Into the Bronze Age: July 1971 (Part 2)

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Welcome Internet travelers and dear readers, to another edition of Into the Bronze Age!  We’ve got three books to cover in this post, and they are a rather diverse bunch.  We go from Zaney Haney to the Fourth World, and from spy thriller to cosmic quest in an earthbound setting.  Let’s see what lies in store for us!

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 #402
  • Adventure Comics #408
  • Brave and the Bold #96
  • Detective Comics #413
  • Forever People #3
  • G.I. Combat #148
  • Green Lantern/Green Arrow #84
  • New Gods #3
  • Superboy #176
  • Superman #239 (Reprints, won’t be covered)
  • Superman #240
  • Superman’s Girlfriend, Lois Lane #111
  • Superman’s Pal, Jimmy Olsen #139
  • World’s Finest #202

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


Brave and the Bold #96


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“The Striped Pants War!”
Writer: Bob Haney
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

Alright, what the heck is up with this title?  Is this a reference to something?  If so, I don’t get it.  All I can think of is Homestar Runner and “his ridiculous stripe-ed pants.”  Either way, there seem to be no striped pants actually in this comic.  Leave it to Bob Haney to confuse his audience from word one!  Head-scratching headlines aside, this is actually a pretty good issue.  There are a few things that ‘ol Zaney Haney always did very well, and one of those is the tale of the aging hero, the world-weary veteran whose best days are behind him.  It’s a story that he told many times, and always with verve.  This particular comic is no exception, though it doesn’t have the most impressive of covers.  It has a solid, if unexceptional, composition that sets up the central conflict of the comic, Sgt. Rock’s questionable loyalties.

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brave and the bold 096 004The story within opens on a dark night in a South American city as a van crashes into a car, the attacking vehicle’s occupants then jumping the stunned passengers.  The car’s driver fights back, only to get shot for his trouble, and his passenger is carted away.  Back in the U.S., Bruce Wayne is called to Washington D.C. where he is ushered into a secret meeting with the Secretary of State and the P.O.T.O.U.S. himself (that used to be an honor).  Nick Cardy does the usual dance, not showing the president’s face, which I enjoy.  It turns out the victim from our first scene was Ambassador Adams, who is a friend of Bruce’s, and who was on an important assignment in South America.

brave and the bold 096 005He was kidnapped by the “Companeros de La Muerte,” the Companions of Death, and they are holding him for ransom.  The President asks Wayne to fill in as a temporary ambassador to complete a delicate treaty, and he introduces Batman, who will travel along as protection.  How can this be?  Well, it’s Alfred covering for his master in a padded costume, of course, and before long the pair are headed south!  This is an interesting setup, and it works surprisingly well considering the stories in the Bat-books relatively recently where Bruce got involved in politics.  It’s unusually consistent for Haney…though I’m inclined to wonder if that’s just a coincidence!

When Bruce arrives at the U.S. embassy, he encounters another old friend, Sgt. Rock, who is head of security.  It was he who was driving the ambassador when he was kidnapped, and the embassy staffer left in charge, Carlyle, makes some snide remarks about his failure.  When left alone, the two old comrades catch up, but Rock is surprisingly bitter and angry about the service, raging that they won’t let him reenlist.  He strips off his shirt and shows the scars he earned in service to his country, but he laments that that country doesn’t want his service anymore.

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brave and the bold 096 013Bruce is struck by the old soldier’s rancor, but he gets on with his job, investigating the scene of the kidnapping as Batman.  In search of witnesses, he enters a bull fighting arena and gets a description of the van from a plucky young bullfighter who, in Haney’s trademark flare for minor characters, is full of personality.  Strangely, the Dark Knight notices Rock tailing him, just as he is attacked by an assassin!  One of the Companeros tries to kill him with a bullfighter’s prop, but the hero’s reflexes prove superior, and the would-be-killer is hoisted by his own petard.

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On his way back to the embassy, the Caped Crusader is attacked by another pair of killers, but he fights them off with difficulty, turning their weapons against them in a great sequence drawn by Cardy and moodily colored.  When he returns, the Masked Manhunter discovers a warning note from the terrorists that declares they will kill their prisoner at noon if he is not ransomed.  That’s not the only discovery, however, as Alfred finds a listening device in Wayne’s room, a device whose source is found to be Rock’s quarters!  Things look bad for the old soldier, especially when he is placed under arrest only to knock out a sentry and slip away.

Nonetheless, Batman continues his investigation, finding the killers’ van and trailing it right back to the embassy itself!  They are hiding the ambassador in a secret basement, and this seems to confirm Rock’s complicity.  The Dark Knight jumps the gathered thugs, getting the ambassador to cover but getting dog-piled by his foes in recompense.  Suddenly, Sgt. Rock comes charging into the room, firing a Thompson, coming to the Caped Crusader’s rescue!  He had escaped just to have a chance to clear his name, which he now does in spades!

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It was all a frame, of course, and the heroes manage to hold off the terrorists, but the desperadoes trigger an old trap from the building’s colonial days, turning heroes’ cover into a cruel cage.  At the top-sergeant’s insistence, Batman reluctantly escapes with the ambassador, only to be confronted by the real traitor, Carlyle.  Fortunately, while Bruce Wayne may hate guns, his faithful butler isn’t so squeamish, and Alfred flat-out shoots the rat!

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Meanwhile, Rock is making his last stand, but in desperation he attaches a grenade to the swinging spikes above him, and when they move back towards his enemies, they explode!  Batman finds his old friend still alive in the rubble!  Later on, they bid a friendly farewell, as Bruce Wayne takes his leave and Rock tells his pal that the army took him back for another hitch.

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This is a really solid story.  It’s fun, exciting, and it has a pretty decent central conflict with the question of Rock’s loyalty.  Of course, we all know that the top kick is as loyal and dependable as…well…as a rock, but Haney does a good job of making his defection seem plausible.  He is making surprising use of continuity here, however, it is largely his own.  I suppose that’s to be expected from the ruler of the ridiculous.  In his stories Batman somehow fought in World War II and is still active in the modern day.  What the rest of the DC Universe needed multiple Earths to accommodate, Haney just shoves into one story and calls it good.  That’s the Zaney one for you!

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Despite that bit of silliness, he does a great job with Rock’s frustration at his treatment, and even his explanation ‘hey, I may grumble, but I’m still loyal,’ rings true.  While the old soldier doesn’t get as much characterization as Wildcat tended to, we still get a good sense of who the veteran is and what struggles he faces.  Cardy’s artwork is lovely throughout, fitting this spy thriller tale quite well.  I’ll give this fun adventure an enjoyable 4 Minutemen.

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Detective Comics #413


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“Freakout at Phantom Hollow!”
Writer: Frank Robbins
Penciler: Bob Brown
Inkers: Dick Giordano and Steve Englehart
Letterer: Ben Oda
Editor: Julius Schwartz

“Squeeze-Play!”
Writer: Frank Robbins
Penciler: Don Heck
Inker: Don Heck
Letterer: Ben Oda

Another issue of Detective Comics this month, but the Batman tale within isn’t the amazing and groundbreaking tale of last month’s Batman.  Still Robbins turns in his usual brand of solid mystery yarn.  It’s got a serviceable but not fantastic cover.  The witch’s twisted visage is suitably creepy, but the rest of the image just isn’t all that interesting.  It also isn’t quite indicative of what is going on in the tale, even symbolically.  It’s rather an odd choice in that regard.

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The story itself begins with Batman returning from a case out of town, only to be flagged down by the constable of a small village, Phantom Hollow, who is also a former Gotham cop.  The lawman begs the Dark Knight to come investigate a mystery in his town.  We then cut to the quaint hamlet itself, which is clearly modeled on Salem, complete with its own witch trial.  Supposedly the town is haunted by “Ol’ Nell,” who cursed the bell of the old church, declaring that it would never sound again until it tolled Phantom Hollow’s death-knell.

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Yet, the place’s troubles are start with something rather more mundane, as a trio of local kids ambush a pair of long-haired hippie-types, giving them a compulsory haircut…and, let’s face it…if that’s the worst thing that happens to these two goofy looking losers, they are probably lucky!  It seems like they’re supposed to be around 12-14, and they just look utterly ridiculous.  I imagine that the kids at my school would have probably been crueler in my day!

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The two hippies, Shecky and Jamie, are recovering their wits when suddenly the massive form of the town simpleton, ‘Big Lanny,’ looms into view.  The boys take off and decide to get even with the town by playing some pranks.  It starts with the church bell suddenly ringing ominously for the first time in a few hundred years, but it takes a turn for worse when their attempt to set off cherry bombs near the town jail somehow blows a wall in!

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Batman arrives to investigate the matter and hears some conflicting claims by the local folks, some claiming it was the two weirdo kids, others claiming it was Nell’s ghost.  The local teacher sticks up for the young punks.  The Dark Knight has plenty of suspects, but few clews, so he searches the bell tower, finding that the bell is rusted solid, but a strong pair of hands tip him over the rail and send him plummeting to his death!

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DETECTIVE COMICS 413 010Fortunately, the Masked Manhunter is always prepared, and he tied a bat-rope to his foot when he climbed to the dizzy height of the steeple, which is a nice, reasonable precaution for the hero to have taken.  Outside, he finds the teacher, who was attacked by someone moving fast.  She still insists on the innocence of her students, but when the Caped Crusader finds a speaker that provided the eerie bell-toll and traces its cord to a nearby cave, it is indeed the two would be counterculture rebels that he uncovers.

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DETECTIVE COMICS 413 015While he is confronting the kids, the bell rings again, but their tape recorder is shut off!  Racing back to the church, Batman finds that the bell has been broken free of its rust, a feat that he himself had failed to accomplish.  Suddenly, another explosion rocks the town.  Interrogating his two captives, who remain defiant, the Dark Knight realizes that someone has been using them as patsies, and by pretending to leave them in the care of the teacher in the cave, he lures out the real culprit…Big Lanny?!

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That’s right, the huge handyman was actually a direct descendant of Ol’ Nell, and he faked his stupidity in order take revenge upon the town.  Unfortunately, the massive man, once revealed, remains a frightful foe.  He toss the Caped Crusader about like a rag doll, and only the desperate attack by the two hippie kids saves the hero, toppling the giant and allowing the Masked Manhunter to punch him out.  The tale ends with the teacher pointing out that the two exceedingly poorly dressed boys are modern day victims of the same type of ignorance and superstition (ignorance yes, but how does she get superstition?) as Ol’ Nell was in her day.

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This is a decent mystery yarn, and it is interesting to see Frank Robbins dealing with youth culture and the growing strains on American life, with the nonconformists of this little town playing both sympathetic victims and antagonistic troublemakers.  There isn’t a lot made of the setup, but it is notable that the teacher continues to defend the two kids and that they prove instrumental in capturing the villain.  There’s definitely a message of tolerance delivered through their plot.  Brown’s art is as solid and attractive as usual, and he gives us a few particularly nice images, like Batman observing the explosion from the bell tower.  His Batman isn’t quite as lovely as Neal Adams’, but he always looks good, powerful and dynamic.  I don’t think Bob Brown gets a lot of credit, but he was a very reliably good artist, especially on these Bat-books.  As for this issue, it’s an enjoyable if unexceptional read, so I’ll give it 3 Minutemen.

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“Squeeze-Play!”


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The wig saga continues!  For some reason!  The Batgirl backup from the last issue is concluded here, despite the fact that it really seemed to be just about finished already.  This one starts right where the previous tale left off, with Batgirl locked in awkward combat with the malicious wig-makers, who have managed to get one of their skull-cracking hairdos onto her head.  Vazly hits the switch, and the fighting female seems to writhe in agony, only to reveal that it is just an act.  She had already deactivated the heinous headgear.

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She manages to capture Vazly, but his assistant gets away.  In an admittedly cool sequence, Babs uses her photographic memory to deduce that something is missing from the scene, working out that it is a wig-stand.  She recalls the code that had been on the missing item and works out that it is an address for a would-be victim.  Rushing to the scene of the next crime, Batgirl interrupts Wanda as she attempts to put the squeeze on another rich divorcee.

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Jumping the weird wig-maker as she attempts to make her getaway, the heroine engages in another desperate fight, with the wig again being used as a weapon, this time as a really clumsy garrote.  Fortunately, Batgirl uses her head (as a bludgeon) and captures the remaining villain.  The story ends with her receiving her birthday gift, a wig, from her father.  Both Gordon and his friend Bruce Wayne think she looks better as a redhead, which she does, so Babs decides to stick with the hair God gave her.

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This isn’t a bad story, but it isn’t a particularly good one, either.  Batgirl’s peril feels a bit weak at times, and, as I said, this second half doesn’t feel entirely necessary.  If Robbins hadn’t wrapped so much up in the first half, there would have been more to this story.  As is, it feels largely perfunctory, though Babs’ feat of deduction is pretty cool, taking advantage of a character trait that isn’t always acknowledged, her eidetic memory.  Don Heck’s art is serviceable, but it isn’t very pretty.  He’s just not my favorite superhero artist.  His figures tend to be stiff in action, and the whole thing lacks the smoothness of Bob Brown’s work on the headline tale.  This is a mediocre offering, but there isn’t really anything in particular to fault it for, so I’ll give it 3 Minutemen.

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Forever People #3


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“Life vs. Anti-Life!”
Writer: Jack Kirby
Penciler: Jack Kirby
Inker: Vince Colletta
Letterer: John Costanza
Editor: Jack Kirby

The King’s Fourth World wonders continue to unfurl, and it is certain a fascinating journey!  Here with issue 3 of the the Forever People, the concept still hasn’t entirely gelled, yet Kirby is nonetheless constantly adding memorably to his mythos.  This particular issue is a very uneven affair, but it is also really striking.  We begin with another very lackluster cover.  Other than the Mr. Miracle books, the Fourth World titles just don’t really benefit from good covers.  I wonder if that contributed to their eventual failure.  Either way, with this one we get a rather unbalanced image, against another dim and ugly photo-collage background.  This one is so fuzzy that it’s little more than light and shadow.  The image of the Justifier’s helmet in the background isn’t really all that intimidating, and while the cosmic kids are well drawn, the effect is just not very captivating.  It isn’t helped by that glut of cover copy either declaring but never explaining Kirby’s wild concepts.

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Inside, however, it’s another matter.  From the first page the King gives us a clue as to what he’s about, starting with a quote from Adolph Hitler (!) about how his followers not only dressed alike but even began to mimic one another in facial expressions.  Below is a sea of faces, faces that are eerily similar in their blank, dead-eyed expression, despite the riot of variety among them (though, notably, they are all white).  This is a ‘revelation’, something of an evil version of a revival, headed by Darkseid’s newest flunky, Glorious Godfrey.

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With a fittingly glorious double page splash, Kirby introduces the evil evangelist, who is hawking a heinous set of wares called ‘Anti-Life!’  The trappings and the language are all twisted versions of what you’d see at an old time tent revival, but rather than calling people to a knowledge of their sins and a God who will forgive them and save them from it, Godfrey promises freedom from such self-knowledge, freedom from doubt and uncertainty, the freedom of surrendering your will to Darkseid!  There’s something really fascinating and powerful in all of this.

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Godfrey converts his crowd into ‘Justifiers,’ whose adherence to the external reality of Darkseid’s will allows them to ‘justify’ any actions, enabling these miserable souls to indulge in violence, hatred, and more, all while feeling a sense of belonging in the foul fold.  One of these helmeted hooligans arrives at the abandoned apartment acting as home for the Forever People and threatens their young friend, Donnie in order to find the quintet.  Fortunately for the kid, the team has just walked in, hidden by Mother Box.  Beautiful Dreamer casts an illusion to confuse their antagonist, while Vykin rescues Donnie.  Then, all six youths beat a hasty retreat because the fanatical follower of Darkseid is a walking bomb!  He detonates himself, but the Forever People are able to get out of range.

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Realizing that Godfrey is on Earth by recognizing his handiwork, the team leaves a protective barrier around Donnie’s home and takes their leave, bidding the kid adieu.  This is a bit surprising after the efforts Kirby went to in establishing the kid and the neighborhood as part of what seemed an ongoing setting in the last issue.  Nonetheless, the Forever People load up in the Super Cycle and use Mother Box to home in on the Glorious one.

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Meanwhile, in a scene that is an honestly haunting sci-fi version of Nazi Germany’s Kristallnacht (The Night of the Broken Glass), the Justifiers spread out through the city in flying transports, smash open doors, haul away ‘undesirables,’ burn libraries, and break windows.  The parallels to real history are pretty unmistakable, and Kirby’s depiction of these events is really striking and efficient, only taking two pages to do its work.  Monitoring his minions’ malicious work, Godfrey is primping, preparing for his next show.  He gets a report about the approach of the Forever People and prepares a warm welcome.

The kids, for their part, see the guards around the tent and decide to summon the Infinity Man.  He then bends and breaks the laws of physics as he wades through the solid earth to avoid the gods and warps the paths of bullets when he confronts Godfrey.  He also abuses the rules of good writing, over-explaining everything he’s doing in odd, stilted prose.  No rules can stand against the Infinity Man!  Not even the laws of composition!  The enigmatic hero destroys the mind-controlling organ Godfrey is using to control his converts, but he is stopped in his tracks by being brought face to face with…Darkseid!  Once again, Kirby’s depiction of the villain hasn’t quite solidified yet, and he varies quite a bit from panel to panel.

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Still, what the evil one lacks in visual continuity he makes up for in power, as he uses his eye-beams to split the Infinity Man back into the Forever people, who are easily captured by Desaad.  The unconscious kids are herded into a transport and sent off to a new facility of the cruel scientist’s design.  After their departure, Godfrey and Desaad spar, each seeking to cement his position with Darkseid, and we learn a little bit more about the Anti-Life equation, though it doesn’t make matters much clearer.  Apparently Godfrey believes it doesn’t exist, and that Anti-Life can only be created through his type of direct mental manipulation.  Apparently the Equation would allow its possessor to control the wills of all beings in the universe with a word, essentially destroying free will, the great gift.

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This is a fascinating issue, but it isn’t necessarily a good one.  It is a dramatically uneven book.  When it is bad, it is really bad, but when it is good, it is really good.  It’s strange, because it’s not even always good or bad in the same ways.  Sometimes Kirby’s dialog is extremely overwritten and awkward, and other times its almost poetic.  Darkseid’s declaration at the end that “when you cry out in your dreams-it is Darkseid that you see!” is darn good dialog, but almost everything the Infinity Man and the Forever People say is awkward and unnecessary.  It’s clear that Kirby learned his comic scripting from the school of Stan.  Stan Lee’s style of unnecessary expository dialog is very much in evidence here, but often times without the charm for characterization and cleverness that marked even Lee’s more egregious examples.

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The Forever People themselves are once again largley useless in this issue.  Pretty much the only thing they do is to run away from the first assassin, but they contribute basically nothing to the plot.  If my vague memories of my first read-through are correct, we might see them get more of a chance to shine in the next issue, but we shall see.  Despite these flaws, what Kirby is doing with Godfrey and the Justifies is really intriguing.  The fact that the villains are evil insofar as they surrender their will and judgement for belonging and comfort is very striking, especially in light of the Jewish author and the not-too-distant cultural memories of the Holocaust.  The parallels to the Nazi’s horrific campaign, as I said, are inescapable, but this story still resonates today.

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It is, sadly, not an isolated incident that sees men surrender their moral judgement and their will to unworthy causes.  It is frighteningly common.  It is a difficult and wearying thing to think, to judge, and to strive for a consistently just moral life and philosophy, and people are always anxious to escape the burden of responsibility that we bear by being human.  It is happening in our world today, as people blindly support causes and leaders that blatantly contradict their own stated values, having given up their moral judgement to that of the party, so the only decision they have to make is whether ‘they’ are ‘with us or against us.’  In this way, Kirby’s story works wonderfully well on an archetypal level, for whatever flaws it has as an adventure tale.  In the end, this flawed but provocative comic is still a really interesting read, so I’ll give it 3.5 Minutemen, despite its uneven quality.

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P.S.: This issue sees the first appearance of the letter column, and the response is quite positive.  Notably, sci-fi luminary and the subject of a JLA story I recently covered, Harlan Ellison wrote a glowing missive for the Master.

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And with the Forever People, we round out our comics for this post.  Thank you for joining me for this stop on our journey Into the Bronze Age!  I hope that you enjoyed my commentary and will join me again soon for the next stage of my investigations.  Please come back soon, and until then, keep the Heroic Ideal alive!

Into the Bronze Age: June 1971 (Part 5)

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Welcome back for another edition of Into the Bronze Age, dear readers and Internet travelers!  Come right in and prepare for our final pair of pulse-pounding adventures!  They’re a mixed bag, as Zaney Haney takes Teen Titans back from our favorite Aquaman author, Steve Skeates, but never fear, stylin’ Steve is also back in this batch, and penning an old favorite, the Sea King himself, in an issue of World’s Finest!  I’ve been eagerly anticipating that particular book, seeing it in my reading list.  Time to find out how both of these comics stack up!

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

 


Roll Call


(You can see everything published this month HERE)

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

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


Teen Titans #33


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“Less Than Human?”
Writer: Bob Haney
Penciler: George Tuska
Inker: Nick Cardy
Letterer: Ben Oda
Editor: Murray Boltinoff

First up is a new Teen Titans adventure, and it’s a weird one, which is to be expected from Zaney Haney.  The stranger thing is that it follows in the similarly weird footsteps of Steve Skeates from last month.  The comic has a Nick Cardy cover, but it isn’t as fantastic as his usual work.  The image is a solid ‘scary discovery’ type of composition, but Cardy can’t seem to make up his mind on whether the menacing figure is a zombie or a skeleton (look at those arm bones!), so it just looks a bit confused.  Otherwise, it is pretty solid.  Inside, this comic picks up directly from the last issue, in the poorly conceived and developed fantasy world that was created by the Butterfly Effect of Mal and Kid Flash’s journey into the past.

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The young heroes face a test in the form of an archery competition, a-la Robin Hood, and somehow Kid Flash duplicates the forester’s famous shot.  I expected this to be revealed to be a super speed trick, especially when the arrow begins to drill into the lock on its own, but it’s never actually explained.  So, we could just assume that Wally is somehow an expert archer.  It’s a bit clumsy, but Haney has no time for explanations or logic!  Instead, a hulking skeleton, the animated remains of the caveman they killed, comes charging out of the door, and the Titans are terrified, so terrified, that Mal actually breaks and runs.

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However, he doesn’t run too far, as he grabs the ‘Duke of Galaxy’s’ helmet and dons it before charging back towards the apparition.  And a specter it proves to be, vanishing into thin air.  ‘Jupiterius’ explains to the youths that ‘Cerebella’ (get it?), Lilith’s alternate future counterpart, used her mental powers to fill Mal with fear.  Since they successfully passed their trial, he will show them how to travel back in time ‘to put right what once went wrong!‘ 

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The wizard takes them to “The Well of Time,” where they take a piece of its crystallized water and find themselves back in the Stone Age, facing their anachronistic antagonist.  This time Flash knocks the club away without sending the caveman crashing over the cliff, but the marauding Cro-Magnon (who looks much more like a neanderthal) manages to grab him…somehow.  The crystals that hold them in the past fade during the fight, and the young friends find themselves back home…but they have picked up a chronological  hitchhiker!

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The caveman, grappling with Kid Flash at the moment of their return, went with them, and suddenly the entire team find themselves in a desperate struggle with the powerful savage.  When they manage to incapacitate him, Mr. Jupiter oh-so-helpfully proclaims that he is not going to send their visitor back home because it turns out time travel is a tad dangerous.  Gee, ya’ think?  It’s a shame you didn’t figure that out before you lost two teenagers in time!

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So, instead Jupiter instructs the team to tame the caveman, turn him into a modern man…which is problematic in multiple ways.  Most importantly, this scene points to a major plot hole.  Killing this caveman really messed up the timeline and caused a whole alternate future, right?  But removing him from his era entirely doesn’t have any impact on the present?  That’s just ridiculously sloppy writing, even for the Zaney one.

Nonetheless, in the present the caveman, who they dub “Gnarrk,” after his only vocalization, must stay.  The Titans bring Robin in to help them with their new pupil, and after devising a curriculum, they start with the first and most important step…appearance!  The first thing the team does is sedate their savage student and give him a shave and a hair cut, which doesn’t please the fellow too much when he awakens.  He grabs Lilith through the bars, but fortunately she is able to communicate telepathically with him, and they make friends.

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The most amazing part of this comic isn’t the time travel or the magic but the fact that Lilith does something useful!

After a poor start with subliminal education while he sleeps, the Titans take the caveman out on the town pretty much immediately, which seems wildly irresponsible and unnecessary.  Predictably, it goes poorly, and Gnarrk attacks a car, thinking it is some type of monstrous animal.  Then he gets spooked by a train, and the team has to split up and search for their charge.  When they recover the kooky Cro-Magnon, they discover that he has observed a local city councilman involved in a payoff, and they realize that Gnarrk has just become a damning witness against a major crime figure…but a witness who can’t testify!

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This is actually a rather original and entertaining situation, all other concerns aside.  You can say this for Haney, he certainly was creative!  Well, the Titans immediately redouble their efforts.  After two weeks of intensive training, they take their time-tossed guest to the D.A., for some reason in a major hurry, despite the fact that there seems to be no real external pressure.  Nonetheless, Lilith, having grown close to Gnarrk, tries to shield him from the frantic efforts of the others, but when she takes him out for a walk, the pair are attacked by gangsters and narrowly avoid a bomb.  Fearing for her new friend, the enigmatic lady slips away with him, planning to hide Gnarrk until after the hearing so he won’t be in danger.

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Of course, this works about as well as you might imagine, and for some strange reason, the young caveman proves to be slightly less safe hiding out in a van in the woods than surrounded by superheroes.  Gnarrk tries to confess his feelings for Lilith, who is apparently quite the ridiculous hippie, given her psychedelic surroundings, but she shoots him down.

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TeenTitans_v1_033-20-1-19 - CopyThis is followed quickly by being shot down herself in a more literal fashion as bullets riddle the van and the vaguely-powered vixen is hit.  The Caveman goes crazy and tears into the attackers.  The rest of the Titans arrive just in time to talk him down from killing his captives, but the Cro-Magnon chooses to do the right thing, sparing the would-be killer.  The next day, Gnarrk appears in court and haltingly gives his testimony, bringing down the crime boss, and the comic ends with Lilith and her newfound friend walking off together, arm-in-arm.

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Once again, Haney packs enough into a single issue of a comic to fill three normal books.  He seems to pretty immediately lose interest in the time travel tale, instead settling on the weird and reasonably original angle of a caveman in the modern world.   That story is fairly entertaining, and the character’s growing fondness for Lilith is actually rather touching.  The scene where he tries to tell her how he feels, only to have her shut him down makes you feel for the guy.  For her part, Lilith continues to be super vague and undeveloped, which annoys me, and her plot-fortunate powers seem rather convenient.  That’s not terribly surprising with the Zaney one doing the writing, as character personalities and powers change at his whim.

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This is a common problem with his work, but it is magnified here because even the questionable unity provided by Haney is lacking in this Titans book, with the authorial duties shifting every other issue.  The inconsistency and uncertainty of direction is really clear with this issue, which clashes with the story started by Steve Skeates, whose plotlines are almost immediately abandoned.  George Tuska’s art is lovely as always, and he does some really great work with Gnarrk’s face, which is particularly important considering how little dialog the character has.  I think Nick Cardy inking Tuska also adds a bit of continuity to the visual side of the book, which is nice.  The most intriguing part of this issue was the introduction of Gnarrk, who, despite being the focus of the story, receives relatively little development.  Apparently he goes on to play a role in the Titans mythos in the future, but tellingly, none of the references I could find about him make any mention of this story.  I’m curious to see what will become of him.  (I wonder if he went on to become a lawyer).  In the end, this is a comic with a lot of imagination that has some flaws but is still a fun read, so I’ll give it 3.5 Minutemen, with its creativity raising it above the average.

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World’s Finest #203


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“Who’s Minding the Earth?”
Writer: Steve Skeates
Penciler: Dick Dillin
Inker: Joe Giella
Cover Artist: Neal Adams

I have been really looking forward to this one, especially after Aquaman’s own book met its unfortunate demise.  I have been excited to see my favorite character team up with the Man of Steel, and written by submarine scribe supreme, Steve Skeates, no less!  Fortunately, this issue doesn’t disappoint, though it doesn’t have the most gripping of covers.  It’s not bad, but it is rather excessively yellow, and the scene is rather more suggestive than exciting.  Nonetheless, the monstrous creatures walking away from our heroes hold a bit of menace and the figures are well drawn, which is no surprise from Neal Adams.  Nonetheless, the story inside delivers something pretty enjoyable.

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It starts with everyone’s favorite Sea King discovering a strange phenomenon, an underwater rainbow, and when he investigates, he hears a strange, high-pitched buzzing which leads him to a ruined research station on a seemingly abandoned island.  In the wreckage, the Marine Marvel discovers a torn journal page with a cryptic message about ‘raising him’ and a warning that ‘they plan to drown the world.’  That doesn’t sound good!

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As he continues to search the island, Aquaman encounters a quartet of strange looking creatures, seemingly humanoid dolphins, and he can’t help but laugh at their awkward, waddling walk.  Real sensitive Arthur!  The creatures take this none-too-kindly, and the Sea Sleuth suddenly is hit with a mental attack and passes out!  I’m not crazy about this scene as Aquaman, of all people, should probably be both a bit more accepting of and a bit more used to strange aquatic beings, but I suppose we’re meant to take it as harmless mirth.

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Dillin really knocks it out of the park on Aquaman in this issue.

Meanwhile, a very snappily dressed Clark Kent encounters a frantic stranger on the streets of Metropolis who is desperately searching for Superman.  Before the reporter can calm him down and enjoy the irony, the disguised figure mentions something about ‘the change’ coming over him and somehow renders everyone nearby blind, even affecting the Man of Steel’s superior eyesight!  It seems to the Action Ace’s blurry vision as if the figure splits in two and then races off, but after his vision clears, he manages to pick up their trail on the coast.

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Clark, rockin’ the paisley ascot.  I wonder why Lois won’t go out with him?

 

The Man of Tomorrow follows these odd aquatic beings across the sea and discovers Aquaman’s still form, managing to return him to the water just as the Atlantean’s hour was running out.  Quickly catching each other up, they return to the isle and encounter the creature that had been seeking Superman in the first place.  This alien-looking being fills the two heroes in on the situation.  Apparently he was born a mutant, but a mutant dolphin, which is sort of a fun twist.

He was a humanoid being, and his marine mother abandoned him.  Fortunately, a team of scientists working on the island rescued and reared the young mutant, who grew rapidly and proved to be brilliant, quickly learning English.  He also developed strange sonic (or perhaps psionic) abilities, which he often used to summon displays of light, creating submarine rainbows for his own amusement.

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Still, he was lonely, as well as clumsy and awkward on the land, which earned him the laughter of his adoptive family, embittering the young creature.  He longed for a companion, someone like him, and suddenly one day, in response to his desire, he split in two, reproducing asexually.  His new brother possessed all of his knowledge, but none of his compassion.  There’s something of a similarity here to the Sand Superman of O’Neil’s.

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The strange sibling inherited only the original’s anger, and the process proved continual, with more twins born every few days.  Soon they drove the scientists away and began plotting to destroy the human race which had mocked them.  The original dolphin-being warns the heroes that his freakish family plans to drown the Earth by using their sonic powers to melt the ice caps!

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Together, the trio take off for the North pole, where the dolphin-men have gathered.  However, the malevolent mutants sense the heroes approaching and launch a sonic attack that affects Superman’s brain (and we get an educational little map of the human brain to illustrate the point, which is a nice touch).  Suddenly the Man of Steel streaks into the sky, charging a massive creature seemingly composed of sonic energy, yet he can never seem to make contact with it.  Strange!

Under the waves, the Marine Marvel presses the attack, and while he and his flippered friend hold their own, the weight of numbers soon threatens to swamp them, so the Sea King calls in an army of fish to cover his retreat.  As the mutants search for him, they fail to notice a seemingly harmless whale as it gets close, but suddenly Aquaman bursts from the creature’s mouth and slams into his aquatic antagonists!  It’s a great sequence, and Dillin does a really nice job with it, other than one slightly awkward pose.

As the Marine Marvel tears through his foes, he manages to disrupt their attack on Superman, who suddenly realizes that the monster was an illusion and dives back into the undersea brawl.  The two heroes make short work of the creatures.  Once they have been captured, Superman gives them a fiery speech, lambasting the mutants for their violent response to human ridicule, arguing that they should have worked to earn respect instead.

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Oddly, this prompts Aquaman thinks to himself that his friend “has that unbearable establishment ‘twang’ in his voice!”  That’s…a weird choice for the King of Atlantis, and it really just doesn’t fit the character, a grating sour note, way more suited to the current, obnoxious characterization of Green Arrow, made all the more surprising because it was written by Skeates, who has previously shown such a great grasp of the character.  Maybe Aquaman has been spending too much time with Ollie!

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Despite that, there is a certain interesting element to this scene, as there is some buried social commentary in an authority figure telling an abused minority that they just needed to prove themselves to the powers that be.  Given the racial issues of the day, I wonder if this was a subtle jibe or just a coincidence.  Whatever the case, after his speech, the Metropolis Marvel gathers the mutants up and flies them to an unpeopled inhabitable planet where they can create their own world, free from humanity and no threat to anyone.  On Earth, Aquaman ponders the case, and the married mariner thinks that it makes a certain amount of sense that this species that developed without love was also one that lacked an opposite sex.  Arthur, you romantic, you!

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This is a great little adventure story, and for the first time in far too long, it’s one in which Aquaman actually gets to be useful.  Yet, he isn’t just useful, he positively steals the show, which isn’t easy to do when sharing space with Superman!  The Sea King puts on a great showing in this comic, which I expected from a story by Skeates.  The threat that the heroes face is an interesting one, and the tale of the original dolphin-creature (who Skeates really should have given a name) is rather touching in its own way.  His loneliness, being the only one of his kind, is fairly poignant, and I quite like the little scene of him hanging out underwater, ‘singing colors’ to himself.

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The one real problem with the issue is that the motivation for the mutants’ hatred of mankind is a bit weak.  I’d have liked to see a bit more development to that part of the tale, but Skeates is moving pretty quickly in the space he has to work with and packs a lot in here, including a great action sequence.  It’s a shame the original dolphin-man got exiled to another world with the others, as he seemed like a decent sort and an interesting character.  If there were still an Aquaman title, he’d have made a fun addition to the supporting cast.

In terms of the art, Dillin is in particularly rare form on this book.  His work is great, and he creates some really striking panels, like the gathering of dolphin-men, Aquaman’s fish army, and the drowning city.  The creatures themselves have a pretty good design, strange enough to be a little creepy but anthropomorphic enough to be sympathetic as well.  This is just a lovely, imaginative, and well-realized issue.  I thoroughly enjoyed this comic, and it was great to see Aquaman back in action (in a good light).  While the story could have been expanded, it was great fun as is.  I’ll give it 4.5 Minutemen.

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The Head-Blow Headcount:

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Another month without any new visitors to the Wall of Shame.  I wonder if anyone will succumb to the siren song of the headblow in the comics to come!

 


Final Thoughts:


June has proven to be quite a month!  There were a lot of really enjoyable comics in the line-up this time, including some very pleasant surprises, like Flash tangling with an honest-to-goodness super-powered opponent, and in a good issue, to boot!  We also had a lot of stories that illustrated the transitional nature of this era, comics with more ambition than accomplishment that nevertheless illustrated the growing maturity of the medium.  This month’s JLA certainly fits that description!

In general, the trends we’ve been observing continue this month, with a definite presence of socially conscious stories and a push towards darker themes.  Even in light-hearted series, like Superboy, we find a story about witches and warlocks.  It’s a silly tale, but it still evinces a growing interest in the supernatural in comics.  Considering we’re only a year away from the premiere of Kirby’s Demon series and soon to see the return of the Specter, I suppose that shouldn’t be surprising.  These are only the first steps of the mystical revival of the Bronze Age, and there’s much more to come!

Interestingly, among the socially conscious comics on the stands this month, we find another dealing with the plight of the Native Americans.  Considering that last month also featured such a tale, this is decent evidence that the topic was in the zeitgeist.  Fortunately, one of my awesome readers mentioned that this was certainly the case, and pointed to the publication of books like Bury My Heart at Wounded Knee and the release of films like Little Big Man in 1970, both of which dealt with the subject and helped to begin transforming the public’s perception of Native Americans and the history of the West.  I’ll be interested to see if this trend continues and if we find more stories from DC on the topic in the months and years to come.

Of course, Kirby’s Fourth World continues to develop in his various books, and we got two slam-bang issues to enjoy this month.  The King keeps tossing out concepts and telling exciting stories, and even his action-heavy issues have unique elements like this month’s Mr. Miracle and the proto-fabber it contained.  There’s not a ton of development of the larger mythos in these two books, though we do see the debut of Granny Goodness and get some more hints of just where Scott Free comes from.  It’s really impressive that Kirby as able to keep so many titles moving forward and rolling out his nascent mythology across these different books.  They really all do work together very well, creating a greater whole.  Reading them in collection, I didn’t really appreciate what a complex dance he was doing.

Of course, Kirby’s titles are not the only books that are growing and evolving.  Denny O’Neil is continuing his renovation of Superman, spinning a thoroughly enjoyable yarn this month, but more importantly and more memorably, he also delivered one of the greatest Batman villains of all time in a comic that was an instant classic.  The deservedly beloved Batman #232 gives us R’as Al Ghul and brings the Dark Knight solidly into the Bronze Age with a mystery and adventure tale that highlights everything that makes the character who he is, from his detective skills, to his courage, to his brilliance and physical ability.  This is the Batman I love, and it’s great to see him in action.

So, all in all, it was a really solid month, with a few clunkers but plenty of fun, readable comics.  What’s more, it demonstrates the growing character of the age in some really interesting ways.  I hope that y’all enjoyed this portion of our trip, because we now bid adieu to June 1971!  Please join me again soon as we begin our trek into the next month and see what awaits us there!  Until then, keep the Heroic Ideal alive!

Into the Bronze Age: May 1971 (Part 2)

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

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

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


Roll Call


(You can see everything published this month HERE)

  • Action Comics #400
  • Adventure Comics #406
  • Batman #231
  • Brave and Bold #95
  • Detective Comics #411
  • The Flash #206
  • Forever People #2
  • G.I. Combat #147
  • Green Lantern/Green Arrow #83
  • Justice League of America #89
  • New Gods #2
  • Superman #237
  • Superman’s Girlfriend, Lois Lane #110
  • World’s Finest #202

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


Batman #231


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

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

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

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

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Trying so desperately to be cool and failing so tremendously…

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

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

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

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

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“Wiped Out”


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

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

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

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Check out dapper young Dick’s fabulous pink ascot.

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

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Brave and the Bold #95


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

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

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

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

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

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

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

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

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

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

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

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

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

Into the Bronze Age: April 1971 (Part 6)

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Faster than a speeding bullet, more powerful than a locomotive, able to leap long-boxes in a single bound, it’s Into the Bronze Age!  I’ve certainly got an interesting pair of books in this post as we finish out the end of the April, 1971.  All of these stories are unusual in one way or another, so it shouldn’t be a boring batch, if nothing else.

I want to thank all of my readers for your patience as I’ve been moving slowly on this feature lately.  I’m rushing to finish a great deal of my professional work here at the end of the summer, which sadly leaves me little time for this pleasant diversion.  Anyway, thanks for sticking with me, and I promise to keep limping along steadily, if not rapidly.  Well, without further ado, let’s see what awaits us at the end of the month!

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 #399
  • Adventure Comics #405
  • Aquaman #56 / (Sub-Mariner #72)
  • Detective Comics #410
  • The Flash #205 (Reprints, won’t be covered)
  • Mr Miracle #1
  • The Phantom Stranger #12
  • Superboy #173
  • Superman’s Girlfriend, Lois Lane #109
  • Superman’s Pal, Jimmy Olsen #137
  • Superman #236
  • Teen Titans #32

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


Superman #236


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“Planet of the Angels”
Writer: Dennis O’Neil
Penciler: Curt Swan
Inker: Murphy Anderson

“The Doomsayer!”
Writer: Dennis O’Neil
Penciler: Dick Giordano
Inker: Dick Giordano

Say what you will about Denny O’Neil, he was unquestionably an innovator, always trying something different, though it didn’t always succeed.  Today’s cover story is just such an experiment.  It’s interesting and unusual, but not entirely effective.  The cover is certainly striking, picturing the Man of Steel facing off against demons at the very gates of Hell, a very unlikely image for a Superman comic.  O’Neil has been trying to shake up the status quo, to bring new life and energy to the rather staid hero, and he’s been succeeding so far.  This comic isn’t quite as successful as some of his previous efforts, though.

It begins with a fun little scene where the World’s Finest team of Superman and Batman bust some safe-crackers.  O’Neil and Swan manage to make them both seem useful, despite the fact that the invulnerable, super-fast sun god could easily have handled these two ordinary crooks before Batman so much as put on his cowl.  Swan really does a great job with this team.  The effect is enjoyable, despite their incongruity.  Superman offers to buy his partner a cup of coffee, and I’m deeply disappointed that we don’t get to see a HISHE style scene with the two heroes sipping java in a cafe.

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Missed opportunities aside, after the Dark Knight begs off because he’s bushed, the Man of Tomorrow heads to his Fortress of Solitude where he tries out a ‘brainwave project’ that he’s been working on, a device that will compare his brainwaves to those of a normal human.  Envying humans and their need for sleep and dreams, he tries out the gadget and suddenly finds himself on a strange world!  What’s going on?

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He’s on a fiery plane where he is suddenly attacked by a gang of demons straight out of pop-cultural portrayals, right down to the goat-feet and pitchforks.  Their polearms glance off him harmlessly, and the Kryptonian easily repulses their attack.

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Just then, he is greeted by a trio of angelic looking figures who introduce themselves as Gabriel, Raphael, and Michael, Christian archangels who tell the Man of Steel that he’s in the afterlife.  They stand amid beautiful green hills, and below them burns a sulfurous pit.  They display the popular misunderstanding of theology that Hell is for “those who follow not the paths of virtue,” and tell Superman that he has died and must prove himself worthy of Heaven by slaying the demons below.  Something about this seems off to him, but the Action Ace heads into the flames nonetheless.

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In the pit he discovers a massive gate and is haunted by twisted images of his friends appearing in the flames.  Realizing that something is off, Superman decides to use his head, and he tunnels underneath the gate, easily disarming the ‘demonic’ guards on the other side, where he tries to get some straight answers out of one of their number.

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The ‘fiend’ tells the Metropolis Marvel that what he sees is an illusion caused by the ‘angel’s’ hypnotic powers.  With concentration, the Man of Steel sees, not a demon, but a uniformed alien, who tells the hero that he and his fellows are law officers who were chasing criminals, those same ‘angels,’ who lured them to this planet and trapped them.  The criminals telepathically summoned Superman to destroy their enemies for them.

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Confronting the false heavenly host, the Man of Steel sees through their illusions, including phantoms of his friends being threatened, and charges through their weapon blasts to knock two of them out.  The third escapes, however, carrying a powerful bomb (through deep space!), with which to destroy the Earth!  The Man of Tomorrow catches up just in the nick of time and stops the antagonistic archangel, returning him and his fellows to the lawmen (err…law-aliens?), and repairing their ship.  The tale ends with Superman back in the Fortress of Solitude, where he reflects that he had a living dream, even though he didn’t sleep.

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This is a weird issue.  I like how Superman picks up on the incongruous elements of the ‘angel’s’ stories and setting, and I like his willingness to question figures of even the ultimate authority.  It shows a greater maturity for his character than we’ve seen in the past, and these are obviously elements that O’Neil has been trying to develop.  Yet, precisely what is happening in the story is rather unclear.  Does Superman’s device cause him to dream?  Is this a real and random encounter that has nothing to do with the device?  It’s really ambiguous, and unintentionally so, I think.

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Neither possibility lines up perfectly with the story as told, and there doesn’t seem to be any overriding point to either possibility either.  Add to that the fact that Superman just absolutely breezes through all of his challenges in this story, despite the fact that O’Neil has been trying to present him as less all-powerful and the presence of alien weapons that could reasonably have presented a threat to him, and you’ve got an uneven tale that feels a bit sloppy.  I’m also a little disappointed that the ersatz angel’s appearances weren’t illusions, as it seems incongruous for aliens to be flying through space in robes and without any protective gear.  I understand what O’Neil was going for with his little ‘evil can be beautiful’ touch at the end, but it still doesn’t quite work.  In the end, I’ll give this off-beat issue 2 Minutemen, with the dip below average primarily because of its unnecessary ambiguity.  It’s strange but ultimately forgettable.

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“The Doomsayer!”


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While the first story was something new, this backup is something old.  This is another ‘Fabulous World of Krypton’ backup feature, though, honestly it feels like a bit of a gyp.  The frame-tale guest stars Green Arrow and Black Canary, so take a wild guess what the theme is.  If you guessed ‘yet another preachy environmental yarn,’ you win the cigar!  This story just doesn’t fit the tone of Kryptonian tales, and it’s a good example of what happens when you shoe-horn in a message, prioritizing that over story.  It all begins with Superman, Green Arrow, and Black Canary having a picnic, which is a fun idea, but a rather odd set of characters.  Predictably, Ollie starts bellyaching about a nearby factory that’s spewing out pollution.  At this point, why does anyone even hang out with this annoying archer?  Well, this reminds Kal-El of a story from the glory days of Krypton, the story of a city called Surrus.  In this city there grew special flowers, the Surrus blossoms, that sang a beautiful, calming song that had an almost soporific effect on the populace.  Shades of the “Lotus Eaters!”

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This city was also home to a scientist named Mo-De, who discovered the fate of Krypton twenty whole years ahead of Jor-El!  After he made his discovery, he rushed out into the city streets and started playing Jeremiah, telling the citizens that there was still time to act.  The people didn’t want anything to do with him, just wanting to be left alone to listen to their flowers.  In desperation, Mo-De rushed into the fields and cut down the blossoms, but the enraged citizens, finally shaken out of their lethargy, beat him mercilessly and locked him in a greenhouse with more of the singing sprouts.

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Eventually, the sounds break his will, and he emerges another zombie-fied lotus eater, err…flower listener.  He passed the remaining years in peace, but died with the rest of Krypton.  After Supes finishes his story, Canary is horrified, and she rushes off to have a word with the factory’s owner, having been shaken out of her lethargy.  “Message for you, sir!”  It’s a shame it was so subtle.  I almost missed it.

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This isn’t a bad story, really.  It just doesn’t really belong here, and the entire thing feels forced, from the odd picnic with these characters that don’t really seem to have much in common (all in costume, no less), to the rather Twilight Zone-esq plot, which just really doesn’t seem to fit the utopian, highly organized Krypton that we’ve seen before.  O’Neil does a good job of economical storytelling, packing his preachy message into seven short pages pretty efficiently.  The message itself, though feeling a bit repetitive because of its environmental theme, is actually a slightly unusual one and not half bad.  Focusing, not on the pollution itself, but on the populace’s apathy, their greater interest in their entertainments, their distractions, than on their future, is a good angle.  The execution of the plot itself isn’t half bad, with the crowd’s reactions and the scientist’s fate all fairly creepy and menacing.  The fact that O’Neil did use Krypton allowed him a certain amount of shorthand with the fate of the planet, which helps his efficiency in storytelling.  There is also significance in the continued push towards social relevance, even in such an unlikely place as the Krypton backups.  Taken all together, this little yarn is worth 3 Minutemen, with the incongruous elements limiting it to an average score.

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P.S.: There’s also a somewhat clever joke in the name of the town, as “SUSsurrus” is a word meaning a soft murmuring or whispering, something of an indistinct, gentle noise.


Teen Titans #32


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“A Mystical Realm – A World Gone Mad”
Writer: Steve Skeates
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Joe Letterese
Editor: Murray Boltinoff

Steve Skeates’ tenure on the Titans book continues this month, and we get a rather weird story under a fairly awesome cover.  The peril of the two Titans in the image is pretty dramatic, and the dragon is quite impressive looking.  The whole composition has a dream-like (or perhaps, nightmare-like) quality that smacks of the twisted fairy tale we find within. The story it represents begins with a scene that takes in media res too far, with Kid Flash and Mal traveling through time and referencing events that the reader hasn’t seen.  It seriously made me go back and check the last issue to see if I had forgotten something.  It’s a clever scene given the use of time travel, as it begins ‘in the present,’ but it’s probably too clever for its own good.

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They think they are back in 1971, but instead of finding familiar surroundings, they discover medieval-looking peasants and, of all things, a dragon!  Kid Flash’s speed manages to get them to safety, and only then do we get the flashback we’ve been needing.  It seems that Mr. Jupiter, the vague and largely pointless patron of the Titans team, is apparently a scientist as well as a millionaire.

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One day he was experimenting with a time-travel device, just casually running incredibly dangerous and unstable tests in his building with a bunch of teenagers around.  Something went catastrophically wrong (shocking, I know), and Mal was flung back in time.  Cardy’s rendering of the page is really cool, but the scene is rather dumb.  It’s pretty clear that we’re moving at the speed of plot, here.  Also, here is yet another experiment that could conceivably destroy the world as we know it.  I’m thinking that the safest course of action in the DCU would be to ban science in general.

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Mal finds himself back in the Stone Age, facing a tribe of cavemen who begin to worship him because they saw him appear out of thin air.  Apparently the young man listened to the Ghostbuster’s good advice, as he plays along.  Meanwhile, back in the present, Jupiter feels bad for about half a second for how his irresponsibility and complete lack of safety standards hurled an innocent kid through time.  The other Titans encourage him for some reason, and Kid Flash makes plans to take a jaunt through time to try and find his friend.

Back in the past, Mal finds trouble by stealing a caveman’s cavegirl and finds himself in a club duel.  Cardy renders the fight beautifully, and Skeates doesn’t spoil it with dialog.  Mal holds his own, but a misstep leaves him hanging onto a cliff, just as Kid Flash arrives.  As the caveman prepares for a death-blow, the Fastest Boy alive knocks the club out of his hand, but he manages to bean himself in the process and earns a spot on the Head-Blow Headcount, as well as sending the neanderthal plummeting to his death.  With the hero knocked out, there’s no way to save the savage, which doesn’t seem to bother the boys much.  They take manslaughter awfully casually.

In the altered present, Kid Flash realizes that they’ve unintentionally changed history with the death of that caveman.  The young speedster knows they must go back and save the neanderthal, but he needs a cosmic treadmill to do it and doesn’t know where to find one in this medieval world.  The peasants from earlier mentioned sorcerers, so they set out to try to find someone with the power or knowledge to help them.  Discovering a castle, the pair are greeted by illusory monsters in the moat, but they manage to get past them by pole-vaulting onto the battlements, despite a mysterious hooded figure’s interference.

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It’s a nice sequence, but it gives us one of the stranger dialog exchanges I’ve seen in a while.  Mal says to Wally, “Love your white soul, brother Titan!” and his partner responds “Love your black one, Mal–and if I’ve got any soul–you taught me how!”  It’s a pretty goofy exchange by today’s standards.  I understand what Skeates was aiming for, and it makes more sense in the context of the racial tensions of the day.  In addition, there’s some decent character development in this passage and the story as a whole, as Kid Flash was the most antagonistic to Mal in their earlier encounters.  This emphasis on racial unity, however silly the setting and clumsy the effort, is an interesting and thoughtful move on Skeates’ part.  Nonetheless, I can’t help laughing when I read it.

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When the pair reach the castle’s walls, they discover that the wizard is none other than Mr. Jupiter, who here is known as Jupiterius, and he has a quartet of super-powered knights who are ersatz counterparts to the Justice League, including Batman, Superman, the Flash, and Green Arrow, which is a fun little touch for this alternate reality.  The boys ask the sorcerer for help, but he and his champions insist they pass a test to prove their worth first.

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Their first challenge is a test of bowmanship.  Weirdly, they are confronted with Lilith and Speedy, who look like their modern counterparts with no good explanation.  It’s supposed to be some type of trick, but I don’t really see the point of it.  Nonetheless, things seem pretty hopeless.  How can Kid Flash compete with Speedy in his element?  Well, despite the boy bowman making a perfect shot at a keyhole, Kid Flash manages to pull a Robin Hood and split his arrow.  Even more, his shaft manages to slice through the other and unlock the door.  The tale ends with the time-tossed Titans facing whatever mysterious menace awaits on the other side!

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This is certainly an entertaining and unusual story, but it feels very uneven.  What Skeates is trying here is creative and promising, (I always like an imaginative alternate reality) but his execution is just rather off.  It’s fun to see the medieval Justice League, a concept that will be revisited a few times over the years, but they don’t really do anything, and the addition of Mr. Jupiter feels a bit shoe-horned.  Sure, he’s important to the Titans, but his presence with the League implies a more important role in the DCU than really seems warranted.  Of course, I may just be letting my dislike for the pointless character color my reading.  As for the death of the caveman, I think I would be much more bothered by that if it wasn’t pretty clear that the heroes will reverse it.  Nonetheless, I would have liked to see Wally deal with that at least a little bit, rather than immediately shrugging it off.  Honestly, after reading this story, I had to double check to make sure it wasn’t ‘ol Zany Haney.  I was certain that this was one of his half-baked yarns, as the wild world the characters visit just feels more random than thought–out.  Needless to say, the art is gorgeous, and Cardy does a great job with all of the medieval and fantasy elements.  His soft, sketchy work really sells the illusions and mystery of the book.  In the end, it’s a fun if flawed and strange story, so I’ll give it 3 Minutemen.

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The Head-Blow Headcount:

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We’ve got a bunch of new additions to the Wall of Shame this month.  Poor Aquaman makes yet another return, but he is in good company as Batgirl, Mr. Miracle, and Kid Flash all join him.  This puts Batgirl back ahead of Robin, sadly for her.  The Headcount certainly drives home just how much of a trope this is, with so many of our stars showing up on it.  I wonder if we’ll ever see the Last Son of Krypton gracing this feature.


Final Thoughts:


And that finishes up April 1971!  This is a month of endings and beginnings, a month of specters and spooks, and a month of innovation as well as repetition.  The books of this month reflect the paradoxical nature of this era in DC Comics, with the extremely conventional sharing space with the experimental.  At the same time Leo Dorfman is turning out standard Silver Age fare, Denny O’Neil is working to revamp Superman, all while Jack Kirby is busy pushing the boundaries of the medium.  Notably, while O’Neil fails to challenge the Man of Steel, Kirby finds great success with both physical and dramatic obstacles worthy of Last Son of Krypton.

Comics also seem to be edging further into the long forbidden realms of horror and the supernatural, with two different tales this month featuring hauntings and wandering spirits.  This is to be expected in the Phantom Stranger, though his story once again proves mature and impressive, but the theme is surprising in the Rose and Thorn backup.  I am also surprised by my continuing enjoyment of the Lois Lane book as a whole.  It remains an interesting and off-beat change of pace in my monthly readings.

This month saw the end of Aquaman and the birth of Mr. Miracle, the death of something special and the advent of something unique.  One group of creators was denied the chance to finish what they started, while the King is finally given the chance to give form to the gathered inspirations of his unsatisfying final years at Marvel.

Social relevance continues to be a force, with even the last Aquaman title dealing with themes of pollution and human environmental impact in an oblique fashion.  Denny O’Neil, of course, continues to hit environmental themes, but even his prime Superman story this month has a touch of social commentary in its subtle encouragement about questioning appearances.

We’ve also got superheroes accidentally killing people left and right this month, with both Supergirl and Kid Flash unintentionally taking a life.  We’re still in an immature enough era that these deaths are mostly unremarked and their moral dimensions almost completely ignored.  Hopefully we’ll see a more intentional approach to the moral responsibility of these characters grow up in the succeeding months and years.

In terms of form, we’re seeing more and more continued stories, with Supergirl wrapping up a several month long arc that actually did affect the character during its progression.  Rose and Thorn continues its episodic format, and Jimmy Olsen and the Titans books are doing the same.  This is providing the opportunity for more expansive plots and greater development.  I wonder if we’ll see that become the dominant form for most of DC’s titles.

Well, it was certainly an eventful month in comics, and there is still plenty more to come!  I hope y’all enjoyed this month’s books and commentary, and I also hope you’ll return soon as we begin another month of reading.  Until then, keep the Heroic Ideal alive!

 

Into the Bronze Age: March 1971 (Part 2)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Batman #230


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

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

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

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

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

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

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

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

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

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

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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)

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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.