation looks pretty hopeless, until the hapless teen fades through time once more, but this is only a temporary temporal reprieve, as he lands right in the middle of a witch trial by the masked menace of the Spanish Inquisition!  I bet you didn’t expect that!  Of course, the young man’s sudden appearance is taken as proof positive that he is in league with dark powers, so he is sentenced to die. Poor Jimmy, out of the frying pan, into the inquisitional fire.

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Meanwhile, our two heroes are continuing their race, and we get a brief recap of events , thanks to some exposition from the masters of the art, the Guardians.  Our nameless Centurion is still hanging out, but sadly we don’t get any more of his inner monologue.  That’s a missed opportunity Mr. O’Neil!  Anyway, the radical racers are ambushed by another batch of the Anachronids, and unfortunately they chose their sector of space well as they are near an orange star, so Superman is weakened.  The charging champions put up a good fight, but eventually they go down, captured by the super-fast robots!

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Back in 15th Century Spain, Jimmy is not one to wait idly by for his fate.  He uses his wristwatch, a marvel in that era, to distract his guard and then takes him out, fleeing the prison.  He escapes into the night, trying to figure out how to get home.  In search of shelter, he stumbles into a barracks, accidentally stirring up a hornet’s nest of trouble!  Fleeing the roused soldiery, the young reporter climbs up a balcony, only to run smack into the grand inquisitor himself, Torquemada, now unmasked.  Poor Jimmy!  His luck is worse than mine!

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As time continues to fluctuate, we also get a brief check-in with some other DC characters, including Batman and Wonder Woman, as their environments shift and anachronisms creep into the modern day.  In deep space, Superman and the Flash awaken to meet their captors and the architects of the universe’s current peril, the Phantom Zone Villains!  They kindly introduce themselves to the Scarlet Speedster as: Kru-El (definitely a case of nominative determinism), Jax-Ur, the notorious General Zod (whose Silver Age look is only so-so), and Professor Va-Kox.  This criminal quartet have had their robotic minions bring the heroes back to the strange, extra-dimensional planet they visited last issue.  Apparently, the villains have managed to escape from the Phantom Zone to this dimension, but they can go no further.  They created the Anachronids to turn the universe on its head, as they’ve determined that upsetting the time-stream will weaken the dimensional barriers enough for them to escape.  That’s workable enough technobabble for the setting.  The Flash cries out that this plan will kill billions of beings, and, in true villainous style, the Phantom Zone refugees respond with callous disregard.  All that matters is their freedom, and once free, they’ll pick up the pieces and rule like kings!

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Well, for something like the fourth or fifth time this month, the villains complete their contractual obligation to leave the heroes alone in order for them to escape, as the Phantom Zone Four propose to leave the pair alive in order to see their triumph.  Man, the DC villains really need to read the Evil Overlord List.  Even so, the strange star of this world is red at the moment, so the Metropolis Marvel isn’t strong enough to burst their bonds, and, his medallion captured, the Flash doesn’t have the energy to vibrate free.  But wait, the medallion was made by the Guardians, so the heroes realize it may function similarly to a power ring.  They concentrate their willpower on the device, and Superman uses it to free himself, but before he can help his comrade, Zod returns, destroying the medallion!  He has them both dead to rights, and he tells them the villains decided they were too dangerous to let live.  That’s the right idea, Zod; if only you had acted on it earlier.

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The Flash, still bound, manages to knock the kryptonian’s gun away, and Superman jumps his father’s old foe.  The Man of Steel, now more like the Man of Soft, Bruisable Flesh, takes a beating, but he eventually manages to knock the former dictator out, twisting his ankle badly in the fight.  It’s a fun scene, as Superman has to work much harder than he’s used to because he doesn’t have his powers, yet he still triumphs through force of will.  I rather prefer the Bruce Timm approach to the character, though, which stipulates that everything Superman does requires great effort, but that’s really a matter of taste.

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Unfortunately, the Flash also catches a ricochet blast from the gun, rendering his legs temporarily paralyzed.  This leaves both heroes unable to walk, but, as the Flash declares in grand heroic fashion, they can still crawl!  They set out, dragging themselves desperately towards the Phantom Zone criminals’ headquarters, where they hope to find the controls for the Anachronids.  Never one to let the weight of the universe resting on his shoulders get him down, the Scarlet Speedster declares to his not-so-super partner that they “began this thing as a race-remember?  Well, we’re still racing–and I’m still determine to beat you!”  That is just a great sequence, and it just wonderfully captures the indomitable heroic spirit of these two characters, Flash in particular, with his cheerful, hopeful personality.

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Next, O’Neil briefly checks back in with Jimmy as he awaits the headman’s axe, just to add a little more tension to the situation.  Back in the future, the two exhausted, injured heroes, arrive at the headquarters and encounter Jax-Ur and the Professor playing six dimensional chess (!).  The Flash throws a rock to distract them, and then, using a last burst of speed, the pair rush the villains and knock them out.  With just thirty seconds left until the the universe is shattered, the heroes drag themselves up the steps of the control center, and the Flash pulls the shut-off lever with only moments to spare.

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Exhausted, he declares somewhat sheepishly, “Hey!  Guess what?  I won!”  That’s right, the Flash won the race…after a fashion.  This sets everything to rights, as the Anachronids decelerate and disintegrate, not being able to survive at sub-light speeds.  Jimmy is yanked back through time just in the nick, as the axe descends.  Just then, Kru-El dashes into the control center with a gun, but the sun has just turned once more, giving the Man of Steel back his powers.  He decks Kru-El and destroys their machinery.  Then he takes Flash home, noting that he’ll get the Guardians to help him seal this dimensional breach.

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Well, this is a great two-parter.  This second half doesn’t have the rapid pace and non-stop action of the first, but it is still a lot of fun.  I love the heroes grit, reduced to crawling, and yet refusing to give in.  They persevere and succeed pretty much entirely on moxie alone.  It’s a lovely character moment for the two of them.  The story does have a few little weaknesses, some break in logical consistency, like Superman taking out Kru-El easily, despite the fact that the villain now has super powers too.  The wrap-up is really a bit too brief, and it seems that O’Neil may have run out of room.  Still, the story is so much fun, and the adventure, both for the heroes and for time-tossed Jimmy, is so satisfying, that I’m not too bothered by such things.  Once again, Dillin’s artwork is really strong, standing in particular contrast to the stiff and lackluster work from this month’s JLA.  By the way, Bronze Age Jimmy is growing on me as a character.  He’s proving resourceful, courageous, and capable.

Speaking of Jimmy, his encounter with the Inquisition gives O’Neil a chance to bring in a little social consciousness, as the youthful reporter notes that the fanaticism and cruelty of Torquemada didn’t die out in the Middle Ages (in fact, it was generally way more common in the Renaissance), but continues to live on in the modern day.  We certainly still see plenty of that kind of viciousness and irrationality in our own time.  It is a fine little note, but it would have been more effective if he could have connected it to the main plot more directly.  I think there’s an angle to be worked there with the Phantom Zone villains, but c’est la vie.  In the end, this is just an all around enjoyable comic yarn.  I’ll give it 4.5 Minutemen, with the the Flash’s unflappable good cheer helping overcome its weaknesses.  I just had a blast reading both of these stories.

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Final Thoughts:


And that, my dear readers, is the end of the first year of our journey Into the Bronze Age!  It’s taken a tad more than a year of real-time, but hopefully the next will move a little more quickly!  Either way, I am very excited to have completed an entire year of this project, having read most of the superhero books published by DC Comics for 1970.  It’s been a fascinating journey, and we have watched the Bronze Age grow before our very eyes.  We’ve seen Silver Age tropes grow a little more rare, but more importantly, we’ve seen a revolution taking place in the pages before us, as the cardboard characters of the Silver Age began to grow, developing unique personalities (some of those more pleasant than others…I’m looking at you, Ollie).  We’ve seen Denny O’Neil absolutely everywhere, jumping from book to book to book, constantly innovating, often failing, at least in part, but arguably succeeding more often than not.  I’m really blown away by how large a role he’s played in these early days of experimentation and evolution.  Clearly, the Bronze Age at DC owes a great deal to that man, and even if his writing is sometimes heavy handed and pedantic, the fellow did some amazing work.  It’s easy to credit later works for being more sophisticated than their predecessors, but it is important to remember that the former wouldn’t exist without the pioneers who came before.

Over the last year of comics, social consciousness themes have grown from occasional influences trumpeted, often solely, in the books being penned by Denny O’Neil, to showing up just about everywhere, even in the most conservative of DC’s offerings, like the Superman titles.  The most immediate and marked change, is of course, in Batman, who has evolved quickly and more consistently than most.  He’s already begun to resemble the ‘grim avenger of the night’ version of the character that is the pure expression of the concept, at least for my money.  Books like Aquaman are serving as sources of innovation, both in art and story, and a spirit of change seems to be in the air.  Interestingly, even the fans notice it, and many of the letters of the latter part of the year have talked about the ‘character revolution’ or something similar, going on at DC, calling for the same process to be applied to characters not yet affected.

I would say by December 1970, the Bronze Age was well and truly on the way.  The change between the first and last month is really quite marked, and I can’t wait to see what the future holds!  First, what about this month itself?

We’ve had a lot of solid stories and a few strong stand outs.  This month’s comics have featured two different takes on the growing political involvement of America’s youth.  We’ve also seen multiple instances of real-life events influencing and inspiring this month’s comics, from the student march in Cleveland being reflected in Robin’s tale to the cultural anxiety around the rise of Satanism being reflected in the Flash’s macabre plot.  In general, I think there has been a slight uptick in stories with supernatural elements, with Flash, Kid Flash, Batman, and, of course, the Phantom Stranger all facing occult menaces this month.

All-in-all, I’d call that a pretty fitting end to a good year of comics, and I hope that you’ll join me soon as we race back through time on our Cosmic Treadmills to peer into 1971!  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

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Only Aquaman joins our distinguished company on the wall of shame this week, though we had several very close calls, more than we’ve had before, I believe.  There you go, folks, an entire year of head-blows.  It seems Aquaman’s reputation of getting knocked out as regularly as Philip Marlowe is probably deserved.  Hopefully things will improve for my favorite hero in the next year.