Into the Bronze Age: November 1971 (Part 4)

Hello Internet travelers, and welcome to another edition of Into the Bronze Age!  It’s time to explore some more classic, Bronze Age DC comics, and we’ve got a pretty interesting trio of titles to talk about this time.  We have a significant issue of The Haunted Tank’s harrowing adventures, a cool and unusual issue of JLA, and finally another frantic feature of the Fourth World!  Let’s dive right in, shall we?

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

Roll Call

(You can see everything published this month HERE)

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

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

G.I. Combat #150


“The Death of the Haunted Tank”
Writer: Robert Kanigher
Penciler: Russ Heath
Inker: Russ Heath
Editor/Cover Artist: Joe Kubert

“The Two-Legged Mine”
Writer: Bob Haney
Penciler: Russ Heath
Inker: Russ Heath
Editor: Robert Kanigher

“Hip Shot”
Writer: Sam Glanzman
Penciler: Sam Glanzman
Inker: Sam Glanzman
Editor: Robert Kanigher

“Ice Cream Soldier”
Writer: Robert Kanigher
Penciler: Joe Kubert
Inker: Joe Kubert
Editor: Robert Kanigher

We’ve got a landmark issue of the Haunted Tank this month!  For once, the cover doesn’t lie, and when it promises the “Death of the Haunted Tank,” it is being quite literal!  After roughly 60 issues, the plucky little M-3 Stuart tank will meet its demise in this issue.  And that cover is a pretty good one, in addition to being honest.  It’s dramatic, catching a moment, not before disaster strikes, but just as it is striking, which creates a pretty dynamic effect.  Of course, Kubert’s stark work adds to the drama of the moment rather nicely.

gi combat 150-03

Inside, our tale begins in what has become normal fashion, with the spectral J.E.B. Stuart offering one of his habitual vague warnings that could really mean anything, as Kanigher continues to not really take advantage of his awesome premise.  In this case, the General’s super helpful warning that “things aren’t what they seem” applies to a seemingly crashed German bomber that is actually a trap for the tank.  Jeb and company knock it out in a nice two-page splash, but then their ghostly guardian informs them that this was the last time he could “help” them, and bids them farewell.

gi combat 150-04-05

As Jeb ruminates on this startling turn of events, his crew continue to contemplate his apparent insanity as he seems to speak to empty air.  They roll past a depot where other crews are cannibalizing knocked out tanks for parts.  There are two things of note in this scene.  First, the other crew actually asks how Jeb’s tiny little Stuart constantly knocks out tanks much heavier than it, joking that it must be because it is haunted.  Second, we get a shot of this crew, who include Joe, Russ, and Steve, who are given very detailed faces.  I feel like this has got to be a reference to particular folks.  I’m guessing, and this is just a guess, that the fellow in the middle is Joe Kubert and the one on the right is Russ Heath.  I would love to hear from any readers who actually know!

gi combat 150-07

Anyway, possible creator cameos aside, the ghostly guys next run into trouble when they encounter a Jeep full of wounded troops fleeing a fighter.  The crew manages to knock the perilous plane out of the sky (more unbelievable feats!), encouraging the team.  Yet, their continued faith in the old Stuart meets a much tougher test later on, when they are sent into a hot zone to aid Dog Company.

gi combat 150-08

The infantry is getting cut to pieces on the banks of a river by a tank and artillery in the woods on the other side.  Jeb charges the Stuart into the teeth of the enemy guns, and they get the enemy tank.  However, the AT gun tears their little tin box apart piece by piece, and in surprisingly short order, the Haunted Tank dies, though the crew manage to make a frantic escape.

gi combat 150-12

When Jeb and company realize that no more backup is forthcoming, they race to the depot and assemble a new, “Jigsaw Tank” out of cannibalized parts.  They take their new makeshift metal monster into combat, just in time to stop two new Nazi tanks charging across the river, and they even manage to clean up the AT gun that killed their previous ride.  The story ends with General Stuart returning, and explaining that the tank didn’t matter, only the dedication of the men inside, so the grateful crew christen their new vehicle The Haunted Tank once more.

gi combat 150-13

I actually expected rather more form this tale.  It’s a fine, fun story, however unrealistic it is for the guys to assemble a new tank so quickly and easily.  Still, I’ve been seeing this cover approaching for some time, and I just expected the death of the tank that had been through so much with the crew to be given a little more weight.  Instead, Jeb and co. basically joke about it for a minute, then immediately replace the faithful old girl.  Of course, there’s only so much you can do in a 14 page story, but I found myself a bit surprised that Kanigher didn’t make more of the moment.  The actual adventures here could have been condensed, with more focus on the central conflict at the river and the loss of the Stuart, which I think would have been more effective.

As is, the story is really rather forgettable.  Of course, Russ Heath’s art remains excellent, perfect for the title.  He’s a master of both the dynamic battle scenes and even the quiet, character-centric moments.  On a broader note, I continue to be disappointed by the lack of development of the premise.  General Stuart leaves the crew for most of the issue, but functionally, it doesn’t actually play out any differently than 90% of the stories we’ve read, as he plays no active part in most plots after his traditional enigmatic warning anyway.  Well, missed opportunities aside, I’ll give this solid armored adventure 3.5 Mintuemen.  At least Jeb and crew now have a tank that might stand a ghost of a chance against German armor in real life!


Justice League of America #94


“Where Strikes Demonfang?”
Writer: Mike Friedrich
Pencilers: Neal Adams and Dick Dillin
Inkers: Neal Adams and Joe Giella
Letterer: John Costanza
Editor: Julius Schwartz

“The Tarantula Strikes”
Writer: Gardner Fox
Penciler: Bert Christman
Inker: Bert Christman
Editors: Vincent Sullivan and Julius Schwartz

“The Amazing Starman”
Writer: Jack Burnley
Penciler: Jack Burnley
Inkers: Jack Burnley and Ray Burnley
Colourist: Raymond Perry
Letterer: Betty Bentley
Editors: Whitney Ellsworth and Julius Schwartz

Alright!  Time for another issue of my favorite comic team’s book!  Despite the fact that this title has been so uneven since we’ve started, I still find myself excited about it each month, and this issue features my favorite character….sort of!  Sadly, we’ve got a pretty lackluster cover, really.  It’s got Deadman’s dramatic pronouncement, but the blank blue background and compressed, box-out cover-space don’t do it any favors, and all the pointless occult paraphernalia in the foreground can’t change that.  Of course, the actual art is lovely, as Neal Adams contributes the image, as well as several pages inside!  Yet, the biggest trouble with this cover is that it spoils a significant part of the story, which is a shame.


As for that story, it is actually a pretty darn good one.  We begin with a wonderfully detailed splash page of the League of Assassins’ leader, the enigmatic Sensei, who is plotting revenge against an unknown JLA member for a previous slight.  We join the trio of characters who disappeared from the last arc, Batman, Green Arrow, and the Sea King himself, Aquaman, as they prowl about the waterfront, hunting for an assassin who hunts them in turn.  The Bold Bowman spots a flash from the killer’s scope, and the heroes leap into action, quickly corralling the gunman.  Yet, the assassin refuses to talk, and the Leaguers are left in the dark about who is the target of the “Demon’s Fang,” the League of Assassins.  That’s right, it’s League vs. League!

Back at the Demon Fang’s headquarters, the Sensei is not pleased that his man has missed his mark, and he summons one of his best, Merlyn, the archer.  We get an interesting note of continuity and world-building here, as the League of Assassins are part of Ra’s Al Ghul’s set-up and have been introduced in the Batman books, so it is exciting and surprising to see them here.  What’s more, the Demon’s Head, Al Ghul himself, gets name-dropped, as Merlyn mentions that their master has a special interest in their target.  Nonetheless, the ancient Sensei is adamant, and the archer is sent on the attack.


Meanwhile, everyone’s favorite sleaze, Morgan Edge, makes another universe-building appearance, and sends Clark Kent out on assignment.  There are hints of Intergang’s involvement, and the under-cover Kryptonian brings along a little action figure-sized ace -in-the-hole, the Atom, as the assignment brings him near the last known location of the missing Leaguers.  Yet, before they can arrive, their news van is ambushed with arrows!  Superman attacks, only to be taken out of the fight by special gadgets prepared by the Demonfang techs, including a gravitational arrow which increases the pull of gravity on the Man of Steel exponentially.


The Atom, after delivering a great pint-sized punch, is also put out of commission by a sonic arrow.  Now, if you had told me that Merlyn was taking on a significant subset of the League on his own, I would have said that was silly, but Friedrich actually manages to write his way around the problem of a vastly under-powered villain with some reasonable gadgets.  It’s nice to see Superman treated as something other than completely unstoppable, and without recourse to Kryptonite or something completely silly.  Is it convenient that Merlyn has trick arrows that can take out these heroes?  Yes, but I’ll buy it for the purposes of this story.


Unfortunately, our other heroes don’t have much better luck than their fellows, as our original trio finds their captive assassin killed almost as soon as they turn him over to the police.  On the arrow that killed him is a note, which declares that “The price of failure in the League of Assassins is death!”  It is signed by the mysterious Merlyn, and it is here that we discover that Green Arrow knows our enigmatic assassin.  Merlyn was a master archer, and he was Ollie’s first great rival, who embarrassed him in a competition before disappearing, only to emerge now, as a master of a decidedly more deadly discipline.

jla094-(avalon)-12 - copy

The titanic trio set out on Merlyn’s trail, but we have an odd little moment where Batman asks Aquaman if he has enough time, and the apparently confused Sea King responds, ‘sure…uh…why not?”  I saw what was coming, and I was a bit annoyed by it, and sure enough, as soon as they reach their destination, a creepy old house that is definitely not a trap, the Marine Marvel passes out.  He’s been out of water too long (that darn 1 hour limit can’t go away soon enough!), and I just couldn’t believe Friedrich had put the character in the book just to have him act this stupidly.  But, when the Caped Crusader finds a fountain inside and submerges the submarine superhero, things take a much more interesting turn, as the Dark Knight puts Aquaman in a headlock and demands to know….who he is!  Just then, the trap springs, and Green Arrow is locked in a vacuum tube!


While the hunted heroes investigate the house, the agonized Atom manages to smash the sonic arrow and free himself, and he comes up with a novel way to free the Metropolis Marvel too.  He can’t budge the gravity device, but he wraps his belt around it and enlarges the machine until it becomes unstable and explodes! That’s actually a really clever solution, and fitting for the brilliant Ray Palmer.  The haggard heroes aren’t yet back at a hundred percent, however, and they must hitchhike towards their allies!


jla094-(avalon)-17 - copy

I love the hilarious banality of Superman having to listen to some schmo blather on as he hitches a ride! “Really, I have more important things on my mind, man!”

Back in the villain-haunted house, the Masked Manhunter can’t break his Emerald ally out of his glass prison, but Superman, recovering enough to take flight and escape their blabbermouth chauffeur, is able to spot the predicament with his super vision and hurl the Atom hard enough to free Ollie.  It’s really a nice sequence.  Yet, at the same time, Batman has become stuck on the fence that separated him from his fallen friend, a perfect target for Merlyn, who has emerged at last to kill his true target…the Dark Knight, of course!  He lets fly, but the stunned Green Arrow recovers rapidly enough to string and fire an arrow just in time to deflect Merlyn’s killing shot!  His nemesis salutes such a fine shot, and his carefully calculated chance gone, the magician uses a jetpack built into his quiver to escape.  Merlyn himself is now a hunted man, as he reminds the heroes that “the price of failure in the League of Assassins is death!”


It is then that the “mystery” of Aquaman’s identity is solved in another pair of Adams-penned pages, as the Sea King and the Dark Detective discuss the case.  It turns out that Deadman took over the Marine Marvel’s body because the being he serves, Rama Kushna, warned him of an attempt to kill a Justice Leaguer which would upset the balance of the world.  He didn’t know who the target was, and the Sea Sleuth was just the first hero to hand, effectively.  That’s why he ran himself out of gas (or water, as the case may be), and made various other mistakes.  All of this was in revenge for Batman interfering with the Sensei’s attack on Nanda Parbat back in Brave and the Bold #86, apparently, which I must have read but have forgotten.

Of course, this would be a lot more impressive if we didn’t know Deadman was possessing Aquaman from the cover (even if I did get swept up in the story enough to forget!).  Yet, the tale doesn’t end there.  It ends with a return to the JLA Satellite, where something is wrong with the teleporter, something that we won’t discover until next issue!  Meanwhile, the Sensei has learned his lesson, and the next time he strikes, he shall isolate and destroy his enemy!

Well, the non-reveal aside, I really enjoyed this issue, despite some trademark overwriting and generally deplorable dialog from Friedrich.  It’s a lot of fun, and it is really great to see the universe-building happening in other books filter into the flagship title like this.  How interesting must it have been to be reading the Bat-books and JLA, and to see these characters and concepts jump from one title to another?  Of course, this makes perfect sense, but it isn’t the kind of thing that you see that much in DC from earlier eras.  I imagine it will become more common as we get further into the Bronze Age.

In addition, the story is pretty solidly plotted, with events having a decent logic to them, with characters acting with clear motivations.  As I was reading, several story beats seemed off to me, only to be revealed to work perfectly in Friedrich’s plot, which was a pleasant surprise.  On another note, the removal of Kryptonite seems to already be paying story dividends, as it has forced Friedrich to come up with a clever way of taking the Man of Tomorrow out of the fight, rather than relying on the formerly ubiquitous mineral.  One of the only real downsides to this tale is that Aquaman doesn’t actually get anything to do, which seems like a real waste when he features so prominently in the comic, especially since he isn’t actually Aquaman.

The art is solid throughout, though evincing the standard weaknesses I’ve come to associate with Dillin’s JLA work, though the interpolated Adams pages are beautiful.  They are also a bit distracting, as the clash of styles is very noticeable.  Nonetheless, this is a fun, interesting issue, with some fascinating world building happening that still manages to include a solid adventure.  I’ll give it 4 Minutemen.


New Gods #5


Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Mike Royer
Letterer: Mike Royer
Editor: Jack Kirby

“Introducing Fastbak”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta

We finally return to the centerpiece of Kirby’s Fourth World epic, and it is a definite improvement over the somewhat understated and disappointing last issue, as the operatic action that suits this book best is back in spades.  Our dramatic tale lies beneath a solid, if flawed cover.  It’s got a nice, dynamic image in the central brawling characters, though their poses are a bit odd.  Yet, their size rather downplays the significance of the massive monster symbolically squeezed into the corner.  The orange background doesn’t really help either, especially with Orion’s red costume.  Kirby just isn’t producing his best covers for this run, which is a real shame, as the stories really beg for ‘kapow’ images.

This particular issue begins with Metron, who is traveling through dimensions once more.  This time his wanderings take him to one of the most memorable and dramatic settings from Kirby’s Fourth World, the Promethean Galaxy, the last barrier of the Source, where float for all eternity the Promethean Giants who give the place its name.  Kirby gives us an amazing, dramatic two-page splash, depicting the size and scope of this strange sight as only the King could.  It’s a really striking image.  We discover that these giants were beings who tried to force their way to the source, and in return for their hubris, they are bound forever in suspended animation, just short of their goal.  I love this concept, wonderfully archetypal, reflecting all of the myths of giants and titans, who have traditionally been associated with the sin of pride and destroyed by the deities they opposed.  What a wonderfully Kirby-cosmic treatment of the theme.


Star-sized super-beings aside, once his contemplation is finished, Metron returns to New Genesis, but our story is much more concerned with a humbler sphere, the Earth, where a detective named Terrible Turpin is interrogating Dave Lincoln after the events of the last issue.  Turpin has discovered the war between gods that is brewing in his city, and he’s determined to put a stop to it, before the place is leveled in the process.  When Lincoln returns to Orion’s human allies, we check in with them, but the Useless Crew continues to contribute little to the plot, other than some exposition and general fretting.


Fortunately, we don’t waste too much time with them, and we soon rejoin Orion, who was captured by the Deep Six last issue.  He’s pinned by a giant clam, where he is taunted by Slig, who also demonstrates the Six’s sinister powers, the ability to mutate living beings with just a touch from his right hand, and to kill instantly with his left!  Fortunately for the Dog of War, he is able to free himself with a hidden device after his captor has finished his gloating, though he discovers that the clam is more than meets the eye.


What follows is a cool sequence as Orion battles his way through various mutated menaces, who all have wonderfully cool Kirby designs (the man just constantly produced awesome creations, even for these little creatures which we’ll never see again!).  Finally, the hunted hero discovers a massive, battleship sized cradle, which once held some gargantuan beast created by the Six, but now lies ominously empty.

Back in the city, Turpin continues his investigation and the Useless Crew continue their fretting, but they are all interrupted by the coming of….Kalibak!  Darkseid’s scion arrives with a smash, prepared to spread fear and devastation on Earth!  However, Orion is busy elsewhere, so the Cruel one will have to keep for the moment.  Back in the undersea caverns, Slig finally finds his quarry amid a pile of smashed guards.  Unfortunately for him, the warrior has also found something, his Astro-Harness, and he blasts his foe in the face before proceeding to pummel him pitilessly.


It’s another great sequence, and Kirby shows us the savage joy Orion takes in the terrible thrashing he administers, as well as showing us Slig’s beaten face.  The King actually manages to make this malicious monster a little pitiful in that moment.  Interestingly, Orion’s brutal visage is revealed by the violence of his attack, and he is forced to have Mother Box replace his fallen features, another hint about his origins.  Finally, the Dog of War disposes of his fallen foe by tossing him into a pit and sets out in search of the monster the Six have unleashed.  We get a glimpse of the beast in a nice splash page, but lacking anything to establish its scale, it’s not as effective as it might be.

So this is a great, action-packed issue, setting up a lot of what’s to come with Terrible Turpin and Kalibak’s chaotic arrival, as well as the monster unleashed on the seas.  There is a lot going on here, and Kirby handles it quite well.  While the time spent with Orion’s supporting cast feels wasted, every moment with the warrior’s quest is exciting and dramatic, and the glimpses of the wider mythology with Metron are fascinating.  The whole thing feels operatic and earth-shaking in the best ways, like a particularly good issue of the classic Fantastic Four, but elevated by the cosmic overtones and archetypal underpinnings of the Fourth World.


It’s also fun to see Detective Dan Turpin introduced, as he will later be recast as a tribute to Kirby himself in Superman: TAS, where his bulldog attitude and heroic perseverance make him a fitting match for his creator.  On the art front, this issue looks quite good, and it is immediately noticeable that Colletta is gone from the book.  Mike Royer’s inks aren’t perfect, but they seem to pick up more detail and generally drown out Kirby’s pencils less.  At least so it seems to my inexpert eye.  As I said, I love the creativity of the Deep Six’s monster minions.  Why no-one has brought the Six back as recurring Aquaman villains, complete with a Kirby-esq monstrous menagerie of mutants is quite beyond me.  Missed opportunities aside, I’ll give this exciting adventure 4.5 Minutemen.


“Introducing Fastbak”


We get another brief Young Gods backup strip in this issue, this one featuring Fastbak, a free-spirited New Genesis youth with a need for speed.  Once again, there are only four pages to the strip, so there isn’t really time for Kirby to do much with the character, but we see him lead the New Genesis equivalent of cops, the Monitors (no, not those Monitors) a merry chase as he flies around Supertown at reckless speed.

The aptly named Fastbak is joined by more restless young gods, and when he finally comes to ground, he is given a quick wardrobe change by his friends just in time to sing before Highfather.  It turns out that our rebellious friend has the voice of an angel when he’s not busy raising Cain. This was a fun little strip, full of exuberance, energy, and the boundless enthusiasm of youth.  With Fastbak and his fellows, Kirby immediately humanizes the New Gods by showing us a fitting parallel to our own youthful foolishness even in their hallowed halls, yet this youthfulness is presented in an inimitable Fourth World fashion.  Of course, the King also gives us more great designs both in characters and wild Kirby-tech.  I’ve decided I’m not going to rate these backups, as they are really too brief to be judged as full stories.

Well, I will close out this post with Fastbak’s flying feats and bid you all a fond farewell until next time!  I hope you enjoyed my coverage of these exciting adventures and that you will join me again soon, for another edition of Into the Bronze Age!  Until then, keep the Heroic Ideal alive!



Into the Bronze Age: November 1970 (Part 3)

Hello my fair readers, and welcome to the next installment of my DC Bronze Age review feature.  Today we encounter another debut, but a much more profitable one than that of the last post.  Just as the Ten-Eyed Man is introduced in one Batman book, Denny O’Neil unleashes the League of Assassins in another.  One of these concepts would go on to great success and lasting fame.  I’ll let you figure out which one.  (Hint: It isn’t the guy with eyes on his finger-tips!)  Join me as we delve further into November, 1970!

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 #394
  • Adventure Comics #399
  • Batman #226 (the debut of the awe-inspiring Ten-Eyed Man!)
  • Brave and Bold #92
  • Detective Comics #405
  • The Flash #201
  • G.I. Combat #144
  • Justice League of America #84
  • Superman’s Girlfriend, Lois Lane #106
  • Superman #231
  • World’s Finest #197 (reprints, won’t be covered)
  • World’s Finest #198

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

Detective Comics #405

detective_comics_405“The First of the Assassins!”
Writer: Dennis O’Neil
Penciler: Bob Brown
Inker: Frank Giacoia
Letterer: Ben Oda
Editor: Julius Schwartz

“The Living Statue”
Writer: Frank Robbins
Penciler: Gil Kane
Inker: Frank Giacoia
Letterer: Ben Oda

“The Sleuth in the Iron Mask!”
Penciler: Bob Brown
Inker: Bob Brown
Letterer: Artie Simek
Editor: Whitney Ellsworth

Now we’re getting into some of the significant milestones of Denny O’Neil’s work on Batman.  We’re not quite into the really legendary runs just yet, but we’re getting closer.  Nonetheless, this issue features the first appearance of O’Neil’s League of Assassins, the deadly, shadowy organization that would feature prominently in many of his stories and prove to be of lasting significance to the Batman mythos.  Of course, this organization would reach its zenith of fame when its members served as the primary antagonists in the Christian Bale Batman films.  The League’s lasting potential isn’t necessarily completely obvious from this first story, but they do make an impression, and their returns will give us some of the best Bronze Age Batman stories.

detective405-04This particular issue isn’t quite as good as some of those that follow, but it’s a good, solid adventure tale, pitting the Dark Knight against a challenge that seems a bit more worthy of him than some of those *cough*Ten-EyedMan*cough* he’s faced recently.  I like the grim sense of adventure that the hero displays throughout the story.  O’Neil is channeling a bit of Sherlock Holmes, who relished a challenging problem.  This portrayal of the Caped Crusader seems to have a similar taste for danger and daring-do, which I enjoy. I like a grim avenger of the night quite a bit, but it’s also nice to have a character who has some sense of adventure as well.

Batman answers the summons of the Batsignal, and finds his old friend waiting for him.  Commissioner Gordon tells him that fifteen leading shipping magnates have been murdered, and the sixteenth, apparently marked for death, is in Gotham.  The man, K.C. Agonistes, is living on his heavily fortified yacht under tight security, but Batman agrees to look into the matter just in case.

detective405-07The hero arrives on the ship in disguise, only to be instantly spotted as a phony.  Agonistes’ security seems to be everything it is cracked up to be, but he is delighted to see the Masked Manhunter nonetheless and invites him onboard for the duration of their cruise.  When they get out to sea, Batman, vigilantly keeping watch from the bow, spots a pod of dolphins behaving strangely, and then we get a rather odd moment, as he grabs a rifle from a cewman and starts blazing away at the sea-mammals.  It’s weird to see Batman using a rifle, but I guess he isn’t firing at people.  Why was he shooting at dolphins, you may ask?  Does he just resent their smug, holier-than-thou clicking?  No, he recognized that they were living bombs.  These were trained dolphins were laden with plastic explosives, and despite the Dark Knight’s best efforts, they make destructive contact with the ship.

Batman manages to leap to safety, and he finds three other survivors in a lifeboat, Agonistes, his fiancee, and a sailor.  They land on a nearby island, only to quickly discover that it is covered in booby-traps.  The Masked Manhunter displays his skill and tradecraft as he protects the little group from multiple dangers.  After dodging a thrown knife, he surmises from the unique blade that their antagonist is a silek master.  This is actually a real martial art practiced in Southeast Asia, which is a neat bit of detail and realism.  Not content to stay on the beach and be a target, the Caped Crusader takes to the jungle to turn the hunter into the hunted.


It’s at this point that the might hero makes some rather foolish mistakes.  He is tricked by a decoy planted near a fire, despite being suspicious of it, and then, thinking that Agonistes and company were in danger because he had been lured away, he rushed into a snare.  It does seem like maybe throwing a batarang at the mysteriously careless assassin sitting in front of his fire would have been a safer way to handle that, but ahh well.  While hanging upside down, he is confronted by the small, unassuming assassin, who introduces himself as Tejja.  The killer heads off to fulfill his contract, promising to come back and finish the hero afterwards.


With a supreme effort, the Dark Knight manages to free himself, and he arrives in camp just in time to confront the assassin, who, oddly enough wields a blade with both hand and foot.  Once again, that’s a real thing, but how strange!  It’s a great detail to make the whole conflict more exotic and exciting.  The two masters square off, and Batman is wounded in the first exchange and has to employ a trick in order to turn the tide.  He falls through the campfire, his cape catching fire, and he uses it as a distraction in order to get his licks in.  He manages to put the assassin down, but he realizes that this was the work of more than just one killer, that there is an entire organization out there, efficient, secretive, and quite deadly.


This is a good story, and the shadowy League of Assassins certainly comes off as dangerous and capable, though we get only a taste of their menacing presence.  Batman is well portrayed as well, given some solid characterization and a chance to display a range of abilities and skills.  It’s nice to see the character developing into the hyper-capable, yet still reasonably grounded, crime-fighter that I know and love.  The only real weakness of this issue is Bob Brown’s art.  It’s serviceable, but his action just doesn’t really capture the fluidity and dynamism of a good martial arts duel.  It has its moments, but there is some awkwardness to the figures that takes away from the excitement and drama of key moments.  This is an exciting first step into something greater, but it is still only a first step.  I’ll give it 4 Minutemen.


“The Living Statue”



The finale of last month’s Batgirl story is pretty good, an action packed sprint that stands in contrast to the more sedate detective story of the previous issue.  We pick up where we left off, with the captured heroine slowly being entombed in plaster.  Her captor, the spurned actress Veda, accidentally triggers an image of the giant, Jor-El-like head of the murdered artist, Billy Warlock, who looms ominously over the proceedings.  The maddened murderess acts with wild abandon, destroying the film evidence of the murder and starting a blazing conflagration.  Gil Kane’s art is in rare form, and he really captures the scene in striking fashion, the blazing flames, the deranged dame’s dancing, and Batgirl’s helpless fear.  It’s really quite good.


detective405-21Just then, when all hope seems lost, ‘Infra Red,’ the other leading actress in Warlock’s films, arrives.  She had suspected Veda, and she attacked the wild woman, accidentally freeing Batgirl in the process.  Babs disables Veda and drags both women out of the flames to safety, though it seems the evidence has been reduced to ashes.

Fortunately for poor Jason, it seems that creepy voyeur Billy Warlock had one more card to play.  He had another camera hidden in the eye of his giant image, and it captured Veda’s crazed confession.  That evidence, plus, you know, the whole attempted murder thing, Veda is arrested and Jason is freed.


It’s a very brief but exciting story, and it nicely completes the tale begun last month.  It’s interesting that the fictional version of Andy Warhol maintains the real artist’s strange voyeuristic tendencies.  I wonder how much Robbins knew about the man in 1970 and how much of this portrayal was intentional and how much just lucky coincidence.  Either way, art imitates life in fascinating ways!  There’s really not much to this backup, which is understandable, as it is only seven pages, with one of those taken up with a re-cap.  Nonetheless, it is fun, and I am very impressed with Kane’s work on it.  I quite enjoy the mad abandon he manages to capture in Veda’s rampage.  You really get a sense of character through her destructive dance.  The one criticism I can really level at this story is that Batgirl really doesn’t get much to do.  She is only saved by someone else’s intervention, which doesn’t leave her in the best light.  I’ll give it 3.5 Minutemen, though it is too short to really rate higher.


Flash #201

the_flash_vol_1_201“Million Dollar Dream”
Writer: Robert Kanigher
Penciler: Irv Novick
Inker: Murphy Anderson
Editor: Julius Schwartz

“Finale for a Fiddler”
Writer: Robert Kanigher
Penciler: Murphy Anderson
Inker: Murphy Anderson
Editor: Julius Schwartz

Another Kanigher story, but this one is better than I expected, like the last one.  While it crosses into bathos a few times with its overly earnest, overly melodramatic tone in the beginning, it actually manages to pull of an effective ending.  This issue also contains a new Golden Age Flash story which is goofy but rather charming.  That tale actually gives us an honest to goodness supervillain, unlike the main Flash title, which remains steadfastly supervillain-free.  Sadly, we’re in the middle of a huge supervillain drought, one that is due to last for a long while yet.

Anyway, on with the issue at hand!  It begins in an unusual way, with the Flash desperately urging a young man in a wheelchair to get up and walk, like some garishly clad physical therapist.  The kid, named Pablo, gets up but collapses shortly thereafter, and we discover that he is physically healthy but has a mental block that makes him believe his legs don’t work.  We also learn that he blames the Scarlet Speedster for this predicament and that the hero blames himself as well.  Before we learn just what is going on, the hero, who is just casually strolling through the streets with Iris (secret identity, what secret identity?) is ambushed by the Generic Gang!  Now, you have to admire both the courage and the unbelievable stupidity of these guys.  They’re just a trio of regular gangsters, and they try to run the Flash down with a car, then try to shoot him.  The Flash Who can dodge bullets.  That displays a suicidal level of overconfidence.


Their attack isn’t immediately disastrous because the Fastest Man Alive is apparently lost in thought, so much so that he just stands there while people shoot at him and Iris screams for him to snap out of it, which is at least a bit too much.  On the plus side, Iris takes it to one of the thugs with her purse, which is pretty entertaining.  A shrinking violet she’s not, this Iris.  When the hero snaps out of it, he quickly trounces the troublesome trio, ending the fight.

He and his lady love continue their walk after this rather pointless interruption, and they pay a visit to ‘Spanish Village,’ the Latino quarter of the city and home to Pablo.  He’s a local hero, a basketball star that the whole community was pulling for, so Barry reflects on how he dashed, not just the kid’s hopes, but the hopes of all of his people as well.  It’s then that we find out what actually happened.

The Flash visited Pablo when Iris told him she was going to write a story on the kid being called ‘the Spanish Flash.’  Being the friendly neighborhood hero that he is, Barry wants to do something for the kid, so he promises to zoom him over to Puerto Rico to visit his grandparents.  Yet, on the way, they spot a ship afire at sea.  The Scarlet Speedster leaves Pablo in what should be a safe spot and rushes to fight the flames, only to have the kid struck by falling debris while he’s busy.  The hero rescues him, but the boy suffers from shock and develops a troublesome mental black about his legs.


So, yeah, it actually is pretty much the Flash’s fault.  His endangering the kid would seem like a more reasonable choice if Kanigher didn’t have the speedster casually mention that, if he had thought about it, he could have zipped to Puerto Rico, dropped the boy off, and been back at the ship in no-time.  Sheesh, the Silver Age Flash is ridiculous.  Anyway, mired in guilt, the hero continues to do his job, taking on a set of criminals in a helicopter and getting his hair parted by a bullet for his troubles.  And therein lies a problem with the character’s portrayal.  He can run across the world before you can blink, but he can still be hit by a bullet.  Ahh well, plot will out.


The bullet temporarily paralyzes the Flash, and he finds himself in the same doctor’s office as young Pablo.  Talk about awkward encounters.  Just then,there’s an explosion in the chem lab, because of course there is.  A blaze begins, and the Fastest Man Alive can’t quite live up to his name.  He encourages the kid to get out on his own, but with supreme effort, the boy picks the hero up and, together, they get to safety.  It’s actually a pretty good scene and a solid ending to the issue.


The ending rescues the story, as it is weak in some of its other points, but it goes out well.  The Flash’s selfless insistence that Pablo leave him behind is effective, and the boy’s uncertain heroism, panicked prayer, and sudden escape make for a nice combination.  The end result is a solid issue, despite the idiotic bravery of the local branch of the Generic Gang.  Once again, we’ve got a really interesting concept of which Kanigher doesn’t really take advantage, just like last issue.  In this instance, we have the idea of what happens when a hero’s mistake costs an innocent something dear, which will be explored to better effect in the future.  Still, this isn’t really a bad treatment of the concept, despite the heavy-handed portrayal of Barry’s grief.


One notable feature of the issue is the diversity of the cast.  We’ve been seeing an increase in racial diversity in our books recently, and here is another example.  Both Pablo and his neighborhood inject some different personality into the Flash’s world, which is a neat addition.  We’re definitely seeing something different from the homogeneous DC Universe of the 60s, even if only slightly.  That’s nice to see.  I’ll give this issue, flaws and all, 3.5 Minutemen.


“Finale for a Fiddler”


This back up is actually a new story of Jay Garrick, the Golden Age Flash, which is a great treat.  I was pleased to see that Jay was starring in this tale, as I’ve read very few of his stories, though I like the character.  Unfortunately, this particular offering was written by Robert Kanigher, so its quality is in doubt.  Dubious authorship aside, this is a fun, if silly, little adventure.

It begins with our favorite veteran Flash taking on the Turtle and his goons.  Remember when I asked for supervillains?  I had hoped for something better than the Turtle.  This guy’s gimmick?  He’s slow.  That’s it.  He’s slow moving, slow talking, and somehow that makes him good at fighting a super-speedster rather than, you know, making him worse than literally anyone else.  Look out Ten-Eye, you’ve got competition at the bottom of the heap!


The goofiness of the concept aside, the scene where Jay takes this loser out is actually fairly entertaining, though the hero reveals that perhaps senility is setting in, as he tries to block bullets with a trashcan lid!  He comments that “they don’t make things as good as they used to,” though I’m pretty sure that tin tops never stopped bullets.  The complication of the fight is that the hero is starting to feel his age, and he’s running out of steam rounding up the crooks.  When he finally finishes them off, he’s done in, and we get a charming little scene of Jay and Joan, with his wife taking care of her exhausted husband.


However, the hero can’t rest on his laurels for long, as he’s promised his lovely lady that he would take her to a concert.  On the way to this outdoor rock festival, we encounter the Fiddler, casually driving down the road in a car mad in the shape of a giant fiddle!  It’s delightfully silly.  I actually like things like this as, in the setting of the DCU, they more or less work.  This is a wonderfully whimsical world where the fantastic is the commonplace.  This is a world where men can fly and where the ability to shrink is enough to make you a superhero.  In this setting, criminals regularly dress up in bright costumes, and heroes are just as fashionable.  Why wouldn’t these types of folks have ridiculously customized modes of transportation?

Well, as you can probably guess, the Fiddler, who, despite being a bit goofy, is a more legitimate villain the the opening act, has planned to rob the concert that the Garricks are attending.  As he’s getting into position, Jay himself is also looking for some prime real-estate, and he changes into the Flash to bag a spot close to the stage for Joan.  Apparently Kanigher thinks that secret identities are overrated, as both of his heroes just parade around with their partners in public.  Nobody could ever crack that code!  Anyway, this is apparently a hilariously 60s concert, complete with love beads and hippies galore.  The panel where the couple are greeted by the concert-goers is just odd, but entertaining.


When the Fiddler begins his act, things get psychedelic in a way the concert-goers weren’t anticipating, and even the Flash has a hard time of it.  The waves of sound send him reeling, and then the villain reveals that he’s too  dumb to succeed, as he stops playing in order to gloat, with his foe on the ropes.  Of course, the fastest man on Earth 2 takes advantage of the pause to capture the crook, ending the show.


This is a silly little story, but it’s fun, with lots of color and even some characterization.  Kanigher gives each moment of the book something interesting to fill it out, whether it’s the hero’s creeping awareness of age or the ‘groovy’ tone of the concert crowd, there’s a ton of personality packed into a few pages.  I enjoy the subplot, if it could be called that, about Jay’s increasing age.  I’m getting to the point in my life where I am starting to identify more with the aging veterans than with the brash young pups, and it’s neat to see even a hero wrestle with the march of time.  There’s plenty here that is goofy, but the overall effect is so much fun, and the setting seems to fit some goofiness, so I really don’t mind too much.  I’ll give it 3.5 Minutemen.  It’s fun but brief.


That will do it for this set of comics.  It was overall a fun batch of books, with a very interesting first and a few nice surprises.  Next up, we’ve got more JLA, which I’m looking forward to!  We’ve also got an issue of Lois Lane that, judging by the cover, is going to be nuts.  Don’t miss the next edition of Into the Bronze Age!  Before I bid you adieu, however, I’ve got a question for you, my good readers.  What do y’all think of the current format of this feature?  I’m aiming to do 2-3 comics each post.  Does that seem like a good fit to y’all?  I figure that is a bit more bite-sized than the massive posts I had started out doing, but I’m happy to adjust my practice if the is a consensus about what style y’all would like best.  Please let me know in the comments if you have a preference.  Well, until next time, keep the heroic ideal alive!