Into the Bronze Age: March 1971 (Part 2)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Batman #230


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

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

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

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

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

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

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

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

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

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This is a story with potential but not enough space to actually accomplish its aims.  There are too many characters in too cramped of a plot to be effective.  We barely meet the two leaders before they are at each other’s throats, and we don’t really meet Kitten at all until she’s revealed as the killer.  The social themes at play here don’t have enough room to breathe either, though they add an interesting dimension to the story.  With the talk of “their people” and the cover design, I rather wonder if these kids were supposed to be black in the original concept.  That would likely have made this comic a bit too controversial at the time, though.

The central mystery of the murder is reasonably engaging, and I enjoyed both Batman’s deduction and his miscalculation about the killer’s identity.  It simultaneously showed his skill and his humanity.  That section worked well, however weak the motivations involved were.  Novick’s art was quite strong in this whole comic, but particularly in this first chpater where it is heavily atmospheric and nicely dramatic.  In general, the tale is just a bit too rushed and a bit too underdeveloped.  I’ll give it 3 Minutemen, as it’s a fairly mediocre story, but not an unpleasant read.

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“Danger Comes A-Looking”


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The robin backup that follows, however, is actually quite good, doing more with less.  It helps that Friedrich builds on what came before in surprising detail.  He’s really crafting an interesting ongoing saga for the Teen Wonder.  Not only does this story pick up threads from previous Robin backups, it also ties right in with last month’s World’s Finest, making the bombing and unrest on campus part of the young hero’s setting, which is a neat touch.  Once Superman drops him off, Dick decides to start investigating that bombing.

Before he can even get started Robin is jumped by three college toughs.  They bite off a bit more than they can chew, however, and the young Action Ace gives a good account of himself.  Well…almost.  He sends two of the three flying, and then one of them gets in a lucky gut punch.  Apparently this one punch leaves Robin too stunned to follow the trio as they run off.  Now, if you’ve ever taken a real punch to the gut, you know that it can take a lot out of you, especially if you’re not ready for it.  Yet, Dick was in the middle of a fight and he’s a trained fighter, so I’m not quite sure how things would shake out this way.  This scene bugged me, as it really only happens because of plot and it once more makes the character seem incompetent for the sake of a story.

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Whatever the case, poor Dick takes a licking, unable to spot anything of his assailants but their orange tennis-shoes.  The next day he has to wander around campus bruised and battered, which means he has some explaining to do.  He runs into Phil Real, our photographer friend from a few issues back, and a new girl named Terri Bergstrom, who catches our young hero’s eye.  They’re apparently part of a computer club that is working on a computer dating service, which must have been in the zeitgeist around this time.  After all, we got a mention of it in a Batgirl arc in the last year.  I touch on this short scene as I suspect it will prove important in a future issue, though it doesn’t figure into this story.

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Where our plot does pick back up is when Dick observes a notice in the school paper from Marty and Davy, his friends from the last World’s Finest adventure.  They ask Robin to meet them, and when he does, they tell him that they think they’ve figured out who the bomber is, but before they can explain their suspicions, the Teen Detectives spots orange shoes like those of his attackers and discovers that they are part of the initiation ritual of members of the Kappa Zeta fraternity (never trust a frat boy!), known as the Broncos.  The Titan pursues the boys and discovers them attacking a protest by the radical ‘Students for Democratic Action’ organization.

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Emulating his mentor in the main title, Robin flings himself into the middle of the melee, and he finds the two sides turning against him.  The Teen Wonder makes short work out of the first two attackers, which lets him calm the situation down.  Interestingly, the young hot-head, Hank Osher, who we met a while back, is heading up the protest, and he storms off, bad-mouthing the young hero.  Suddenly, his car explodes, seemingly confirming the theory that Marty and Davy had that the angry radical was the bomber.

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This issue ends rather differently than the Batman tale, as Robin notes that Frank caused his own demise as “playing with violence is like playing with fire!  Sometimes you get burned–permanently!”  The Teen Wonder is hard on himself for not having seen Hank’s role in the crime, but he’s also rather introspective about how he keeps finding himself in the middle, with both sides against him in these conflicts.  (I feel ya’, kid!)  I imagine it had to be tough to be a level-headed person during this era (though, I suppose a rational person is always on the outs with our world), someone aware enough to see the problems with the culture but reasonable enough to know that change has to be incremental to be sustainable and successful.

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This brief story is really fairly good.  You’ve got a lot of moving parts, and Friedrich is successfully fleshing out Robin’s supporting cast over the course of these backups.  He’s doing a good job of cramming a ton into these stories, and the payoff is exponential, as each new story builds on what came before.  Curiously, his writing is much less melodramatic and touchy-feely here.  The protagonist is faced with interesting challenges, and his stories being set in one of the most volatile and controversial areas of American culture during this period provides lots of plot and character possibilities.  This particular setup is intriguing, though I’m hoping there’s more to the mystery than meets the eye.  At the least, the issue of the orange shoes remains to be resolved, but I imagine there will be more going on with Hank Osher as well.  Taken in isolation, this little story is way too brief and incomplete to be successful, but in context, it makes for a solid step along the way for this arc.  I’ll give it 3.5 Minutemen, as it loses a bit for making Robin take a dive in the opening pages.

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Brave and the Bold #94


Brave_and_the_bold_94“Rebels in the Streets”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

Ohh Bob Haney.  Crazy, zaney Bob Haney.  This story is definitely a product of the Zaney one, and its contrast with this month’s issue of Batman is really telling of Haney’s disregard for continuity or characterization.  He is definitely in a world all his own.  This tale also deals with youth involvement, protest, and radicalism, but in Haney’s own inimitable style, upping the ante to a ludicrous degree.

The crazy is evident right from the start, as Commissioner Gordon and the army have the Gotham ghetto cordoned off because they’ve received a threat that the youth of the area have acquired an atomic bomb.  Yep, you read that right.  While the Brave Barons just got some regular old explosives, these enterprising youngsters went out and bought themselves some radioactive materials and built their very own weapon of mass destruction!  They want to negotiate, and The Bomb is their bargaining chip.  Batman is heading into the slums to meet with the kids of STOPP (Society to Outlaw Parent Power, a Bob Haney name if ever there were one).

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On the way in, a punk with a switchblade jumps him, but the Dark Knight easily disarms the kid, and offers to go with him peacefully.  It’s a nice little moment.  The revolutionaries blindfold the Masked Manhunter and bring him to their leaders, Mark, Chino, and Linda, who fill him in on the situation.  From the beginning, the tensions between this trio are evident, and the atmosphere is thick with animosity for anything and everything.

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This looks like the setting for The Dark Knight Returns.  Where are the Mutants?

They’ve got that late 60s ‘rebelling against the whole world’ vibe in spades.  The trio tell the hero that ‘The Genius Dropout’ built their a-bomb, which is a pretty impressive feat for someone who didn’t finish high school.  They give Bats a copy of the plans as evidence and send him back to the powers that be.  Once convinced, the city has the Caped Crusader contact Mark once more to get their demands.

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Apparently Andy Warhol is leading the resistance.

In the meantime, Batman is desperate to keep the peace, even begging for the President not to send in the National Guard and to give him time to resolve things peacefully.  Yet, Commissioner Gordon is not so patient, and he’s starts rounding up protestors and cracking down on the city.  It’s almost like being held for ransom by an atomic weapon is serious or something!  Friction develops between the old friends, and the Dark Knight keeps defending the kids, who, once they start playing with atomic weapons, seem to me to have graduated from youths to terrorists rather definitively.  Caught between the two groups, the hero calls in backup, young backup, and the Teen Titans come to help.

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Robin and Lilith show up ‘in mufti’ (civilian garb), while Kid Flash and Wonder Girl come in costume.  The first pair infiltrates STOPP to try and find the bomb while the others act as backup.  The kids are well organized and paranoid, but fortunately the Titans have laid their plans well, so they are accepted, provisionally.  As the two costumed kids search the town, Dick and Lilith join Chino to deliver their demands, which they do, with a bomb for some reason.  As Batman is trying to calm the powers that be, there’s an explosion outside city hall, and when the smoke clears, STOPP’s demands are on the door, like a set of theses.  On the way back, the undercover pair get spotted by the cops, so they knock Chino out and have their backup rescue them.

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Clearly these are cool-headed and rational people we can negotiate with.

The kid’s demands are actually pretty reasonable for the most part, though there are some glaring exceptions.  They want slumlords prosecuted, pushers arrested, and their garbage picked up.  Basically, they want the laws enforced, but they also want ghetto schools closed and all of their agitating fellows released.  Most outrageous of all, they want several public figures, including Gordon and Batman himself, locked up as a sign of good faith.  Keep in mind, all of this is being enforced by threat of atomic annihilation.  I can’t emphasize that enough.  While people very reasonably insist on rational actions, like evacuating the city, Batman insists that they kowtow to the terrorists’…er…I mean kids’ demands.

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Meanwhile, the search goes on with no luck, until the Dark Detective reasons that he might be able to find this Dropout Genius if he checks school records.  He tracks the underage Unabomber down, but discovers that he’s been arrested at the protests and has lost his memory.  Sure!  Why not!  With no time left because of Batman’s insistence on not evacuating, the city caves and agrees to all demands.  Yet, even that doesn’t stop the madness.  It’s almost like folks crazy enough to threaten to blow themselves sky-high shouldn’t be trusted to make rational choices!

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Haha!  They were planning to murder millions of innocent people!  Those scamps!

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Linda, one of the three leaders, refuses to surrender the bomb, swearing that the powers that be will never keep their word.  Yikes, and we thought Kitten was a crazy chick!  She only planed to blow up a single building.  This girl makes her look like an amateur as she plans to murder a town!  Linda steals the weapon and hides it somewhere else, so the Titans track her down.  Lilith uses her powers to invade the girl’s mind, but for some reason, she doesn’t just find the bomb’s location.  Instead, there’s a whole song and dance about what made the young harpy what she is as the psychic explores her past.  Apparently, Linda’s mother left her with relatives when she was young, and she had major abandonment issues.  She ran away when her mother was going to return seven years later, so the Titans figure that the mother is the key to the girl’s psyche…or something.

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DRAMA!

The revolutionaries agree to help the team find the woman, and we eventually get a big, emotional reunion, as the hurt daughter lashes out at her mother before finally making up in tears.  Ohh, and she also gives up the bomb.  Sheesh.  Maybe I’m being a little unreasonable, but I sorta’ don’t think that someone who is willing to nuke an entire city for no reason really deserves a happy ending.  Either way, the story ends with Gordon and Batman strolling off into the sunrise talking about making a better world.

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Those murderous sociopaths were going to kill us all, even after we gave them what they wanted.  What rapscallions!

Man, summarizing Zaney Haney ain’t easy! This story is just plain nuts.  It’s an entertaining read, (when is Haney NOT entertaining?) but the central premise is just so insane that I can’t get past it.  In addition, the reactions of both Batman and Gordon really drive me nuts, as they are completely out of sync with what is happening in the story.  After discovering that STOPP had hidden a freaking atomic bomb in a statue of the Dark Knight, the Commissioner treats it like a delightful prank by a precocious child.  He actually laughs about their antics.  The tone is wildly out of measure with the situation.  ‘Those darn kids and their atomic weapons!  Haha!  What rascals!’  That’s just a completely bonkers response to attempted mass-murder.

In  addition, look at the difference between Batman’s portrayal in this story and in his own title.  In his own book, the Caped Crusader is completely unwilling to negotiate with the gang when they cross the line from activism to terrorism, which seems rather fitting for his character.  In this one, he goes to incredible extremes to make sure that everybody complies with the little terrorists.  He’s completely sympathetic with their goals and even excuses their methods.  That’s about as big a difference as you’re going to see.  Now, I’m not a huge fan of Haney’s personal demesnes of character portrayals, but I generally don’t find it to be the worst thing ever.  Yet, even if your version of a character is different, it should still make some kind of sense!  Haney’s treatment of the themes that are clearly very powerfully present in the zeitgeist of youth involvement and the nature of social activism is about as out of touch and ridiculous as his stories usually are, and its weaknesses really show when read concurrently with what other authors were doing with the same ideas at the time.

I know this is a comic, and comics use broad strokes and larger than life characters and situations.  Nonetheless, this setup is just too ludicrous and too all over the place to work.  As usual, Haney throws in everything including the kitchen sink, with a homemade atom bomb, a trained youth terrorist army that can’t decide if they’re protesting or blowing things up, emotionally damaged women, Batman at odds with the authorities, and undercover teen heroes, and that doesn’t even cover everything!

On the plus side, we get some more of Nick Cardy’s lovely, soft pencils, but unfortunately, it’s a Batman story.  Though I love his work, I’m not crazy about his rendition of the Dark Knight.  Fortunately, we get some wonderfully atmospheric work on Gotham City and on the revolutionaries and the Titans.  Nobody draws the Titans like Cardy!  Yet, his art can’t save this tale.  I can’t get past the bat-guano premise and the fact that Haney wants us to empathize with terrorists who threaten to nuke their own city, so I’m going to give this one 2 Minutemen.  It’s still readable, but rather maddening.

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Clearly the state of America’s youth was on the zeitgeist, at least over at DC, at this time.  Just in today’s two books we see three different examinations (admittedly of varying quality and thoughtfulness) of the situation.  It’s fascinating to see such different perspectives on the issues of the day manifested so clearly in our comics.  Let’s see what interesting material our next books hold.  Please join me soon for another edition of Into the Bronze Age, and until then, keep the heroic ideal alive!

Into the Bronze Age: February 1971 (Part 6)

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Welcome to another edition of Into the Bronze Age!  We’re still working on February, but we’re almost done.  We’ve got a solid set of books to talk about today, and we get a new entry on the Head-Blow Headcount!  Adventure awaits!

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.


Superman #234


Superman_v.1_234“How to Tame a Wild Volcano!”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson

“Prison in the Sky”
Writer: E. Nelson Bridwell
Penciler: Curt Swan
Inker: Curt Swan

We’ve got a nicely dramatic cover for this issue, and the headline story within is definitely a step in the right direction for O’Neil’s Superman revamp.  The plot is a standard setup for the Man of Steel, a natural disaster threatening innocents, but there are added complications, physical, and, more interestingly, moral.

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The story begins with everyone’s favorite evil CEO (before Lex Luthor went legit), Morgan Edge, who is calling Clark Kent into his office.  He gives the mild mannered man a new assignment, to cover the events on the island of Boki as they unfold.  Apparently, the Boki volcano is about to erupt for the first time in 100 years, and, in another display of impersonal, corporate evil, the island’s owner is refusing to let his workers evacuate.  Edge orders Clark not to intervene, only to report, displaying a telling level of vicious callousness.  Fortunately, while Clark Kent may be forbidden from intervening, Superman is under no such restrictions!

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superman 234 0006He streaks off to the south Pacific, where he sees armed ships firing on natives in canoes.  Helpfully gathering up the fired shells, the Man of Steel lands on the lead ship’s deck, and there’s a funny bit as the sailors continue firing with small arms and Superman contemptuously points out how stupid that is when their deck guns couldn’t hurt him.  He’s confronted by Boysie Harker, the island’s owner, who refuses to believe that the volcano will really blow and is willing to kill his employees (more like slaves) if they leave.  Harker declares that the law is on his side, and he forbids the hero from setting foot on his island.

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Now, this is where the Silver Age Superman would have a big existential crisis because heaven forbid he break the law to save a life.  Fortunately, in what is probably the strongest part of the issue, the Metropolis Marvel flat-out acknowledges that he’ll break the law if he has to, “because there’s a moral law that’s above some man-made laws.”  That’s just the kind of increased moral sophistication I’ve been wanting to see from these stories.  Of course, it’s ironic that this comes from Denny O’Neil, whose Green Lantern was completely unwilling and unable to see the difference between law and morality, but perhaps this is growth for both character and writer.

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Either way, Superman sets out to save the island without technically breaking the law, figuring there’s no reason to court trouble if he doesn’t have to.  After setting up his camera and using a remote transmitter to do his narration while in action, he begins drilling a channel under the sea to relieve the pressure of the volcano and prevent the eruption.  Yet, far away, another familiar figure is stirring!  The sinister sandy shape from the previous issue stalks across the desert and then shakily takes to the skies, heading for Superman.

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When it passes overhead, the Man of Steel suddenly loses his powers and grows ill.  He’s forced to abandon his drilling and wonders what in the world could have caused his weakness now that kryptonite is gone.  As the situation grows more dire and time grows shorter, the Man of Tomorrow is distracted by a crashing plane.  After he manages to save the aircraft, he learns from the officials onboard that the U.N. is preparing to move in and arrest Harker and free the natives.  Yet, they’re still an hour out, while the volcano is due to erupt in twenty minutes!  Superman learns that the plane was damaged by a storm, and this gives him an idea that just might work!

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He flies to the storm-clouds, and by flying at super speeds, he creates a powerful wind that blows them right over the volcano’s cone.  The contact of hot and cold air triggers torrential rains, and the raging fires below are cooled enough to delay the eruption.  Yet, as Superman washes off in the downpour, the sandy figure appears above him once more, and he plunges from the skies, crashing right into the deck gun of Harker’s ship.

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In a hilarious and beautiful sequence, Harker and his men attack the Man of Steel with their bare hands, busting many a knuckle between them, as the hero simply ignores them, lost in thought about what caused his sudden fall.  It’s wonderfully funny and illustrative of his power and his personality.  I’m reminded a bit of the scene from Deadpool where the Merc with a Mouth breaks all of his limbs attacking Colossus (warning, SUPER not family friendly).

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With Harker arrested and the people evacuated, Clark Kent is free to cover the deferred eruption, but he can’t help but wonder, what was it that sapped his strength?  Meanwhile, inside the volcano, a sandy figure waits, its features slowly taking on greater distinction.

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This is a great, straight-forward Superman adventure.  It’s a simple enough plot, but the addition of the legal angle and the moral depth it reveals is enough to make it something special.  The continuing thread of the sand Superman is intriguing, and I’m definitely interested in where that is going.  We’re definitely seeing evidence of a change in values in these comics as we have yet another villain who is a corrupt industrialist.  We’re clearly seeing a lot of distrust for the wealthy and the powerful and the focus on social justice that comes with that.  I’m impressed that O’Neil manages to gives Superman some challenges without robbing him of his powers or resulting to too many plot devices.  One of the hero’s greatest limitations has always been his own code of conduct, and that’s always a source for good story conflict.  The humor and humanity Clark displays is also quite good.  In short, this is a fine Superman story and an encouraging sign of O’Neil’s progress.  I’m looking forward to seeing what else he comes up with.  I’ll give this tale 4.5 Minutemen.

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“Prison in the Sky”


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The ‘Fabulous World of Krypton’ backup strip continues to be a fun glimpse into history, and it’s penned by the perfect fellow in the person of E. Nelson Bridwell, DC’s own champion of continuity.  This particular tale gives us a look at Kryptonian culture and the nature of their elections.  Curiously, we learn that the ruling body of Krypton, the ‘Science Council,’ has its members elected by the population based on the strength of their scientific achievements.  That’s a novel idea, and I’m sure it’s been formally argued, but I can’t for the life of me remember by who.  I’ll let you make your own wry comparisons between scientist-run Krypton and the current situation in the U.S.

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The relative merits of the system aside, we observe the proceedings along with Jor-El and Lara as two different scientist demonstrate their inventions.  Ken-Dal created a warp fuel, while Tron-Et (no, not THAT Tron) shows off a ‘Dissolver-Beam’ that can break up storms.  To vote, the citizens of the world use a ‘vote projector’ to flash a green or blue shape on the sky.  That seems a tad inefficient to me, but nonetheless, Tron-Et wins the election.  As his first act, he proposes that, because of growing overpopulation in Krypton’s prisons (not very utopian, is it?), they should disintegrate condemned criminals.  The rest of the Council strongly objects, calling a death penalty barbarous (perhaps a touch of social commentary?), and demand that they open the floor for alternate solutions.

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Jor-El, always ready with a half-baked idea, comes to the rescue with a plan to put prisoners in suspended animation and then put them into orbit, where they can be brainwashed into good citizens, thus stealing a page from Doc Savage‘s playbook.  Interestingly, even he calls it brainwashing, which indicates that he’s at least partially aware of the huge ethical concerns raised by such an idea.  Shades of A Clockwork Orange!  His idea is approved, and he builds a prototype.  A prisoner volunteers for the first test, and he’s launched into space for 73 days.  During its orbit, Krypton loses track of it for a time, but rediscover the ship before it lands.

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When the rocket touches down, instead of being reformed, the prisoner bursts out of the hatch, seemingly possessing superpowers!  After clobbering Jor-El, the convict takes to robbing banks.  Just as he’s making his escape, Jor-El confronts him again, and this time, the scientist gets the upper hand.  After he recaptures the prisoner, the scientist reveals that the fellow was faking his powers with the aid of an anti-gravity belt (which, if you recall, was created by Jor-El himself just last issue, making him the perfect person to solve its mystery.

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The would-be thief spills the beans after he is captured, revealing that he’s actually the test subject’s twin brother, and he’s working for the head of Krypton’s biggest ‘crime combine.’  Surprisingly, his leader is none-other than Tron-Et himself.  He finagled his way onto the Science Council in order to silence captured criminals who knew too much.  To ensure his plan was adopted, he tried to sabotage Jor-El’s idea, disintegrating the original capsule and creating a duplicate complete with a false prisoner.  Ironically, Tron-Et then becomes the first test subject for Jor’s design.

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This story could probably do with some more space, as it’s really crammed a bit too full of ideas to be entirely successful.  Nonetheless, it’s a fun tale, and all of those ideas are intriguing and lively.  It’s always great to see Jor-El play ‘action scientist,’ which is more entertaining than the ‘Jor-El the barbarian’ we saw in Man of Steel.  Krypton is developing into a more fully realized setting, and while certain elements of Bridwell’s plot, like the sky-light voting, are a bit on the silly side, there isn’t anything here that is flat-out ridiculous, unlike many earlier stories about the planet.  It’s notable that we even manage to get a touch of continuity, with this yarn following naturally from the previous one.  In the end, it’s just enjoyable to see Bridwell explore the world of Krypton, and his imagination is certainly up to the task.  I’ll give this backup 3.5 Minutemen.

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Teen Titans #31


Teen_Titans_v.1_31“To Order is to Destroy”
Writer: Steve Skeates
Penciler: George Tuska
Inker: Nick Cardy
Letterer: John Costanza
Editor: Dick Giordano

“From One to Twenty”
Writer: Steve Skeates
Penciler: George Tuska
Inker: Nick Cardy
Letterer: Joe Letterese
Editor: Dick Giordano

This so-so Nick Cardy cover (a rarity) promises another campus-centric comic, though the headline tale within is an odd example of the type.  Of course, I love Steve Skeates, but I don’t think this yarn is really his best work. It does feature his usual imaginative touch and dramatic sense, but the handling is a bit clumsy.

This teen tale opens on the campus of Elford College, where a mustachioed man waits to see the school psychologist.  He looks like he’s in his 30s, but we’re supposed to think he is a student.  Interestingly, he looks a bit like Tony Stark, and, of course, George Tuska was perhaps most famous for his run on Iron Man.  As he sits in the waiting room, casually reading a magazine, he overhears the doctor talking with a student in his office.  The kid complains about being distracted by the chaos in the world and having trouble studying because of it (I feel ya’, kid!).

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In that middle panel observe the lined, world-weary face of an 18-year-old.

The shrink offers the boy some therapy and helps him come to grips with the instability of contemporary politics…ohh, wait, no.  He gives the kid a brain operation and implants a device in his head to “help him concentrate” by controlling his thoughts!  I wonder if that’s covered under student insurance.  Hearing this insane treatment plan, our middle-aged teenager reacts completely realistically, freaking the heck out and getting the heck away from that office.

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Oddly, we get the traditional first page title-splash on page three.  Why?  I have no idea.  I’m wondering if the pages for this issue somehow got out of order.  Anyway, a week later, young Wally West pays a visit to the campus as he’s starting to tour colleges.  That’s a fun bit of character developing verisimilitude.  I wonder how many years it will be before Wally actually goes to college.  At the school, he spots our mustachioed muchacho from the opening being attacked by a gang of students!  Immediately forgetting all about the whole ‘not using powers or costumes’ nonsense, Wally leaps into action as Kid Flash, noting that he doesn’t know what’s going on, but he can’t stand a one-sided fight.  I rather like that, and it’s a nice character beat.

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Rescuing the man-boy from the melee, the Fastest Boy Alive follows his directions to a shack in the hills where the fellow, Johnny Adler, has been hiding out.  Adler tells his tale, which leaves several things unexplained.  Apparently, after he realized what a quack the school shrink was and fled his appointment, he became a marked man.  It seems that all of the students on campus have been turned into school zombies, and they follow the administration’s orders, even attacking on command.  Yet, who Adler is and how he ended up at the shack remains a bit fuzzy.  He claims that he can’t get away because the only way out is through campus…but that’s a bit hard to believe.  You can’t just walk around?  Maybe it’s a failure of the art that I can’t conceptualize this.

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Anyway, the young hero speeds away to gather his teammates and investigate Elford.  When they arrive on campus, we we discover the most interesting element of the comic as we are introduced to the nefarious Dr. Pauling himself, along with the university president, who watch the Titans suspiciously.  It seems that Pauling began his operations because of growing tensions at the college and the rising tide of student unrest throughout the country.  The powers that be wanted a way to pacify the student body, and they naturally turned to the most wildly unethical and supervillain-ish way imaginable.  To top things off, the not-so-good doctor doesn’t even have a medical license!

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The junior JLA, curiously enough, are dressed in their non-costumes from the pointless Mr. Jupiter, but they immediately switch into their costumes to go meet with Johnny.  At the shack, they discover signs of a struggle and a very absent Mr. Adler, so they change back and return to campus in search of him.  Once they arrive, the psycho psychologist sics the school on them, and the Titans find themselves fighting for their lives.  What’s worse, they can’t use their powers without revealing who they are.  It’s almost like giving up your costumed identity is a huge mistake for a superhero.  Who knew?

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Surprisingly, Lilith actually makes herself useful and reveals she’s been taking judo.  As the team is attacked, young-old Johnny Adler, newly zombiefied, begins to struggle against his programing and stumbles towards the president’s office.  During the fight, we also get an awkward exchange between Mal and Roy that doesn’t amount to anything.  I’m not sure if it’s supposed to be light-hearted ribbing or something more serious, but it comes across as a bit mean-spirited.  See what you think.

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Once Johnny makes it to the office, he forces Pauling to call off the attack, and with his last ounce of strength, he rips out the mic cord, saving the Titans just before they would have been overrun.  The team dashes off to find Pauling, clearly completely nuts, ranting and raving about how the campus will be consumed in riots without his stewardship.  The story ends with an attempt at a melancholy and thoughtful reflection that doesn’t quite strike home.  The heroes point out that the human spirit triumphed over programming and compulsion in Johnny, but that just indicates that the other students might have done the same too, yet didn’t.  They wonder if the majority of people are really that weak and easily led.  Have you read your history kids?  Yes.  The answer is yes.

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This slightly weird story has its strong points, but I think Skeates might be wrestling with his page limit on this first one.  There are some really interesting ideas at play here, but they don’t quite come together enough to be effective.  You have a really neat reflection of the anxiety about student involvement that we’ve watched spread through the culture and through the comics.  It’s fascinating that the motives for the villains are effectively just pacification, the maintenance of the status quo.  They want their students to go about their studies and get their degrees in peace, which is a perfectly reasonable goal, though it is obviously taken to a horrific extreme.  By implication, this tale has some rather interesting things to say about that very status quo and the ‘establishment’ that maintains it.  Yet, these fascinating ideas don’t get enough space to breathe.

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That first panel gives us a delightfully deranged face.  Yikes!

The same is true with Johnny Adler’s sudden ability to resist the brainwashing (something of a theme with today’s books).  We just don’t know enough about the kid for his triumph to have much of an impact.  If we had been introduced to him as a free-thinker, an independent spirit, it might have been more effective.  The character was a good chance for Skeates to make some kind of statement about HOW to avoid becoming one of the easily led masses, but he passed up the opportunity.  In the same way, there’s a slight effort to develop the Titans themselves, but it doesn’t really amount to anything.  This would have been a good chance to break with the Mr. Jupiter setup, which is clearly not working, but we aren’t so lucky.  Of course, the central conflict, the random brain operations, also needs a bit more to sell it.  How exactly did this school psychologist convince presumably every student on campus to let him cut into their brains?  You can’t throw something like that out in one page and then call it good.

In terms of the art, we’ve got a change this month.  George Tuska is a fine artist with a reputation for interesting and memorable faces, speed, reliability, and versatility, but he’s no substitute for Nick Cardy in my book.  This issue looks good, but I miss Cardy’s unique style and can’t help wondering what might have been.  I suppose I’ll give this tale 3 Minutemen.  It’s strengths and weaknesses sort of even out to an average score.

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“From One to Twenty”


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Hawk’s caveman-like contempt for poetry is picture perfect for him.

Like last issue, we’ve got two stories in this month’s book, but sadly the backup this time isn’t Aqualad and Aquagirl.  Instead, we’re treated to a fun solo adventure by Hawk and Dove.  It’s nice to see these two new characters getting a bit of a chance to develop some, as there isn’t a whole lot of space in the main Titans book to flesh them out with everyone else competing for panels.  This tale begins with Hank Hall who is on the hunt for some crime to fight, and he’s decided to stalk the streets with a pair of binoculars…for some reason.  That’s not at all unusual and apt to draw attention or anything.  He spies a strange transaction at a newsstand, wherein a customer gives the proprietor $1 and gets $20 in return!  Strange!  Thinking that this must be some type of shakedown, the young man trails the customer, changing into Hawk in the process.

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Ironically, the suspect is himself mugged a few minutes later, and Hawk decides to intervene, better to bash multiple crooks instead of just one!  He plans to take out the muggers and then let the suspect go on his way so he can keep tailing the guy, but he the warlike one lets himself get distracted during the donnybrook and, joy of joys, he gets taken out by a head-blow!  That’s right, Hawk makes his official first appearance amongst the august company on the Wall of Shame.

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When he comes to, his brother Don has found him, having been out on his own type of patrol, focusing on protecting victims rather than punishing criminals.  They bicker a bit, but pretty quickly they decide to stake out the newsstand again and see if anything else happens.  Once there, they observe the same customer return and get another $20 for $1, and Don works out what’s going on as they leap into action.  When the peaceful pacifist tries to talk the pair into surrendering, one of them pulls a gun, and the other slugs him.  Fortunately for Dove, Hawk is there to bust some heads.

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I don’t much care for the way Tuska draws their transformations.

After the fight, Don explains to his brother that this was part of a counterfeit ring, where passers could trade one dollar of real money for twenty funny bills.  As they search for change to call the police, they hope that the men they captured will help lead to bigger fish in the syndicate.

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This is an entertaining little tale.  It’s nice to see the brothers in action on their own, and it’s also nice to see them do more than just argue with one another.  Hank comes off better in this issue, if a tad dim, and while Don doesn’t come off as a coward, gamely dodging gunfire without a complaint, he does seem a bit ineffectual as he can’t even stop an unarmed hood without his brother’s help.  It is funny to see him try and talk the thug into surrendering, only to catch an elbow to the face, but it would have been nice to see him pull his weight a bit more.  In the end, this is a good story that provides these two with a chance to shine.  I’ll give it 3.5 Minutemen.

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And that fills out this post.  We had a fun set of books in this batch, and I’m always pleased to add another entry to Headcount.  I hope you enjoyed my commentary, and please join me soon for the final book in this month of 1971, along with my final thoughts.  Until then, keep the heroic ideal alive!


The Head-Blow Headcount:

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

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Hawk joins many of his fellows and two fellow Titans on the Wall of Shame!  I wonder if his partner will join him sometime soon.Clearly, the ol’ head-blow trope is alive and well in ’71.

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.

Into the Bronze Age: November 1970 (Part 2)

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Welcome back readers, for an extra special edition of Into the Bronze Age!  This is not just any post.  This is a post of incredible significance.  We honor today an event that will be sung throughout the ages, a debut that causes all of the other moments of note we’ve encountered to pale in comparison.  I am speaking, of course, of the creation of the greatest Batman, nay, the greatest comic villain of all time, the one, the only, Ten-Eyed Man!

That’s right, prepare yourselves for the unbridled glory that is, without a doubt, one of the dumbest character concepts ever conceived.  What more could you possibly ask for?

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.


Batman #226


batman_226The Man with Ten Eyes!”
Writer: Frank Robbins
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz

“The Case of the Gigantic Gamble!”
Penciler: Will Ely
Inker: Will Ely
Letterer: Pat Gordon
(Reprint)

I’ve been looking forward to this one, in the same sense you look forward to a movie you know is going to be so bad it’s good.  Ohh man, this comic is something else.  It introduces one of the dumbest, most useless villains in comic book history with what very well might be the worst “power” of all time in the character of the Ten-Eyed Man, a guy with ‘eyes’ in his fingers.  That’s his whole gimmick, that he’s got eyes on his fingertips.  Why is that an advantage rather than a crippling liability?  Well, you’d have to ask Frank Robbins.  He certainly spends plenty of time trying to convince us that this is actually the greatest thing ever, but what makes this issue so very marvelous is that it takes itself completely seriously.  In the goofiest, most bat-guano insane Bob Haney stories, you never feel like Haney is unaware of the fact that the story he’s telling is bonkers.  In the same way, in most of those silly Superman tales that feel more Silver than Bronze Age-y, you can tell that the authors are, to a certain degree, in on the joke,  Not in this comic.  Frank Robbins, who is usually a good, dependable scribe, goes above and beyond to ratchet up the drama and, in some senses, realism, of this piece, to unintentionally hilarious effect.  So, let’s examine the shinning star of ludicrousness that is this issue.

We start with a gang of criminals preparing to rob a fur warehouse, with only a lone guard to stop them.  Unfortunately for them, he’s a special forces veteran who survived the jungles of Vietnam, and he’s more than capable of handling them.  He trashes the thugs, but one of them manages to bean him with a brick, knocking him out and making his vision go fuzzy.  They set a bomb to blow open the vault (do fur warehouses have vaults?), only to have the Dark Knight arrive and spoil their plans.  Fortunately for them, the groggy guard, mistaking the hero for his assailants, attacks him as he tries to cut the fuse.

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The pair struggle, with Batman trying to reach the bomb and the guard unwittingly preventing him, until the explosives go off, blinding the watchman and injuring the Masked Manhunter.  Now here we meet one of the silly notes of the story, but by no means the silliest, as the crooks grab the watchman, whose name is Philip Reardon, and cart him off to a doctor, for some reason.  The gang leader is determined that the blinded man can be turned into an asset, but there’s absolutely no reason that he should think the fellow would be willing to help him, even if he wasn’t crippled.  This doesn’t prevent the gangster from spending a pile of money on doctors in an attempt to cure the fellow’s blindness, though, which is an awfully big investment for very flimsy reasons.  But really, focusing on something as mundane as a gap in plot logic is really doing this ridiculous story a disservice.

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Meanwhile, Batman’s vision has been damaged as well, and it is only with the help of his trusty aide, Alfred, that he’s able to get home.  Eventually he and Reardon end up in the office of the same eye specialist.  For some reason, the Dark Knight is obsessed with continuing his work, even while injured, despite the fact that there is no compelling reason for him to take the risk.  There’s no overriding case, no impending danger, no dangling mystery left unsolved.  Nonetheless, he rigs up a set of camera lenses and makes Alfred give him directions over the radio.  Many may remember this type of story being told to much better effect in the Batman: TAS episode “Blind as a Bat,” which did feature an immediate danger that could not wait.

Well, unfortunately for Reardon, the specialist apparently got his qualifications from a crackerjack box, as his idea to restore the man’s lost sight is nothing short of ridiculous.  He performs a delicate operation to connect the veteran’s optic nerves to the nerves in his fingers.  Because that’s how nerves work.  And because fingers can detect light.  And because this would be at all useful.  Yet, Robbins is determined to show us how this is the most amazing ability ever conceived.

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Reardon, newly “powered,” blames Batman for his blinding, which is completely irrational, considering it was the thieves who planted the bomb, but I’m actually going to let that pass.  People do react irrationally to tragedy and loss, and, strangely enough, this might actually be the most believable part of this story!  Reardon indulges his hatred by ambushing the Dark Knight when the hero returns to the clinic, knocking him out and almost burning his eyes out with a surgical laser!  Alfred manages to rouse his master in the nick of time over their radio channel, and then begins a very odd fight scene.  Batman thinks his opponent is blind, so it takes some time for him to puzzle out what is going on, probably because it’s so colossally stupid that he can’t bring himself to believe it.  To make matters worse, his video lenses were knocked out in the first attack, so his vision is on the fritz.  During the fight, we see the complete infeasibility of the Ten-Eyed Man’s “power,” as he accidentally catches himself with one of his hands, thus causing agonizing pain in his ‘eyes.’  That’s…that’s quite a weakness there.  It makes the one-hour water limit of Aquaman seem positively dignified and helpful.

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The Gotham Guardian finally manages to defeat his ‘ohh so challenging’ opponent by ‘blinding’ him by wrapping his cowl around the embittered man’s hand…eyes…whatever, allowing the hero to get in a knockout blow.  Yet, when he brings the doctor in to take charge of the clearly unhinged patient, he is gone, and Batman makes a chilling proclamation, declaring that the Ten-Eyed Man has been “unleashed on innocent Gotham–the most dangerous man alive!”  Wait, did I say chilling?  I mean wildly, hilariously exaggerated.  Really?  “The most dangerous man alive”?  That wouldn’t be, say, the Joker?  Or, hey, what about all of those super-villains with world-ending powers that are running around out there?  Nope, it’s the guy with eyes in his fingertips.  That’s the guy who we should really be worried about.

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This is just such an absolutely ridiculous comic that it is difficult to even know where to begin.  You have to wonder how Robbins ever convinced himself that this was a character worth writing about, much less how he sold Julie Schwartz on him.  After all, the guy’s not a bad writer, but I guess everyone has an off day now and then.  This is just a particularly egregious one.  What really ratchets up the quality of this tremendous failure to such lofty and delightful heights of terribleness is the extent to which Robbins goes to establish the believably and realism of key moments.  He focuses on logical consistency, after the initial shark jumps, stressing things like the desperation and awkwardness of Batman’s blind-fighting, the limitations of someone with eyes on their freaking fingertips, and more.  It’s a Silver Age-type idea told with Bronze Age attention to detail, and the result is just wonderfully bad.  I have to give this comic 1 Minuteman for quality, but I’d give it a 5 for Mystery Science Theater-type entertainment.

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Brave and Bold #92


brave_and_the_bold_92Night Wears a Scarlet Shroud!”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza
Editor: Murray Boltinoff

Here are are with another jaunt into the Haney-verse!  This issue is actually quite tame by Haney standards, and this month the Zany One turns in an interesting, exciting issue that almost makes complete sense.  It features a new creation, the Bat-Squad, that I’m fairly certain never saw the light of day again (as always, let me know if I’ve missed something!).  This eclectic collection of random Brits actually make up a nice supporting cast for this one issue, but I can’t imagine another story that would have an easy time making use of them.  Their presence in this tale is just a result of happenstance, and there would be no reason for them to join forces again.

We meet this trio of characters on the set of a movie being filmed in London.  They are Margo Cantrell, script girl and stand-in for the lead actress, Major Dabney, a retired Scotland Yard inspector who is working as a technical advisor, and Mick Murdock, a British version of Rick Jones.  He’s a guitar-playing troubadour type.  They’re all working on a film called The Scarlet Strangler, which is based on a real set of unsolved murders by a mysterious madman that took place many years ago in the very neighborhood in which they’re filming.  I was entertained by the fact that Bruce Wayne is showing up here to oversee yet another movie that he’s invested in, tying this story in with three others that have had similar setups.  I have to imagine that this is just coincidence, because I just can’t conceive of Bob Haney having intentionally taken note of such a small issue of continuity.

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Anyway, Bruce Wayne, movie producer, happens to be on hand to see the starlet play her first scene with the ‘Strangler,’ but something goes wrong, as the mysterious figure plucks her up and carries her off rather than following the script.  They quickly realize something is amiss, and the film’s director, Basil Coventry, faints in shock.  Bruce slips away and changes into Batman, who actually bothers to offer a plausible explanation for his presence in London.  Are we sure this was Bob Haney?

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brave-and-the-bold-092-014The Dark Knight organizes the trio to help him search for the missing actress, they begin prowling the foggy streets, where the hero has a strange encounter.  He’s passed by a horse-drawn carriage and a cabby who speaks in a manner some half-century out of date.  Before he can consider the odd occurrence, he sights the Strangler and ambushes him, only to be tossed about like a rag doll by his ‘maniacal strength!’  Fortunately, the Major arrives before the fiend can finish him off.  In the struggle, Batman tore off part of his opponent’s coat, and the former inspector discovers small beetles on the fragment, claiming that they are a species that fills the cellars of London and that each family has unique markings, allowing you to tell which cellar they hailed from.  This seemed strange and specific enough to be true, so I was surprised to find that no such species exists.  That’s a neat little detail, and it adds a touch of something special to the story!

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The Major sets out to search for the madman’s hideout by ogling beetles, and the Masked Manhunter decides to risk a more immediate gambit.  He asks Margo to pose as the kidnapped actress in the hopes that the Strangler will think she’s escaped and come after her.  Meanwhile, he and Mick will remain close by.  The fiend takes the bait, and a desperate struggle ensues.  They have him on the ropes, but he is rescued by a shadowy figure.  There’s another player in the game!

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At that point, the Major checks in and tells the team that he’s found the fiend’s hideout, and when they search it, they find the missing actress, though she claims she’s actually the character she was playing.  This causes some of the party to panic, thinking they’ve somehow traveled back in time.  Just then, they sight the Stranger approaching, but he is confronted by the shadowy figure who had aided him, who is revealed to be Basil Coventry!  The Strangler turns on his erstwhile ally, and the Major is forced to shoot him to save the director’s life.

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The strain is too much for the filmmaker, however, and he turns on Batman, claiming that he, himself, is the Strangler.  They struggle, falling through the rotted floor and into a cellar, where they dislodge an ancient Nazi bomb, leftover from the Blitz, trapping the Dark Knight!  Man, Bob Haney does not do things by half measures!  The bomb, originally a dud, is activated by its fall.

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The Major, who had actually been on a bomb disposal squad during the war, attempts to disarm it with Mick’s aid.  This gives us a nice, tense scene, accompanied by a constant ‘tick tick,’ as they race against time to disable the weapon.  In the final minutes, they find a crucial component rusted in place, and Batman orders them all out of the area.  It’s a great moment, and his final thoughts as he is left in the empty cellar with no companion but the constant ticking of the bomb, are quite effective.  He thinks, “Death’s been a close companion often before!  Now I’m ready to welcome it for the last time!”

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Watching from a safe distance, the ‘Bat-Squad’ see the bomb explode and mourn the selfless hero’s death…albeit, a tad prematurely!  He emerges from the fog and tells them that he had in the last, desperate moments, heard the Thames on the other side of the earth wall and had dug his way to the river.  The in-rushing water had lifted the bomb, and he was able to swim to safety.  It’s a good, last minute escape, and it actually works pretty well.

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And the story STILL isn’t over, as we’ve still got the Stranger matter to wrap up!  I don’t know that anyone could pack as much into a comic as Bob Haney, and yet this story really doesn’t feel rushed, which is impressive.  I’ve been trying to rein in my summaries, but this one refused to be cut down.  A Bob Haney story just defies brevity.  brave-and-the-bold-092-031Well, the mystery of the Strangler is cleared up in a bit of exposition by Basil Coventry, now returned to his senses.  He tells the reunited quartet that his grandfather had been the original Strangler, and his father had been driven mad by the knowledge, eventually coming to believe that he, himself, was the murderer.  The elder Coventry had been confined to an asylum, and the director had set out to make the film as a way of excising the family demons.  His father had learned of this and escaped, attacking the production and posing as the Strangler.  The knowledge had, in turn, temporarily driven Basil himself mad when he saw his father killed.

It’s a lot of exposition, but it actually fits together reasonably well, and it makes for an interesting story.  I rather would have liked to see this set up a tad earlier, so the effect could build over the story, but it is still quite an enjoyable plot.  The issue ends with the questions of the strange, anachronistic moments unexplained, and we’re left to wonder if there was some sort of time travel at work.

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This is a really fun, exciting, and interesting story that is just stuffed with atmosphere and admirably creates some nice tension.  Haney turns in an unusual and intriguing mystery story that is just packed to the gills with personality and content.  The three members of the ‘Squad’ all get some characterization and contribute to the plot, and what’s more, they make a fairly charming set of characters.  Haney manages to get you to care about them, at least a bit, in a short amount of time.  Of course, this misty, fogbound setting is just perfect for Nick Cardy’s moody artwork, and he turns in a stellar job, though I am not crazy about his Batman.  Like his Ocean Master, he’s a little too soft for my tastes.  Nonetheless, he gives each of the supporting characters tons of personality and detail, and the strange crimson-gloved killer is nicely menacing.  This is just a solid, enjoyable piece of comics storytelling.  I’ll give it 4 Minutemen, as there’s really not much wrong with it, other than the bottom-heavy exposition.  It’s a remarkably coherent and sensible story for a Haney-offering, and yet it has his trademark exuberance and color.  The combination is really quite good.

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That will wrap up this post.  We had two wildly different stories which displayed the two extremes of quality.  Amazingly, the goofiest story was not the one penned by Bob Haney.  That says something!  Anyway, I hope that y’all enjoyed the read and will join me again soon for our next stop on our journey Into the Bronze Age!  In the meantime, keep the heroic spirit alive!

Into the Bronze Age: October 1970 (Part 6)

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Hello my dear readers, and welcome to the last edition of Into the Bronze Age for October 1970.  We’ve made it through another month and are well on our way to 1971!  It’s been a particularly interesting month, and at the end of the post I’ll provide some reflections on the overarching themes that we’ve been observing in this set of books.  Well, let’s get started!

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 #393
  • Adventure Comics #398
  • Aquaman #52
  • Detective Comics #404
  • Green Lantern/Green Arrow #80
  • Phantom Stranger #9
  • Superman’s Girlfriend, Lois Lane #105
  • Superman’s Pal, Jimmy Olsen #133 (Jack Kirby’s debut!)
  • Superman #230
  • Teen Titans #29

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


Superman #230


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“Killer Kent Versus Super Luthor”
Writer: Cary Bates
Penciler: Curt Swan
Inker: Dan Adkins

Ohh boy, this is a goofy one, folks.  This issue, with its incredibly gimmicky premise and its simplistic execution could be the poster child for the current state of Superman comics in 1970.  While change is abroad at DC, with social relevance breaking in on superheroes and growing depth and complexity to be found in most books, their flagship character remains completely unaffected, starring in stories that could easily have come from 1960 rather than 1970.  This is definitely one such tale.  Yet, despite its silliness, this issue actually has some pretty fascinating concepts behind its foolish facade.  The basic idea is an old one, what would happen if the hero and villain exchanged lives.  In this case, it is Lex Luthor who comes from Krypton and Clark Kent who is born on earth.  Bates actually adds some really interesting wrinkles to this setup, though they don’t amount to much.

To begin with, young Lex-El’s childhood is rather different than Kal’s.  His mother dies in a completely predictable accident with one of Jor-El’s inventions when an ion storm overloaded the device, which, for some reason, wasn’t designed to deal with common weather events.  What is this, like the third time, just in this year of comics, that one of Jor-El’s inventions has gone horribly wrong?  Seriously, why would this guy be let within a mile of a lab?  Everything he builds tries to kill somebody!  Anyway, this leaves Lex without a mother, but it leaves his father embittered and bat-guano insane to boot.  Instead of blaming himself for forgetting the fact that Krypton occasionally has storms, Jor blames the real villain.  Krypton itself.  That’s right, the planet killed his wife, and the planet must pay!  It’s utterly nuts, even for a crazy man.

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And Jor-El is not just your garden variety madman.  No, he’s a madman with access to incredibly destructive super science!  He creates a weapon called the ‘Lethal Liquid’ that destroys Krypton from the inside out, but not before he and his bald-as-an-egg boy (also the fault of one of his inventions, by the way) hop a rocket for Earth.

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I am become Jor-El, destroyer of worlds…

Meanwhile, on Earth the parents of Clark Kent are also quite different from the kindly farmers we remember.  Ma and Pa Kent have more in common with Bonnie and Clyde than with the rural American ideal.  When we meet them, they’re engaged in a running gunfight with the police, a chase that is only ended by the sudden arrival of the kryptonian rocket.  It drives them off the road, killing them.  However, they had already given their son to an underworld scientist named Dr. Markem so that he could implant, and I kid you not, “evil genes” in the kid.  Apparently, these parents of the year were really concerned that their son should grow up to be a criminal himself…for some reason.  So, they hired this quack to take their “evil genes” and implant them in their sons brains…despite the fact that A) that’s incredibly stupid and B) he’s already their son and should therefore already have their genes.

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Well, unspeakably goofy and unnecessary plot devices aside, the Dr. drops his now orphaned charge off at the Smallville Orphanage while Jor-El discovers that, for some reason, he doesn’t have powers on Earth, though his son does.  The mad scientist gives baldy a super suit and sets up a medical practice, using his advanced science to become very successful.  The years pass, and Clark, adopted by the Langs, grows up to be young Lex’s best friend.  Lex becomes Superboy, and when Clark saves his life from an assassin, they become friends in that identity as well.

Yet, the peace of these idyllic times is soon shattered by madness…and also plot.  The insane Jor-El decides once again to blame an inanimate object for a misfortune and concludes that he must destroy Smallville in revenge for the attack upon his on.  He invents a new doomsday device (ohh, is it Tuesday already?), and he unleashes it on the town.  At the same time, Superboy and Clark had gone flying when the adopted boy went into a trance as his evil implant began to do its work.

Superboy rushes Clark to his father’s office, then notices the device destroying the town.  He manages to stop it, but his friend awakens, now ‘evil,’ and attacks the nutball scientist, killing him in the struggle.  Yet, our story doesn’t end there!  Next, for some reason, we leap ten years into the future, where Lex Luthor is a reporter for the Daily Planet and Clark Kent is in a comma after a failed robbery.  Because this wasn’t complicated enough, Lois Lane is also moonlighting as a nurse and has fallen in love with the comatose crook.

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But we’re STILL not done.  The aged Dr. Markem shows up at the hospital and uses an invention to teleport the patient to his hideout, where he revives the criminal in hopes that he’ll pay him the money his parents owed when they died.  Just then, the evil scientist, not to be confused with the mad scientist, dies of a heart attack, leaving Kent alone in his hideout with a plethora of super-scientific inventions and a sudden desire to kill Superman.

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Phew!  Well, don’t say I didn’t warn you.  The setup with an aggrieved Jor-El and a motherless Lex could have been really fascinating, but the execution is just so silly that there isn’t much here.  The evil gene device is so goofy that it undermines another fun concept, which is the idea of a human Clark Kent with reason to hate the superhuman kryptonian.  The issue manages to be readable and entertaining, but too silly to amount to anything.  It’s a shame, because there were neat ideas here.  I’ll give it 2 Minutemen.

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P.S.: The one standout feature of the issue is an item printed in the letter column which makes the same observations about the Superman books that I’ve been noting.  Keane Bonyun asks why, with so much of DC evolving, the Man of Steel is stuck in the past, a flat and uninteresting character in comparison with many of his fellows.  The editor notes that a big change is coming for Superman himself, and in the meantime, he points out new directions in Lois Lane and Jimmy Olsen, which is rather neat.  Clearly even at the time people both within and without the company were aware that the times were changing and the genre was evolving..


Teen Titans #29


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“Captives!”
Writer: Steve Skeates
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza

This book, on the other hand, is a fun read.  Unfortunately, it reveals that the pointless Mr. Jupiter experiment is not yet over, but at least it gets the Titans back in action and back in costume.  Despite a few weak moments, it’s an interesting issue.  Perhaps the most compelling feature of the story is that it engages with the concept of Hawk and Dove in both frustrating and enjoyable ways.  Skeates manages to make Dove both aggravating and likeable at different points, but the most important thing is that he delivers an action-packed and enjoyable adventure.

We pick up where the previous issue left off, with Aqualad having been defeated by Ocean Master and his cronies and tied to a tree to die of dehydration.  The silly one hour limit is mentioned again, unfortunately.  I wonder when they got rid of that.  Anyway, just as he’s about to run out of time, the young Aquatic Ace sees that the cavalry has arrived, in the form of the Teen Titans!  That’s right, they finally got off their duffs and decided to do something useful.  Aqualad fills his friends in on the story so far and tells them that he managed to put a tracer on one of Ocean Master’s men.

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Meanwhile, Hawk and Dove have slipped away from the team in order to pursue the investigation on their own.  Hawk actually has a pretty good plan, and they head to Sharon’s (the girl who was attacked last issue) apartment and wait, hoping that the villains are still watching the place.  Sure enough, a band of thugs show up, and Hawk plans to disable them and let one escape so that they can trail him back to Orm.  In the donnybrook that follows, Dove is pretty much useless, but even worse, he turns tail and runs, rationalizing that they can’t take these three, seemingly average guys and he needs to get help.  Of course, if Dove had been even moderately useful in the fight, that probably wouldn’t have been the case.  This brings me to a problem I had, not so much with the issue, but with the character.

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Hawk and Dove are a cool concept, and one that is definitely timely for the era of their creation.  However, making proper use of them is rather tough.  It just makes no sense for a sincere pacifist to be a superhero.  It’s an inherently violent job, after all.  Justice League Unlimited handled the portrayal quite well, presenting a Dove who was very capable in a fight, despite the fact that he didn’t resort to direct violence.  The Dove who is a master of aikido, the martial art that turns an attack back upon an attacker, is a much more reasonable and useful character, after all.  Aikido is used to protect the practitioner, but it also emphasizes protecting your opponent from injury, which fits as a pacifistic way to take an active part in a fight.  Lifeline from G.I. JOE employed it for just such a purpose in the 80s comic.  Of course, we’re dealing with the very beginning of the character’s career, and it makes sense that neither he nor his writers would have worked out all the kinks just yet.  The result is still frustrating, making Dove seem like a coward rather than a man of principle.

Well, back to the story, Dove finds the other Titans and brings them on the run as their attackers cart Hawk off.  They make short work of the minions in a nice Cardy action scene, only to have Hawk dragged beneath the waves by Ocean Master!  Dove tries to intervene, only to be captured as well.  The pair awaken in an underwater base, tied to a pole.  The peaceful partner has managed to piece together the plot, and it seems to be related to one of our previous Aquaman stories.  Remember the aliens who were in cahoots with Orm?  They’re back, and now they’ve brought in some intergalactic muscle!  The handsome gents from the last issue of Titans were a super strong warrior race that the original invaders recruited.  The strange transformation that Sharon witnessed was a process that they use to walk among humans.

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After they compare notes, our heroes manage to escape from their foolproof prison by…standing up.  Even the heroes seem to be surprised by how easy it is.  Apparently Ocean Master is really not cut out for this world domination bit, as he tied the two brothers to a pole that had no top.  It’s a little taller than the teens, but they stretch a tad and manage to free themselves.  It’s…a bit silly that the mighty supervillain would make such an oversight, and it makes him seem incompetent.  It’s a fairly minor issue, though, and the escape requires cooperation from the brothers, which helps to add to the story and gives them a solid character moment.  Once free, they fight their way through the base until they run into Ocean Master himself, displaying good teamwork despite their differences.

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With Ocean Master they find one of the disguised aliens, and Hawk can’t take him alone, so Dove abandons his principles in the face of global Armageddon, and comes out swinging.  They’re holding their own when alien reinforcements arrive and things start to seem hopeless.  Just then, the Titans charge in, having used the tracker to find the base, and they clean up their extraterrestrial enemies with aplomb.  It’s another lovely Nick Cardy sequence.

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After the action, the heroes deal with the big question, the future of the Titans.  As I mentioned in the intro, we sadly don’t see the end of the Jupiter episode, but at least Aqualad is smart enough to realize how completely inane the whole thing is.  The rest of the Titans say they still feel like their vow has merit, and I suppose a vow is a vow, no matter how foolish.  Of course, they’ve already broken it by taking part in this adventure.  Nevertheless, they say that they’ll only help out in extreme cases like this and that they’ll leave regular crime fighting to the police.  Hopefully this is Skeate’s first step to moving them into a new direction.  We’ll have to wait and see.

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This is another good issue, as if that were really in doubt with Steve Skeates holding the pen.  Cardy’s art is as lovely as always, though I really don’t care that much for his Ocean Master.  He’s well drawn, but he just seems softer, less imposing than Aparo’s or Adams’.  Anyway, this issue is fun, exciting, and even manages to ask some interesting questions about principles and pacifism, even if it does so a bit awkwardly at times.  Despite the frustrating moments with Dove, I’ll give Skeates credit for trying to do something new and challenging.  The whole adventure is enjoyable, and it’s great to see the Titans back in action.  I especially enjoy that Aqualad gets to play the leader and the level-headed one.  It’s a role he’s good at, and it’s a shame we don’t see it more often.  Unfortunately, it looks like Aqualad will be leaving the book after next issue, and that is a crying shame.  The team won’t be the same without him.  Anyway, I’ll give this issue 4 Minutemen, though I’m tempted to go a bit higher.

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Final Thoughts:


This was a solid if hardly electrifying collection of issues.  While most of the books were fairly average in quality, we had a handful of stronger offerings.  In particular, it’s worth noting that we actually got an entirely tolerable, even enjoyable, issue of Green Lantern/Green Arrow.  Even if the comics weren’t stellar, this month provided us with several unique and interesting moments, from the arrival of Jack Kirby at DC to the first, halting steps towards bringing more mature themes to the Man of Steel in Action Comics.  At the same time, issues like this latest Superman remind us of just how far there is to go, and the contrast between this month’s two Superman books is really telling.  Even more interesting to me is the fact that, in the context of the whole catalog of DC comics, what Jack Kirby is starting to do in his Fourth World books is all the more exciting and innovative.  I’m sure it will be a fascinating experience to read those books in context.  Well, that’s it for October 1970.  I hope you’ll join me soon as we begin our sojourn in November!


The Head-Blow Headcount:

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It’s been an uneventful month, in terms of the wall of shame, though I’m sure we’ll see new additions soon to rack up the headcount!

Into the Bronze Age: September 1970 (Part 3)

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Well, let’s try and squeeze a few more of these features in bef0re Christmas, shall we?  Join me today for some Zaney Haney madness, and some more Bat-adventures!

Roll Call (You can see everything published this month HERE)

  • Action Comics #392
  • Batman #225
  • Brave and the Bold #91
  • Detective Comics #403
  • G.I. Combat #143
  • Green Lantern #79
  • Justice League #83
  • Showcase #93
  • The Flash #200
  • World’s Finest #196

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

Brave and the Bold #91

brave_and_the_bold_91“A Cold Corpse For the Collector”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

We return once more to the land of the wacky, the private demesne of ‘ol Zaney Haney, Earth-H.  Haney’s work has been very hit or miss for me, some of his stories being outlandish but exciting fun, while others were just too goofy and too far out there for me.  This one, though, is definitely a hit.  It fits the Haney formula of casually introducing a world-shattering change to a character while giving absolutely zero thought to how the given revelation will be handled going forward, but unlike some of the offerings we’ve encountered, this one makes a fair amount of sense, and the characterizations aren’t really all that far off from what one might expect from the characters involved.  The final result is actually an interesting tale that, while lacking any real impact on the universe, easily could have been an important milestone for the Justice League’s newest dynamite dame, Black Canary.

She, of course, is our guest star for this issue, and it is her backstory, not yet twisted and retconned beyond all recognition, that provides the dramatic weight for the yarn.  The core of the story is a standard villain identity mystery, with an enigmatic mob figure secretly pulling the strings in Gotham’s shadows.  The book opens with a mob exchange gone wrong, resulting in one dead bagman and one stolen score.  This event causes consternation to the gathered crimebosses of Gotham, who are meeting in a darkened, smoke-filled room, with a rather surprising guest.  It seems Batman shares a seat at their table!  It is shortly revealed that this masked manhunter is a fake, a plant hired by the shadowy mastermind known as ‘The Collector’ (because he always ‘collects,’ ‘natch), to sit in on their meetings and give them Batman’s perspective on their dealings so they can anticipate him.  Riiiiiigggght.  Foolproof, I’m sure!  A cape and cowl do not a detective’s mind make, methinks.  This is an odd gimmick, made all the odder by the fact that Haney did the exact same thing in World’s Finest just last month, with a crime boss (who actually was Batman, strangely enough) dressed as the Bat.  I guess he thought it worth repeating.

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At any rate, the Collector promises to solve the problem of the rival gang without a war, and in the interim, the real-and-for-true Dark Knight is busy helping Commissioner Gordon identify the bagman who took the long last dive.  They are joined by private eye Larry Lance, a name you more astute DC fans might just recognize, except, this is not THAT Larry Lance.  That’s right, we’re on Earth-1, and surprisingly, Haney actually bothers to make that clear.  It’s rare for the Zaney One to actually specify where and when a story was taking place, or give continuity anything but mostly benign neglect.  Well, this universe’s Larry is also investigating the Collector, and though Gordon has no time for him, the Caped Crusader is willing to work with the shamus.  It is very strange to see Batman playing good cop to Gordon’s bad cop.  That’s just unnatural.

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Back in Lance’s office, he encounters a lovely lady, a lady going by the name ‘Myra Kallen,’ but who we likely recognize as Dinah Lance.  That’s right, this is Earth-2’s Black Canary.  She apparently has found the Earth-1 counterpart of her dear, departed husband, and despite the hugely problematic and complicated philosophical and psychological implications of the relationship, has determined to win Larry-1’s heart to replace the Larry she lost.  From the beginning, it’s clear she’s not thinking too clearly about this whole situation, but that actually makes pretty perfect sense.  How could she be objective about such a thing?  How could anyone?

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Later that night, a disguised Collector ‘collects’ from the rival gang, killing their leader at an illegal casino while posing as a dealer.  Batman has anticipated this move, and he’s hard on the killer’s heels, only to catch the gumshoe, Lance, instead.  I imagine we’re all likely genre-savy enough to see where this is going, but unfortunately for the love-struck lady in the leather jacket, the plot continues to barrel towards its inevitable conclusion.

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The P.I. hands the hero a line about how he was chasing the guy and was clocked on the head right before the Dark Knight grabbed him.  They find a discarded disguise that seems to confirm his story, but, and I enjoyed this, the master detective remains suspicious.  I like that Batman isn’t entirely taken in by the subterfuge here.  When the pair meets up with ‘Myrna,’ the Masked Manhunter recognizes the Canary, and when they are alone, he warns her away from Lance.  She rejects his advice, insisting that she has to run her own life, but she sticks around just long enough to save him from an assassination attempt.

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That takes ‘yellow journalism’ to a whole new level…

The next day Batman and Gordon are apparently just hanging out, drinking coffee, which makes for an image I find quite humorous and a little charming.  They get a tip from the suspicious shamus that the Collector will be holding a meeting at the Gotham Museum, but when the Dark Knight arrives, all he finds is an ambush.  Just as he’s about to grab the gunman, the hitman gets hit from behind, by Lance!

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This looks like a setup for the greatest version of the Odd Couple ever.

Once again, his story seems plausible, but the Caped Crusader isn’t entirely sold on it.  Unfortunately, he cannot convince Black Canary to share his doubts.  She accuses her Justice League colleague of being jealous, and interestingly enough, he admits to himself that he does have some feelings for her.  I thought that was a nice little touch, and let’s face it, basically everybody in the League except for the married guys made a play for Canary at one time or another.  Who could blame them?

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The Pretty Bird’s problems don’t end there, though, as Larry-1 arrives just then and overhears enough to figure out who she really is.  He proclaims his love for her, and Haney does a good job of making him seem fairly earnest, if just a touch greedy.  It’s a surprisingly subtle handling of a scene that couldn’t have borne anything more than a light touch.  It’s pretty solid characterization.  The sweet-talking shamus convinces the fighting female to help him catch the Collector…or at least, that’s what he says.

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The next night, Lance contacts the Dark Detective with another tip.  He claims the Collector will be at a deserted racetrack, but when he arrives, the hero is sideswiped by a sonic scream.  Black Canary is using her powers against her former friend!  You guessed it; time for the big reveal.  Larry-1 shows his true colors, preparing to murder Batman and announcing that he was the Collector all the time (gasp!).  Canary puts herself in harm’s way to save her teammate, but she’s too stunned to take Lance down.  Fortunately, the Caped Crusader is still fast with a batarang, and he disarms the crime boss.  The two heroes chase after him when he flees on horesback, and we get a nice, dramatic chase sequence, with Canary showing off her motorcycle riding skills, vaulting over and smashing through obstacles.

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Batman tackles Lance, and the two fall, still struggling, into a pond.  In classic ‘hoisted on your own petard’ fashion, the villainous gumshoe impales himself on his own knife (or at least, that’s what Batman says when Canary shows up.  Sure Bats. Sure.).  The story ends with Canary’s lament about the loss of her old life and the challenges of building a new one on Earth-1.  Fortunately, she will have friends like Batman.

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This is actually a very solid story.  It’s definitely Haney, but it’s enjoyable Haney.  He hit on a really great concept here.  If there was a Larry Lance on Earth-2, chances are there would be one on Earth-1, but what if he wasn’t what his counterpart had been?  It’s a good idea for a story, and while it could probably have benefited from a bit more development, it was a fun and interesting read.  Canary doesn’t come off great, but her equivocation about Larry is actually quite believable.  Who wouldn’t jump at the chance to get back someone we’ve lost, even if it wasn’t exactly the same?

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We’re still seeing the kinder, gentler Batman that Haney prefers in these books, and the character here really bears fairly little relation tothe grim avenger we encountered in the other Bat titles lately.  Canary is also a little less the capable heroine we have seen elsewhere.  Nonetheless, this is, in the end, a good story, made extremely creepy by the retcon that’s coming to her backstory in a few years (we’ll get there, eventually).  Good thing it could easily lift right out of her history because it’s a Haney tale.  I’ll give it an above average 3.5 Minutemen.  I love Cardy’s art, but I don’t think he’s quite right for Batman.  His style is a bit too soft for the Dark Knight.

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This comic also had a rather neat little gem hidden in the letters page, a story of the real-life heroics of artist Nick Cardy.  Apparently he piloted a tank in World War II, where he met the editor, Murray Boltinoff.  In a fun little touch, Boltinoff relays a short adventure from the Big One.  Check it out below:

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Detective Comics #403

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“You Die By Mourning”
Writer: Frank Robbins
Pencilers: Carmine Infantino, Bob Brown
Inker: Frank Giacoia
Letterer: John Costanza
Editor: Julius Schwartz

“Break-Out!”
Writer: Mike Friedrich
Penciler: Gil Kane
Inker: Vince Colletta
Letterer: John Costanza
Editor: Julius Schwartz

Time for yet more Batman!  The Caped Crusader being overexposed is definitely not a new phenomenon.  It’s a good thing he’s a great character, otherwise this might get old.  It’s also fortunate that his stories tend to be above average, though that isn’t really the case for this issue.  Both of this month’s Detective yarns suffer from brevity and a resultant lack of development, and as we’ve seen from the Legion backups, that doesn’t have to be the case, even for these short comics.  The headline tale, with the wonderfully melodramatic title, “You Die by Mourning,” is a bit odd.  It’s nicely atmospheric, but the individual elements don’t really come together in a satisfying whole.  I’d bet this is another story conceived of for the purpose of a particular image or moment.

Our drama dawns with the arrival of a veiled woman dressed in mourning clothes in Bruce Wayne’s V.I.P. (Victim’s Inc. Program) offices.  Calling herself, Mrs. Randall, she meets with the man himself, and frantically claims she’s there in relation to the death of her husband, a death which has yet to occur!  A gun falls out of her purse when she reaches for a handkerchief, and she flees the office, leaving a mystery in her wake…a mystery that piques the curiosity of Wayne’s alter ego, the Batman!

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That night, the Masked Manhunter heads to the Randall home, where he sees Mrs. Angela Randall and her husband, the unlikely named ‘Laird’ Randall (is he Scottish nobility?) getting ready for a costume ball at a haunted house.  The hero suspects that Angela is plotting her husband’s demise, but he can’t figure out what brought her to V.I.P.  He stows away aboard the eerie horse-drawn coach that arrives to transport them, and along the way they are attacked by a car full of gunmen.  The coachman, apparently in on the job, leaps clear, but the Dark Knight saves the Randalls with a smoke bomb and some quick action.  The gunmen’s car wrecks in the smoke, and we get a nice scene where Batman quickly and efficiently disposes of them.

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I love the moody effect of that last panel.

He sends the Randalls on ahead with the coachman, which turns out to be something of a mistake.  The muffled figure pulls a gun when they arrive at the “party” house, empty save for the three of them.  We then get a couple of pages of exposition that pass for the resolution, as Robbins packs all of the story he neglected earlier into his last few pages.  The coachman reveals that he is a mobster named Van Paxton, who runs a paving company that Randall was bidding against.  Just as he prepares to kill the couple, a dead ringer (pun only partially intended) for Mrs. Randall leaps in the way.  In a twist that comes mostly out of nowhere, it is Angela’s estranged twin sister, who also happens to be Paxton’s wife.  She married the no-goodnik, and she was so ashamed of what he was that she cut all ties with her sister.  When she learned that Paxton was going to kill her sister’s husband, she visited V.I.P. in the hopes of raising a red flag about the whole thing and…somehow…saving him.  Oookay.  That’s a lot of convoluted plot to cram into just two pages.

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Just then, Batman arrives and tackles the killer.  Brown isn’t always my favorite artist, but his work is usually just plain solid.  His action looks good, and he often does some pretty good layouts.  This story is no exception, and the confrontation between the Dark Knight and Paxton, though not jaw-dropping, is good, clean four-color art.  We get yet another story where the villain is hoisted by his own petard, as the mobster falls through a floorboard and…strangles?  It isn’t super clear, but he is totally dead.  That’s the important part.  The poor twin sister is mortally wounded as well, and the story ends with her prediction to Bruce Wayne having come true in a way she never anticipated.

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This is an entertaining enough tale, but it isn’t of the quality we’ve been seeing from the Bat-books lately.  The ending is rushed, and the setup is far too brief to be effective.  All of that exposition shoved into the last pages means that we don’t actually get invested in any of the characters.  It doesn’t help that our hero’s climactic struggle is against a single average guy.  The stakes aren’t really impressive enough to make the fight exciting, though Brown’s art helps matters.  The overly complicated plot with the unlikely twists just sort of leave a reader cold.  It seems that Robbins really had a bit too much story for his venue, and the result is not good, though it isn’t actively bad like some we’ve read.  I’ll give it 3 Minutemen, since it is enjoyable, if unimpressive.

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“Break Out!”

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The Robin backup faces similar problems to the headliner, and once again, the Teen Wonder doesn’t come off too well in his own feature.  This is becoming a sad tradition.  This story, weighing in at only 8 all-too brief pages, just doesn’t have the space it needs to accomplish its purpose well, even building on the previous issue as it does.  If we remember, in the last Robin tale, the younger half of the Dynamic Duo broke up a fight among juvenile delinquents from a detention farm, only to pick the wrong pigeon and belt the innocent party.  After those events, our teenage hero has set out to visit that farm in order to get a better idea of what conditions are like on the ground there.

We find him lost and having run out of gas in his groovy Volkswagen van, stuck in the pouring rain.  Not the most auspicious of beginnings.  He’s passed on the road by two kids in a truck, but he eventually gets some help from an older couple, and we get the hilariously 60s line from our protagonist that this “goes to show our ‘over-30s’ can’t be completely written off.”  At least he’s not too angsty to realize that, which puts him ahead of some teen heroes, so I’ll take it.

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When he finally arrives at the farm, he finds it covered with police, so he switches to his battle togs and breaks out his brand new Robin cycle.  Now, don’t get excited.  While you might be expecting all kinds of cool new gadgets and maybe an exciting car chase to accompany this debut, all we get is a line of dialog about the super swanky license plate changer that this bike features.  That’s a bit of a wasted opportunity, it seems to me, especially with the focus on Robin building his own identity and career as a solo act.

The cops tell him that two of the kids from the farm have escaped in an old truck, and they show him the strange message that was left scratched into the floor of their barracks.  It reads ‘Forced to go–guns buried-help me.”  It turns out the missing kids are the same two from the previous donnybrook, and, determined not to make the same mistake again, our Teen Wonder jumps to the opposite conclusion, and decides the the bigger of the two boys, Ed, must have kidnapped the smaller one, Frank.

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Recalling the truck that passed him on the road and performing a nice bit of deduction, he tracks the kids to an abandoned barn and finds them both loading shotguns.  Robin jumps the smaller kid, and belts him, ignoring his pleas of innocence, only to narrowly avoid a blast from the other boy’s gun.  The junior detective takes out the gunman, and then gets the story from a rather bitter Frank.

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Man, whatever Gil Kane’s strengths are, he cannot draw a gun to save his life!

The kid relates how ‘Big Ed’ was working for a mobster who wanted him to recruit a ‘teen-age’ gang for him.  The would-be teen-boss had even stashed some guns and supplies out by the farm.  Frank had pretended to go along with Ed in order to bust him in hopes of earning some time off his sentence.  It was he who left the note on the floor.  There’s a bit of a message crammed into the last little bit about playing by the rules, not because it’s the right thing to do, but because no-one wants to spend their life looking over their shoulder.  That’s a fairly cynical view, really.  I suppose this kid will go far in this dirty world of ours.

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So, as you can see, this story just isn’t all that much to write home about.  It’s a teen problem, which they seem to enjoy putting Robin up against, but the stakes just aren’t too high and the plot and characters aren’t developed enough to make it work.  If we had gotten to know the two kids just a bit in the previous story, this could have worked much better.  As is, the very first time we start getting to know them, we’re already in the denouement with exposition flowing fast.  This just felt a bit boring and bland, in addition to being underdeveloped, and that’s never a good thing for an adventure tale.  I’ll give it 2.5 Minutemen.  There’s a bit of evidence of the generation gap here, but nothing particularly noteworthy.

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These two issues were a mixed bag, but none of them were particularly impressive.  They were enjoyable enough, though.  I think the most interesting part of both books was the letter column feature about Nick Cardy’s war service.  Who knew?  That was a neat surprise, and it also says something about the difference in the generations that populate the ranks of DC at the time.  I was struck with the thought that Cardy was part of the old guard, the professional writers and artists who, along with the rest of their generation, shared an almost universal experience of war service.  They had experienced privations, hardships, and much more, and most of them were also children of the Depression in one form or another.  The upcoming generation hadn’t had those experiences, but they had grown up on the comics the previous generation had created, and now they were beginning to take a hand in the field.  I’m curious what differences will be revealed about the two generations through the work that they produced.  We are, here in the 70s, going to see the change over taking place.  It should be interesting to observe.

 

Into the Bronze Age: August 1970 (Part 2)

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Time for the second iteration of August 1970!  Join me as we examine the next few books on our list.  This time we have some Batman and some Teen Titans, as we actually have some internal continuity this month that I’m following.

Roll Call (You can see everything published this month HERE)

  • Action Comics #391
  • Aquaman #52
  • Batman #224
  • Teen Titans #28
  • Detective Comics #402
  • The Flash #199
  • Justice League #82
  • Phantom Stranger #8
  • Showcase #92
  • Superman #229
  • World’s Finest #195

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

Batman #224

Batman_224.jpg“Carnival of the Cursed”
Writer: Dennis O’Neil
Penciler: Irv Novick
Inker: Dick Giordano
Letterer: John Costanza
Editor: Julius Schwartz
Cover Artist: Neal Adams and Dick Giordano

This tale is a bit unusual in two ways.  First, it takes the Gotham Knight out of his usual haunts and sends him down towards my old stomping grounds on the Gulf Coast, specifically, New Orleans at the ever-popular setting of Mardi Gras.  Second, it depicts Batman as a big jazz fan, which struck me as a little odd.  It’s hard to imagine the Dark Knight as a music lover.  Nonetheless, it is actually his musical taste that provides the impetus for this little yarn which begins with the murder of a famous jazz trumpet player called “Blind Buddy” Holden.  His killers were searching for something, something they did not find.  The news reaches our hero reading the paper in costume, which also strikes me as trifle weird, and in a short, silent sequence that isn’t too shabby we see that it does not leave him unmoved.

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We travel down to New Orleans, a mysterious and lively city, one that is well suited to provide a distinctive and exciting locale for a comic story.  By this point, I imagine I’ve read quite a few Batman comics set in the Big Easy.  A rainy evening sports an “old-fashioned jazz funeral” for Holden, but the procession is interrupted by a gang of masked men.  Unfortunately for them, Batman is actually disguised among the mourners, and he lays into them, only to be felled by the acrobatic arrival of a freakish looking fellow that resembles Quasimodo’s tougher brother.  He calls himself Moloch and he proves to be a very tough physical opponent for the Caped Crusader, possessing a freakish strength and speed.

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Nonetheless, the Dark Knight manages to route him with the help of the crowd, but Moloch gets away with unbelievable leaps and bounds across the rooftops.  I suppose at this time, Batman doesn’t have the cool, powered grappling gun he later adds to his arsenal.  I wonder when that first made an appearance.  Anyway, this sequence is a neat one, with lots of local flavor.  Novick’s art is a little too lacking in background detail to really take advantage of the setting, but there are a few touches that show this is not just a generic city.  We’ll get one big set piece which takes full advantage of the setting at the climax of the tale, though.

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The funeral procession finishes its grim, though very stylishly handled task, and Holden’s horn is buried with him.  Batman224-09.JPGAfterwards, the Dark Detective overhears an argument between the musician’s friend and a wheelchair-bound man named Macob, whose aide the crime-fighter recognizes as a known hood.  Apparently the heavily muffled Macob wants to buy the dead horn man’s possessions, but his friends refuse, no matter the price.  Batman decides that there is something fishy about this fellow, so he plans to try and spook him.  Here’s another odd little moment.  Our hero, in full costume, goes into a bookstore and makes a purchase.  Sadly, we don’t get to see the clerk’s reaction to having the Caped Crusader walk into his shop.  One wonders if he has a utility belt compartment for his wallet.  Well, the book is sent to Macob, and when he opens it, out flies a bat, a warning from the Batman!

His aide is shaken, but Macob remains resolute.  He must have what he’s after, and he formulates a plan!  Later that night, Batman discovers that Holden’s friend has been kidnapped and is being held at an old riverboat moored at the dock.  Interestingly enough, these days there are several restored river boats that make regular cruises from NO, complete with live jazz music aboard some of them.  I wonder if any of those were operating back in ’70.  Back to our fictional Big Easy, our hero uses the cover of a Mardi Gras parade, which somehow just materializes on the empty docks (I’m guessing these guys have never actually been to Mardi Gras) to slip aboard unnoticed.

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Once on the ship, he takes out the goons, but the Dark Knight is brought up short by Macob himself, threatening the hostage with a gun.  Distracted, Batman is knocked out and awakens to find himself tied to the ship’s giant paddlewheel.  In classic death-trap fashion, the villain has set the ship in motion, which will slowly, revolution after revolution, drown the masked hero.  Convinced that escape is impossible, Macob indulges in the cliche to the hilt and leaves his victim to his fate.

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To his credit, it almost works.  The Caped Crusader has it pretty bad, and he’s completely unable to break the ropes or stop the spinning of the wheel.  Of course, Macob left the hero his utility belt, so it really should have been a simple matter.  Nevertheless, by catching a steel cable in his teeth and tossing it around the rotating wheel, Batman manages to break the mechanism and escape in suitably dramatic fashion.  The sequence is pretty solid and provides for an exciting episode.  There’s a nice little bit at the end as the hero, indomitable and undeterred, dives into the river to pursue his quarry.  However, he’s spotted by a seaman on a Coast Guard cutter, and the young man asks to be excused from duty because he’s seeing giant bats!

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The climax comes as Batman confronts Macob, who reveals himself to be the twisted Moloch, while the villain is digging up the musician’s grave in order to recover his horn.  It seems that the horn’s previous owner had discovered an oil deposit and scratched a crude map on the instrument, passing it on right before his death, though Holden never knew what he possessed.  Moloch is, as the name implies, after wealth, so he wants the map, but the Dark Knight is determined not to let him have it.  The greedy ghoul actually beats the Batman, only to be chased away by nearing police sirens.  Their battle then spills out of the graveyard (in which graves are IN the ground rather than on top of it, a mistake for the setting, which is below sea level), and into the street, choked with Mardi Gras revelers.

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The Caped Crusader finally gets a good shot in, knocking the self-styled god of wealth into the lap of the true master of wealth, Satan, a statue dominating a float.  It’s a rather striking image, and a nice ending to the fight.  There’s a bit of subtlety in the scene, as O’Neil lets the art speak for itself, not feeling the need (surprisingly) to beat us over the head with the symbolism and the message.  The issue ends on a bittersweet note as the crime-fighter discovers the horn, broken and trampled by the celebrating Mardi Gras crowds.

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This is a solid tale.  It isn’t fantastic, but it has some style and some good moments.  The villain gets a little development, mostly in his last big speech about how he’s dedicated himself to acquiring wealth, but there isn’t really much to him.  The whole jazz element of the story is fun, and I’m guessing that Denny O’Neil was a bit of a fan.  In the same vein, the New Orleans setting for the tale was enjoyable and distinctive, even if it wasn’t executed perfectly.  It added a certain flair to the story that helped to bring it up above the rank and file of such tales.  I’ll give it 3.5 Minutemen.

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Teen Titans #28

teen_titans_vol_1_28“Blindspot”
Writer: Steve Skeates
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Dick Giordano

We’re going to do something a bit different today and change up the review order because the events of this Titans issue actually precede those of the Robin backup in Detective Comics.

As for this issue itself, all I can say is, ‘hooray!’  First off, check out those credits: we’ve got half the SAG team lending their considerable talents to this book, and who do we have instead of Jim Aparo?  Why, Nick Cardy, of course!  He continues to lend his considerable talents to the comic, but unlike previous issues, this one not only LOOKS good, it also IS good.  You can’t ask for much better than that, and this issue is just plain beautiful, even for Cardy, with some really neat layouts and pages.  This by itself is cause for celebration, as you just know we’re in for something great, but even more so, this month’s offering serves as the first step in reversing the bizarre and pointless direction of the last few issues.  Plus, just look at that awesome cover.  I love the Batman Family, but there is that (hopefully small) part of me that likes to see them taken down a peg, the part of all of us that grins when the strong man stumbles.  It’s mixed here with my enjoyment of seeing Aqualad make good, despite the disregard with which he’s been treated by this book and the general lack of respect the character tends to receive in the world at large.  Skeates clearly got the Prince of the Seas, though, and he handles him to good effect here.

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Our tale begins with a beautiful, moody, and visually creative sequence in which a girl walking through the park observes something she shouldn’t have and is pursued by armed hoods who attempt to silence her.  She escapes, but she loses her purse, and the gunmen lose no time in tracking her to her home.  Fortunately for the young lady, who is revealed to be Sharon Tracy, Donna (Wonder Girl) Troy’s roommate, a mysterious but remarkable visitor happens to drop by at that moment.  The figure, clad in classic trenchcoat and fedora combo has groped his way to her apartment from the docks, and when the would-be killers burst in to finish their job, the visitor is revealed to be the young Aquatic Ace, Aqualad, long absent from these pages!  I love seeing the sea-going heroes walking around on dry land in the classic hat and trenchcoat disguise.  It just looks cool.  Never let anyone say that the Aquatic Aces don’t have style in spades!  Plus, what other opportunities do these heroes, who have no secret identities, have to do the whole ‘rip off their disguise and leap into action’ bit.  It makes for some dynamic images and it’s just plain fun.

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Well, doing just that, the young Marine Marvel handily disarms and whips the two thugs without batting an eye, the first of several great action sequences he receives.  He really seems capable and cool-headed, young, but nonetheless skilled.  You are probably going to get sick of hearing me praise the art by the time you finish this commentary, but I’m afraid I can’t help myself.  Cardy just produces page after lovely page, draped in shadow and exuding style and drama.  It’s simply gorgeous, and I probably enjoyed the art of this book more than I have any of the others for several months.

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The malefactors put to route (rather forcefully, as Aqualad knocks them through a window!), the teen hero checks on the young lady.  He finds her stunned and frightened, but unharmed.  He comforts her, but it seems that the terror of the evening’s adventures have caused the lovely Miss Tracy to block out what, exactly, she saw that started all of this.  The teen Marine Marvel had come to the building looking for Wonder Girl, as he hasn’t been able to contact any of the Titans for weeks (because of their pointless undertaking with Mr. Jupiter), but he, being the gallant type, is unable to ignore a damsel in distress, so he takes her to Titan HQ where she can safely hide out while he tries to get a hold of the team.

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Cardy certainly draws lovely, soulful-eyed ladies

The only Titan whose location Garth knows for sure is Dick Grayson, so he heads upriver to the Teen Wonder’s college campus, but as the young Atlantean is trying to figure out how he can find Dick’s dorm, he encounters the man himself, right in the middle of an energetic donnybrook with several thugs.  Aqualad dives right in, taking out two of the antagonists in his first rush, and then the two friends dispatch their opponents, who turn out to be members of a car-jacking ring that Robin was tracking, in a lovely sequence that really lets both of them shine.

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The Titans have a pleasant conversation as they bust heads, which also helps to illustrate just how routine this whole bit is for them, a nice touch.  I love this scene, and Cardy illustrates the action with great energy and style.  I especially enjoy the last blows, as Robin and Aqualad play ping-pong with a thief’s face, leading to the Atlantean teen dispatching the fellow with just a flick of his fingers.  Cardy even manages to give each character a unique fighting style, with Aqualad clearly more of a bruiser and Robin delivering precise karate chops.  It’s great fun.

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Robin warns the visiting hero that the other Titans are in something of a weird place, and he advises his friend not to expect any help from them.  Garth is sure that, once they hear his story, they’ll be willing to pitch in.  However, when he joins his teammates and tells his tale, they are unyielding, insisting that they’ve taken a vow never to use their powers again.  Now here we find one of the only weaknesses of this issue, as Aqualad goes from cheerful to raging in nothing flat.  I know he’s a bit of a hot head, but this is really rather much.  He does have what I consider a perfectly reasonable reaction to the nonsensical excuses of the other Titans, though, as he calls them cowards, along with a few dozen synonyms!  As you’d imagine, Hawk doesn’t take that too kindly, and when Robin gets between the two, Aqualad belts the Teen Wonder right in the face!

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It’s a great image, but it doesn’t really make much sense.  After all, Robin is the one guy NOT acting like an idiot, but I suppose we’re supposed to understand that Garth is just too angry to think straight.  Or that someone really just wanted to see Aqualad deck Robin.  To Dick’s credit, he just takes the blow and still remains the cooler head.  The Titans tell their missing member their story, but he implores them to at least come listen to Sharon Tracy’s troubles.

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They agree, and we once again see the team back in costume!  Even more exciting and surprising, Lilith actually does something useful!  I know, I couldn’t believe it either!  Sharon still can’t remember what she saw, so Lilith uses her vaguely defined powers (now becoming a little less so), to tap into the memory, and we are rewarded with the most creative and striking page in the entire book, as Lilith travels through the girl’s mind to find the fateful event.  It’s a beautiful image, with Lilith’s face forming the center and her hair streaming out to form panel borders.  What a unique design.  My wife remarked that it looked like a Jimmy Hendrix poster, and it has a similarly psychedelic feel, yet it is nevertheless an effective piece of storytelling.

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We discover that Sharon came across three men in the park, three men apparently in the employ of…Ocean Master!  Now that’s a twist, and an interesting one.  What’s more, one of them shoots another with a strange ray that turns the unremarkable looking fellow into a bizarre, bug-eyed monster!  Lilith relays her findings, but the other Titans are still hung up on their foolish vow (shades of the Grail Quest…but without the pathos…or the interest…or the stakes…so…not that much like the Grail Quest, I suppose…).  Aqualad has had enough of their nonsense, so he heads off to tackle Ocean Master by himself!  You certainly can’t fault the kid’s courage.

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Handsome fellow, isn’t he?

Here we get a really neat sequence that almost subverts some of our expectations but is quite awesome nonetheless.  Aqualad goes to the scene of the crime to see if he can pick up some clues.  While there, he takes a classic head-blow, but don’t add him to the list too quickly!  Our young hero is tougher than he looks, and he comes up swinging (or kicking, as the case may be) when he realizes that he’s been jumped by Orm and his henchmen.  We even get a nice reminder that Atlanteans are hardier than surface folk, though Skeates apparently forgets this when convenient.

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I love this action montage, as the physically smaller Aqualad absolutely takes it to his larger opponents.  It’s a great image, and it really cranks up the scale of his accomplishment.  The Prince of the Seas does more than hold his own, laying into the whole gang and putting them all on the ropes before…darn it, a lucky blow from behind puts him out.  We were SO close.  Yep, Garth earns himself a spot on the wall of shame, as this definitely fits our Head-Blow Headcount.

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My favorite part has got to be the backhand in the middle

The tale ends with a nice villain moment as Orm, who we should remember just experienced an existential crisis when he discovered he had attempted to kill his brother, callously declares that Aqualad is no kin of his, and thus, he has no compunctions about murdering the youth.  He orders his men to tie their captive to a tree to let him die a slow death by dehydration.  It’s a solid moment of characterization and continuity.  It reminds us that, though Orm may have some lines he wouldn’t willingly cross, he is still a villain, much like that ambiguous speech of his in the Deadman backup.  Of course, we are assured, this is not The End!

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I just flat out loved this issue.  It is such a breath of fresh air after the maddeningly pointless and just plain stupid storylines of the previous comics in the series.  What’s more, it brings back one of my favorite characters, Aqualad, in great fashion.  The youthful Atlantean comes off very well in this issue, routinely handling entire groups of opponents, and even taking on one of his mentor’s greatest foes one-on-one, and winning (for a while)!  Though Skeates leans a bit too heavily on his hot-headed temper, you still couldn’t help but be impressed by the character’s skill and courage in this story.  We also finally have someone question what the heck the Titans are doing and call them out on being foolish and throwing away their gifts, which is very welcome.  The art is, as I’ve constantly remarked, just flat-out beautiful throughout.  Cardy brings a great, moody, dynamic feel to the story with his inking, and he draws some of the best looking action we’ve seen lately.  Even Lilith manages to be tolerable, even useful!  That’s saying something.  In the end, Aqualad’s moment of irrational anger is the only real flaw, but it’s enough to hold the issue from a perfect score.  I’ll give it 4.5 Minutemen, which is still darn good!

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P.S.: I cheated a bit and looked ahead, and it seems that we get to enjoy Skeates’ story-spinning for several more months, which is just fine by me!  I’m quite looking forward to next issue, which is something I’ve never yet said about this Titans book.  Interestingly, the letters page indicates that the readers were also quite dissatisfied by this sudden and ridiculous turn of the Titans’ direction, and Giordano hastens to assure them that we’ll see the team back in better action soon.  I wonder if either A) the reader response was so overwhelmingly negative that the editor changed the direction, B) he himself realized that what Kanigher was doing was terrible, or C) some mixture of the two.  It does seem that we’re seeing a very sudden departure, and I’m curious as to what caused it.  If this was planned all along, it makes the whole Mr. Jupiter plot even more pointless.

 

Well dear readers, that is going to do it for this post.  I hope you enjoyed the read and will join me soon for the next edition as we travel further Into the Bronze Age!  Next time we will see the triumphant return of the Macabre Manbat, more Robin, plus the Fastest Man Alive!

The Head-Blow Headcount:

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Well, Aqualad joins the not-so-august membership on the Wall of Shame, adding his noggin to the Head-Blow Headcount.  He could still take some solace from the fact that his mentor was there before him…twice…as was Robin!