Into the Bronze Age: March 1971 (Part 2)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Batman #230


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

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

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

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

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

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

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

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

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

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

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

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“Danger Comes A-Looking”


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

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

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

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

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

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

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

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Brave and the Bold #94


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

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

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

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

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

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

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Apparently Andy Warhol is leading the resistance.

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

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

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

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

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

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

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

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DRAMA!

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

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

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

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

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

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

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

Into the Bronze Age: February 1971 (Part 6)

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

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


Roll Call


(You can see everything published this month HERE)

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

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


Superman #234


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

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

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

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

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

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

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

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

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

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

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

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

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“Prison in the Sky”


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

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

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

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

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

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

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Teen Titans #31


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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“From One to Twenty”


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

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

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

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

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

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

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

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


The Head-Blow Headcount:

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

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

Into the Bronze Age: December 1970 (Part 5)

DC-Style-Guide-1

Hello Internet travelers, and thank you for joining me for today’s stop on our journey Into the Bronze Age!  This is the very last post covering the banner year of 1970.  We are standing at the threshold for the 70s proper, and soon we’ll be exploring a whole new year of comics.  We’ve got a promising trio of titles to examine in this post.  So, hop in your Whiz Wagon and join me as I investigate these classic comics!

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

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

  • Action Comics #395
  • Adventure Comics #400
  • Aquaman #54
  • Batman #227
  • Detective Comics #406
  • The Flash #202
  • Green Lantern/Green Arrow #81
  • Justice League of America #84 (reprints, won’t be covered)
  • Justice League of America #85
  • The Phantom Stranger #10
  • Superman’s Pal, Jimmy Olsen #134
  • Teen Titans #30
  • World’s Finest #199

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


Superman’s Pal, Jimmy Olsen #134


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

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

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

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

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

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

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

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

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

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Only Kirby could design this gloriously mad vehicle.

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

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

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

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

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

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

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

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Teen Titans #31


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

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

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

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

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

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

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

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

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

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

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

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


“Some Call it Noise”


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

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

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It does give us a charming image, though.

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

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

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

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

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

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

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World’s Finest #199


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

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

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

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

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

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

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

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

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

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

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

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

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

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Final Thoughts:


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

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

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

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

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


The Head-Blow Headcount:

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

Into the Bronze Age: October 1970 (Part 6)

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

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

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

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

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


Superman #230


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

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

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

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

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I am become Jor-El, destroyer of worlds…

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

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

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

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

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

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

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


Teen Titans #29


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

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

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

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

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

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

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

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

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

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

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Final Thoughts:


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


The Head-Blow Headcount:

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

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

Into the Bronze Age: August 1970 (Part 2)

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

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

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

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

Batman #224

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

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

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

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

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

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

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

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

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

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

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

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Teen Titans #28

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

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

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

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

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

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

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Cardy certainly draws lovely, soulful-eyed ladies

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

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

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

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

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

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

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Handsome fellow, isn’t he?

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

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

teen titans 028-27.jpg

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

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

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

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

 

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

The Head-Blow Headcount:

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

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

Into the Bronze Age: June 1970 (Part 4)

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Welcome to the fourth and final installment of my coverage of June 1970.  I’ve got an interesting pair of stories for you, so let’s get right to it, shall we?

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

  • Action Comics #389
  • Aquaman #51
  • Batman #222
  • Detective Comics #400
  • The Flash #198
  • Green Lantern/Green Arrow #77
  • Justice League #81
  • Phantom Stranger #7
  • Showcase #91
  • Teen Titans #27
  • World’s Finest #194

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

Teen Titans #27

Teen_Titans_Vol_1_27.jpg

Writer: Robert Kanigher
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: Ben Oda

Well, I wasn’t looking forward to this one; I’ll admit it.  Despite that, I also have to admit that this issue isn’t as bad as the previous one, though the stupidity of that story hangs around this one’s neck like an albatross.  This story is just…odd.  It is decidedly NOT a Teen Titans tale.  This is one of those late 60s space exploration movies, the ones that attempted to stay close to science fact.  You could easily pull the Titans out of this book and replace them with any generic space explorers, and it wouldn’t affect the plot one bit.  They don’t use their powers, they don’t don their costumes, and they don’t really DO anything.

Essentially, this entire story is marking time and reversing the unparalleled idiocy displayed by Mal last issue.  His pointless gesture of needless self-sacrifice, sneaking aboard to pilot a remote controlled space shot for Venus, prompts a frantic effort to save his demonstrably worthless hide.  The space program embarks on a crash construction project to create a new spacecraft to intercept and rescue Mal, saving him from his own stupidity.  (And you thought they went to a lot of trouble to save Mark Watney!)  The Titans are chosen to crew it instead of, you know, someone qualified.  They debate the worthiness of the young man’s actions as they prepare, somehow treating this whole ridiculous situation as if it had even the slightest shred of justification.  The best defense that his supporters can marshal is that Mal is ‘doing his thing.’  Yeah.  Great.  That’s tremendously compelling.

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I suppose I may be letting my bitterness about how asinine this entire story-line is show through a bit too much here.  I’m sorry, but as I’ve said, if there’s one thing I can’t stand, it’s logical inconsistency.  Well, the powers that be get the rocket built in time, and the Titans blast off, dropping a team off at the Moon for no discernible reason while Dove mans the controls of the main module, awaiting their rendezvous with Mal’s ship.  We get a two page roundup of the last several issues, and then we’re back in the present, and the present is mostly space procedural stuff.  You’ve got various readings being taken and reported, orders shouted, numbers and tossed back and forth, the usual.  Clearly, as we discovered with that Robin tale a while back, NASA and Apollo are on the brain for the creators and fans of 1970.

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Speedy, Hawk, and Wonder Girl (or generic astronaut’s 1, 2, and 3), the Moon team, land for their vague mission, but they discover that the materials left behind by Apollo 11 have mysteriously vanished!  The boys head out to search the area while the Amazing Amazon holds the fort.  The search proves fruitless, but when the two teens come back to the LM, they discover that the Lady Vanishes!  That’s right, Wonder Girl has disappeared as mysteriously as the Apollo 11 gear.

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Meanwhile, Kid Flash and deadweight, err, I mean Lilith, meet up with Mal.  The Fastest Teen Alive spacewalks to rescue their friend, but his tether to the module snaps.  He has to pilot them across space with a small jet propulsion device.  That’s right, he pulled an Iron Man, predating The Martian by about 40 years.

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We cut back to the Moon as those kids make their way back to the main craft, and we discover that a group of rather cool looking aliens, too well designed for the minor role they’re given, are the source of the strange happenings on Luna.  They appear carrying all of the missing items, including an unharmed Wonder Girl.  The creatures turn out to be friendly, and they share their story, which involved them leaving their home world to pursue strange radio signals, only to crash-land on Earth’s satellite.  They took the devices left behind by Apollo 11 to try to repair their ship, but when Wonder Girl explained things to them, they brought everything back.

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The kids depart, promising to send help soon (Superman could just give them a tow, I suppose), and all of the disparate craft link up, prompting their return journey, but not before Kid Flash earns some chauvinist points by responding to Wonder Girl’s statement that she was so happy to see him that she could kiss him by saying “Just like a doll!  Thinking of kisses when we’re still over the Moon!”  Classy Wally.

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On the way home, their oxygen mixture is off, and it drives them temporarily mad, setting them at each other’s throats.  Fortunately, the young speedster manages to have enough presence of mind to fix the problem, and they all make it home, safe and sound, where Mal will surely be thrown in jail for the rest of his natural life for stealing a multi-million dollar spacecraft and causing the expenditure of untold further sums to rescue his stupid self….at least, if there were any justice in the world…We end with an ambiguous tease for next issue that features little more than a woman screaming.

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This wasn’t a bad issue, taken strictly on its own merits, but not much happened and it was not, as I said, really a Teen Titans story.  The Nick Cardy art is beautiful, of course, though it makes me miss his Aquaman stories a bit.  This tale is fairly realistic, minus the aliens, and the attention to scientific detail, as well as the connections to the real and recent history of the space program, was surprising.  Unfortunately, it didn’t make for the most gripping of stories.  Of course, the whole of it is weighted down by the fact that the event that drives all of the action is insufferably stupid.  I’m looking forward to this current direction changing, as it doesn’t have much to recommend it.  The idea of these young heroes having to wrestle with the consequences of their actions is a promising one.  We’ve just seen an incredible movie dealing with the similar themes of the consequences of the use of powers in the form of Captain America: Civil War.  Clearly, the idea has legs.  This odd, pointless set of tales, however, aren’t worthy of setup.  I’ll give this particular story 2 Minutemen.  I’m taking off half a Minute for Mal’s imbecility.

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World’s Finest #194

World's_Finest_Comics_194.jpgCover Artist: Kurt Swan
Writer: Bob Haney
Penciler: Ross Andru
Inker: Mike Esposito

This was a surprisingly fun story.  I read it a while back, and it didn’t make a big impression on me.  It is by no means the height of comic craft, but it is definitely solid quality Zaney Haney, fun and not too insane.  It holds together reasonably well and displays Haney’s mastery of creating interesting, memorable one-shot characters.  The tale features the World’s Finest team with all of their vast power facing off against the overwhelming threat of…the Mafia?  That’s right, we continue this month’s trend of superheroes fighting non-super threats.  At least this feels somewhat fitting for Batman, and it also seems like the type of thing that Superman would involve himself in if it was necessary.  He’s really a ‘no job too small’ kind of guy.

The issue opens with young Dick Grayson doing a familiar act, but one which the world has not seen for some time.  He is back as the last member of the Flying Graysons, performing at a circus for charity.  At the same time, Batman is there, keeping an eye out for anything untoward, as the circus owner, a fellow named P.J. Farnum (get it?) has been pressured by the mob.  Suddenly, while Batman is distracted by a hood threatening Mr. Farnum, the Teen Wonder finds himself facing the same deadly fate that claimed his family!  The wires for his high-flying act have been sabotaged, and he begins plummeting through the air.  He hits the safety net, but it too has been cut!  The last Grayson continues his perilous plunge toward a seemingly intractable fate, but at the last moment he is rescued by…a clown?!?

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That’s right, Superman was on hand as backup, undercover as a clown puttering around the ring in a little car.  It’s a fun visual to see Superman half in the disguise, looking goofy, but smiling and waving to the crowd.  There’s something rather fitting for the Man of Steel, that he would be so unconcerned with his appearance and reputation that he would dress up in a silly costume and hang around in the background, getting no attention and no accolades.  It’s silly, but it’s rather nice.

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Unfortunately, the mafioso responsible for this “accident” slipped away, but he is only a small fish in a the growing problem of the Mafia.  The World’s Finest team decide that they must put a stop to this sinister organization, and they point out that it isn’t just a matter of busting heads, as these guys are professionals, very slick and very careful.  Even if they catch the rank and file goons, the organization continues because the folks at the top are protected by the law, seemingly being legitimate businessmen.  Of course, one would be forgiven for thinking that this really shouldn’t be that much of a problem for Batman, who could just make the mob leader cry like little girls, whether he could prove anything or not, but we’re still dealing with a fairly Silver Age-y Batman here, one who lounges around eating oranges while Hanging out with Superman, and who also plays much more by the rules.

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Anyway, the heroes decide to have the World’s Greatest Detective and master of disguise infiltrate the Mob…ohh, wait, no, they decide to have Superman do that…yep, Superman disguises himself as a forger and arranges an ‘introduction’ to the mob by faking a job on one of their banks.  His chutzpah and skills impress the boss, and he gets an introduction to Karl Lukaz, the “Big Uncle” who runs the organization, a rather distinctive looking fellow with an eye-patch and a soft spot for canaries.  It is in this fellow that we see Haney’s ability to create memorable supporting characters for these brief, passing roles.  However, the boss of bosses doesn’t welcome the incognito Man of Tomorrow with open arms.  No, he has to pass a loyalty test.  Now, what would be a fitting test for a forger?  Perhaps, forging something?  No, no, nothing so mundane.  Lukaz wants his new friend to murder Bruce Wayne!  Dun dun, dunnnnn!

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That’s right, he wants the forger to do some contract killing.  How did this guy end up running a criminal empire?  Every manager worth his salt knows you should let employees stick to their specialties!  Well, the disguised Metropolis Marvel arranges with his friend for Bruce Wayne to be “killed” during a charity polo match, and the supposed playboy billionaire’s horse is quietly tranquilized, sending him on a terrible tumble.

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Despite “Big Uncle” pulling a surprise inspection of Wayne’s body in the morgue, the deception holds, thanks to Batman’s foresight.  For his troubles, Clark learns of a secret stash of evidence that Lukaz uses to ensure the loyalty of his “nephews,” a stash that would provide the authorities just what they need to take the entire organization down.  The hero bends all of his efforts to locating this Damoclean Sword of evidence, but despite using his abilities in many clever and creative ways (subtly scanning with x-ray vision, reading computer tapes with microscopic vision, and more) he has no luck.  It seems “Big Uncle” is too smart to leave his Achilles Heel unprotected.

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Meanwhile, Batman is beginning to act a bit strangely.  It seems the fall from his horse didn’t do him any favors, and he is having terrible head pains.  Nevertheless, at Superman’s urging, the Dark Knight agrees to infiltrate the Mob as well.  One does wonder why this wasn’t the first plan.  After passing Lukaz’s test with some quick thinking and smooth talking, Batman is in position, but his efforts also turn up nothing, so the pair decide to put “Big Uncle” on ice in the Fortress of Solitude and have the Masked Manhunter take his place in hopes of weaseling the information they need out of Lukaz’s lieutenants.

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I love the thought of Superman just dropping a criminal off in the Fortress.  It’s hilarious and strangely sensible.  After all, where are they going to go?  Anyway, a meeting of the major crime bosses sees Batman’s head-trauma bear bizarre fruit, as he shows up in costume, but still disguised as Lukaz.  What’s more, he exposes Superman and presents him with a kryptonite funeral wreath, leaving us on a strange cliff-hanger!  What has happened to the World’s Greatest Detective and what will become of the World’s Finest team?!

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This was a fun issue, though it was a bit odd and silly around the edges.  The idea that Superman would be the one to go undercover really is rather strange, especially since his partner is the World’s Greatest Detective.  It does feel a bit like burying the lead.  Despite that, I enjoyed seeing Clark having to reason his way through his challenges, using his powers in subtle, careful, and thoughtful ways.  He can’t just punch his way through this problem.  Instead, he has to be clever, and I enjoy seeing Superman employ his brains.  Batman doesn’t get all that much to do, and his head-blow induced personality change (not quite right for the Head-Blow Headcount, sadly!) is an old device.  I’m curious to see where it will take us next issue.  This was enjoyable, and Haney managed to give the mob boss some personality instead of having him just be a stock character, the generic gangster type.  It was definitely a step up from last month!  All things considered, I’ll give this one 3 Minutemen.

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Final Thoughts:

So, how did this set of issues seem to y’all, my fine readers?  Personally, I think this was a pretty strong month.  We had some great stories, like JLA and Aquaman, and we also had a delightful surprise with Manhunter 2070!  That by itself was enough to make this month memorable.  In addition, we had a much more famous debut, with the introduction of Man-Bat.  Even though that comic wasn’t necessarily the greatest, it was exciting to see a classic symbol of the Bronze Age make his first appearance.  Of course, we also had some clunkers, like Teen Titans and GL/GA.  Yet, even missteps like these are beginning to look different.

These aren’t just groaners like the occasional bad Superman comic, overly goofy Silver Age pieces outliving their era.  No, these are issues that are much more the outworkings of a certain climate of ideas, products of their time.  As ham-handed as O’Neil’s writing was in the Green Lantern book, he was trying to wrestle with interesting and challenging themes.  In the same way, the Teen Titans book, despite the stupidity of the driving force of its plot, was a love letter to the space race and the culture’s obsession with the subject.

Though there wasn’t as clear of a common theme as there was last month, there were definitely some interesting trends to be noticed.  We saw hints of the social tensions of the day in the Batgirl backup and even, in a very subtle way, in Aquaman, with the Girl Friday’s shocking willingness to kill purely for the sake of prejudice.  Of course, we mustn’t forget the trendy Batman story featuring the Beatles…errr….I mean the “Twists.”  All told, this was a fun, interesting month, with some good touchstones for the changing culture and the changing genre.  Of course, we’re still seeing inconsistencies across the board, with certain characters evolving in one book but not another.  I’m curious how long such disconnects will continue.

Well, that’s it for June 1970!  I hope you enjoyed this trip with me, Into the Bronze Age!  Please join me next week as we begin our examination of July!

 

The Head-Blow Headcount:

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We had Batgirl join the not so illustrious company of the Wall of Shame this month, though Robin is still in the lead.

Into the Bronze Age: April 1970 (Part 2)

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Howdy readers!  I apologize for the long delay in posts, but the last two weeks have proven to be crazy busy.  I had hoped to get this post up by this weekend, but there was a pile of student papers that disagreed with me rather stringently.  Nonetheless, we are back on track now, and I hope to get back into the swing of things.

Time for another stride Into the Bronze Age!

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

  • Action Comics #387
  • Aquaman #50
  • Detective Comics #398
  • Green Lantern #76 (First issue of Green Lantern/Green Arrow)
  • Superman #225
  • Teen Titans #26

Bonus!: The Space Museum (Rolled over into the next post)

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

Green Lantern #76

Green_Lantern_Vol_2_76.jpgExecutive Editor: Carmine Infantino
Cover Artist: Neal Adams
Writer: Dennis O’Neil
Penciler: Neal Adams
Inker: Frank Giacoia
Colourist: Cory Adams
Letterer: John Costanza
Editor: Julius Schwartz

Well, here we are at last.  This story, more than any other single issue, defines the thematic beginning of the Bronze Age proper.  With this issue, Denny O’Neil and Neal Adams begin their famous run on this book, uniting DC’s two vermilion clad heroes to “discover America.”  This was a huge sea-change in comics.  We’ve already been observing the creeping turn towards social relevance and more serious stories, but that has been a fairly minor undercurrent in our readings.  It is the O’Neil/Adams tenure on Green Lantern/Green Arrow that brings those minor eddies into the mainstream in full force.

I’m afraid I’m probably not going to add too much that is really new to the discussion of these books, so be warned.  Their importance really shouldn’t be undersold, as this was the series that taught the industry that comics were a medium capable of tackling important social issues like poverty, racism, and drug use.  Of course, we’ll see the infamous issue where Green Arrow’s former sidekick gets addicted to heroin before too long in this title.  There is no doubt that this is an influential run, but my goodness, I really, really dislike it.  I understand its cultural importance and its status as a milestone for comics, but the problem is that these stories are all message and no subtlety, or perhaps more importantly, no joy.

O’Neil, as we’ve already observed, has a tendency to be a bit preachy, but in this book, that tendency is given full reign.  The result is an unbearably sanctimonious and mirthless series.  Reading about poverty, racism, and drugs sounds like a ton of furn, right?  Well, that’s part of the problem.  The joy and excitement of superhero tales gets left behind in the race to brow-beat the audience with this month’s message.  Now, this is not to say that comics shouldn’t deal with such issues, and I’m sure that there are a lot of folks running around today who had their eyes opened to some of our world’s problems by reading about them in Green Lantern.  Still, I think such tactics, much like the trends in modern comics, tend to miss the purpose of a world with superheroes.  Such a setting should really show us something to aspire to, something to hope for.  It can and should be a better world, though not a perfect world.

Of course, the main characters in this book suffer a similar fate to the stories themselves, quickly becoming entirely unlikeable.  Green Lantern loses all common sense so that he can repeatedly be taught lessons, while Green Arrow becomes O’Neil’s mouthpiece, and thus, intolerably self-righteous, with a certainty of his own sainthood magnified beyond all reason by the fact that the stories constantly bear him out as right.  The end result is a fascinating study of the time, but also a real chore to read these days.

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All of a sudden, Green Lantern’s world takes a turn for the ugly, and it happens so quickly, it must have given long-time readers whiplash!  This issue famously opens with the Emerald Gladiator flying above Star City, when he sees a businessman being attacked by some street punks.  He swoops down to the rescue, sending the young aggressor flying off to the police station and helping the older citizen to his feet.  Having completed his good deed, Hal turns to accept the accolades that he knows will be forthcoming from the crowd, only to receive a shower of cans, bottles, and verbal abuse.

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It’s a funny, surprising scene, and it certainly accomplishes its purpose, which is to knock readers off of their preconceptions.  It’s also a neat and unusual move, and it addresses a big problem with the standard practice of superheroes.  How much of the nuance of a situation can you absorb when you’re jumping down from rooftops and skulking in alleyways?  It isn’t easy to tell exactly what’s going on in every situation, and things like this would, in reality, probably happen quite a bit.  On the other hand, I don’t read books about invulnerable sun gods that can fly or men who fight crime by shrinking because I’m obsessed with realism.

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Well, the Emerald Crusader turns to lash out at the crowd (!), but he is stopped by Green Arrow, who has observed all of this.  Already, Hal is coming off quite badly.  Ollie gives Hal a quick tour of the particular slum he’s blundered into and explains that the fellow he saved is actually the local slumlord.

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That’s right, Arrow invoked Godwin’s Law way before the Internet

This is where we get one of the most famous, and infamous, moments from this book.  As the two heroes are taking in the squalor of their surroundings, an old black man approaches and asks Hal a question.  “I heard about how you work for the blue skins…”

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Well, this leaves our hero utterly stunned.  He can think of nothing to say in response to this shattering critique of his career as a hero.  This is, of course, where most of us reading this book throw our hands up and say “COME ON!”  The obvious answer to this is, ‘Oh, you want to know what I did for the black skins?  How about the time I saved the entire planet, your skin included, from the Qwardians, or how about when I kept Sinestro from enslaving all of humanity?  Or how about any of the other hundred times that I have rescued every last man, woman, or child of every last race that is or ever will be on this spinning rock?’

Green Lantern is, quite literally, above such complaints.  His job isn’t just to catch bank robbers or to stop muggers, he patrols the freaking cosmos.  Ohh, I’m sorry that life is unfair, but let me ask YOU a question.  Is it better to live in a slum and be ALIVE, or is it better to be space dust because I was chasing around after a slum lord instead of stopping the latest plot by a world-destroying menace?

Gah.  It galls me every time I read this story.  Of course, the guy does have a point, and just about any other hero who ISN’T saving the entire freaking planet every day should probably be pretty convicted by this.  But Green Lantern doesn’t fit the bill.  I realize that this is part of what O’Neil is doing.  He wants this contrast of powers and perspectives, and he especially wants to play with the concept of the Guardians of the Universe.  It would have been a bit more palatable if Hal had kicked, at least a little, at this, because he has every right to turn this back on his interlocutor.

But no, he hangs his head as if he’s the worst man in the world, and he begins his guilt-ridden journey with Green Arrow.  The issue follows the Lantern as he attempts to make up for his mistake by persuading the slum lord to have a change of heart and spare the poor folks who he is about to force out on the streets, but, being a slum lord, the fat-cat has no heart.  Thus, the Emerald Crusader’s words fall on deaf ears, and for the second time this issue, we see our supposed hero display a deplorable lack of self-control.  I thought the whole ring thing was all about willpower, but oh well, O’Neil has a sermon he wants to preach…err…a story he wants to tell.

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The Lantern prepares to lay this slimeball out, only to be stopped mid swing by non other than the Guardians of the Universe!  They tell him that the slumlord has committed no crime and order their ring-bearer to Oa, in no uncertain terms!  They refuse to listen to Hal when he arrives, and then they assign him a seemingly menial cosmic task, diverting meteors and then just hanging about in space.  Of course, this nicely illustrates why that earlier scene is so silly, as Green Lantern diverts massive chunks of space debris with a thought.

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Meanwhile, the Emerald Archer tries a different tactic with our resident scumbag.  He takes a page out of fellow vermilion hero, Green Hornet’s, playbook, and Ollie pretends to shake down the slumlord, who promises, in turn, to meet with him later with a payoff.

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Here we get a particularly nice sequence that displays Arrow’s skill, as well as Adams’ excellence, as two of the slumlord’s errand boys try to take out the hero, only to incriminate their boss by falling for a dummy in a darkened room while being far too talkative.  Unfortunately, the tape recorder Ollie hid next to the dummy, the target at which, we remember, he wanted the thugs to shoot, surprisingly got shot.  That part isn’t exactly the Archer’s finest moment.

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Meanwhile, Hal gets feed up with sitting around in space and heads back, teaming up with Ollie to trick the slimeball into incriminating himself by impersonating one of his gunsels with the help of his power ring.  This time the ruse works, and despite some last minute hysterics involving a grenade (!), the slumlord is arrested.

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It seems as if things will end happily ever after until The giant floating head of a Guardian crashes the party and starts chewing Hal out for abandoning his space-floating duties.  This prompts a ridiculously impassioned speech from Green Arrow, drawn with incredibly impassioned panels by Adams.  It really does look fantastic, but the melodrama of the moment just really drives home how goofy the exchange is.  Ollie demands that the practically omniscient alien come down off of his emerald tower and learn what it is really like on Earth.  The emotions of the scene are so visually exaggerated that the Archer looks like a Shakespearean actor in the midst of trodding the boards during the climax of “Macbeth” or “Othello.”

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“Come off your perch!  Touch…taste…laugh!  And cry!  Learn where we’re at…and why!”  Ouch Ollie, just ouch.

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Astonishingly, the Guardians don’t just vaporize this goateed goofball; instead, they take him seriously and send one of their number to join the two earthmen in a roadtrip across America, “searching for a special kind of truth…searching for themselves…”

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Yikes.  Now, in general, I’m all in favor of earnestness in comics and in general, and I don’t like folks who react to all such honesty with a sneering, ironic disregard, but I have to say, there’s plenty to mock here, and justifiably so.  The silliness of these stories was apparent even to readers in the 70s, and it is perhaps even more so now.  I can imagine this story being appealing to an angry, angsty young man, as I was at 16, someone who is learning about how complicated the world is, and yet whose perceptions are still very simplistic.  I’m afraid I’m at least a decade too late in life for this story.

Nonetheless, it is an important issue, and it does help catapult comics truly into the Bronze Age.  Adams’ art is beautiful, and there is definite value in comics wrestling with cultural problems.  Green Arrow as the champion of the downtrodden is one of those great concepts that remain, sticking with the character forever more, even after the rough edges that attract criticism have been worn away.  We’ve seen his brash, self-righteous personality developing just in the few months we’ve been following him under O’Neil’s pen.  Even though this incarnation is too extreme to be truly likable, there is something good in that concept.  In the end, this is a story more valuable for its cultural weight than its literary value or even its enjoyability.  It is a flawed but fascinating beginning, and I give it 2.5 Minutemen, having taken points away for the glaring, galling ludicrousness of that exchange in the tenement building, as well as for Ollie playing the ‘Nazi’ card in his argument with Hal.

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Superman #225

Superman_v.1_225.jpgCover Artist: Curt Swan
Writer: Leo Dorfman
Penciler: Curt Swan
Inker: George Roussos

Well, this is quite the weird story, and, honestly, I’m rather astonished that it got published.  It’s strangely, inconsistently, and thoughtlessly dark.  I can only assume that someone at the Comics Code Authority was asleep at the switch…or rock stupid.  You’d never guess from the fairly conventional beginning that this issue of Superman would end with a straight-up suicide, but it does.  You read that right, this Superman tale ends with a thinking, feeling being intentionally taking its own life, but I suppose I’m getting ahead of myself.  Follow along, and see if you’re as amazed as I was.

In fairly typical fashion, the issue opens with a set of aliens plotting against Superman for no particular reason.  Interestingly enough, their plot entails creating a clone by scanning the Man of Steel as he passes by their world on his way home from a space mission.  In a funny little sequence that really marks the bipolar nature of this story, the clone figures out he doesn’t have any powers by attempting to fly and landing square on his head, knocking himself out.  The Super-copy believes himself to be Superman, and the aliens encourage this, telling him that the real Superman is an impostor that has stolen his powers, planning to use them for evil.  They assure their creation that he must destroy the “false” hero in order to reclaim his rightful powers and place, and they give him devices to aid him in this quest.

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On the plus side, the aliens kind of remind me of This Island Earth

 

Now, let’s get something straight.  This is not a robot, not an unliving or mindless contraption.  This is a living being they have created, with a mind and will of its own, and even though it is easily talked into attempting murder, it is not simple.  Keep that in mind.

After being sent to Earth, the clone encounters several situations during which it is affected by its environment as Superman never could be.  Because of an alien device implanted in its head, it transfers these effects, sniffling, sneezing, and other human reactions to Clark, causing him to feel everything the clone does.  This plays a role in the small secret identity farce subplot that seems to be a contractual obligation of every Superman book.

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The real action of the story picks up when the imposter attempts to assassinate his rival with a kryptonite pitchfork at a costume parade, but because of the intervention of random partygoers, who apparently are quite willing to bodily drag a stranger around, just because they like his costume, the Metropolis Marvel escapes.  Thank heavens that Meteropolites are apparently the definition of ugly Americans…

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Having lost his weapons, the clone heads to the Fortress of Solitude to retrieve new devices powerful enough to do the deed.  His counterpart, experiencing the intense cold of the arctic vicariously, makes an incredible leap in logic and deduces that it must, of course, be coming from his double, who he doesn’t really know about, and from the Fortress, which he has no real reason to think endangered.

Plot contrivances aside, The Man of Tomorrow manages to capture his double, and attempts to break his conditioning and figure out his story.

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However, nothing works, so Superman turns him over to authorities, sends him home, or puts him in the Phantom Zone, right?  Nope, none of those relatively reasonable solutions are even considered.  Instead, our “hero” decides the the only viable solution, because his double transmits all sensations back to the original, is to keep him locked in a small cage, too tiny for him even to lie down in, for all of eternity.  ‘Cruel and unusual’ is for chumps!  That doesn’t apply to superpowered sun gods from space!

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To make matters even worse, Superman seriously considers straight-up murdering the imposter in order to solve the problem, and the only reason he doesn’t is that he has “conditioned [himself] against killing for too many years.  It’s a good thing The Man of Steel’s moral code is so famously flexible, otherwise that might strike me as a bit off.

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That’s right, Superman seriously considers flat-out murdering his double.

After what must be weeks of imprisonment, judging from the impostor’s super-beard, he realizes that his rival is, in fact, the real Superman, a shattering revelation.  The clone has a moment of clarity, and he figures out who and what he is, and he refuses to let the aliens use him to endanger the true Man of Steel.  So, how does he get out of this predicament?  How does Dorfman tidy up the Superman mythos and dispose of this duplicate?  Well, he has him commit suicide, of course, with a pistol-looking device, no less!  The double gets a Superman robot to give him a metal-melting ray, which is no threat to the cage or the bot, but the clone turns it upon himself, destroying the device implanted in his brain and killing himself.  He even wrote a suicide note for Superman!

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How did this get published?!

That is freaking dark, and it is an incredibly incongruous end to this goofy story.  Superman’s tears at the end are poor recompense for the clone that gave its life to protect his.

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Ugh.  I truly don’t care for this story.  This was way too heavy of an ending to be treated so cavalierly, and it threw the tone of the entire issue wildly off.  Unfortunately, this isn’t even the type of ham-handed attempt at depth that we just saw from Green Lantern.  No, this is just a tone-deaf train-wreck of a tale that seems completely oblivious about what it is doing.  I’ll give it a clumsy 1 Minuteman.

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Teen Titans #26

Teen_Titans_Vol_1_26.jpgCover Artist: Nick Cardy
Writer: Robert Kanigher
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza

Our vague and confusing adventure continues!  We have this lovely Nick Cardy cover with Titans abandoning their costumes and running towards a bold new direction!  Except, no-one really seems to know just what that direction is.  One thing is certain; it is just plain strange.  Inside, we pick up where we left off, with the robotic ‘man Friday,’ Angel, leads the Titans into danger.  To make his point, the robot obligingly gets its armed blown off by a laser.  This catapults the Titans into a series of death traps that they navigate without using their powers…for reasons.

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When they manage to escape, they find mysterious Mr. Jupiter waiting for them, drink in hand, like he’s watching whatever happens to be the rich guy equivalent of a ball game.  There’s something off about this guy, seeing as he casually watches teenagers fight for their lives.  Having survived the obstacle course, which Jupiter unconvincingly claims was never really deadly, he orders the Titans to go into the inner-city neighborhood “Hell’s Corner,” not to be confused with Hell’s Kitchen, get jobs and blend in.  Their funds for this effort?  A single penny and another super helpful and super vague prophecy by Lilith.  Yes, thank you, that is just great.  You are a super valuable part of this team.

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In Hell’s Corner, the Titans, in mufti, encounter a little girl selling lemonade, as well as rejects from every 60s biker movie ever.  The head biker punk, complete with scarf, goggles, and jodhpurs, wreck the kid’s stand, just to sufficiently illustrate how bad he and his friends are.

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Not quite kicking the dog, but close enough

The Titans restrain themselves from delivering a richly deserved beating to the resident loud-mouth and his cronies, remembering the terrible tragedy caused by their last violent efforts, when the esteemed Nobel Prize winner died in a crossfire last issue.  A young man with no such hang-ups, piles into the punk.  He turns out to be the youthful Mal Duncan, the girl’s big brother, and he’s decided to put the overdressed bully, “Storm,” in his place.

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As the gang prepare to “flatten” the fiery Mal, the Titans finally take action, whipping the biker-types in short order.  The young man is not terribly grateful for the help, and he tells the Titans that they are in the wrong neighborhood.

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Nevertheless, the teenage heroes are determined to fulfill their mission…for more reasons, so they find various jobs around the area.  In a corny but funny montage, we see Hawk getting work as a boxing instructor at the neighborhood boys club while Don becomes the next Bob Ross, encouraging his students to “paint what you feel,” whether that be orange skinned people or happy trees.  It’s a simple but effective distillation of the personalities, though, I admit, peaceful ubernerd that I am, even I sort of want to dump Don’s metaphorical books, just for being such a touchy-feely wuss.

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The club puts on monthly boxing matches to help kids work off steam in a controlled environment, something that I imagine schools these days might benefit from, but I digress.  Mal and the fashionable punk Storm square off, but the bully proves to be a sore loser after the young champion manages to knock him out.  The local gang decide to work Mal over after the fight, but the Titans intercede, putting the biker-flick rejects down for the second time.

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Mal goes out with the team, and while dancing, they decide to recruit him.  That’s right, they decide to have this slightly above average kid who is a moderately competent boxer without any powers, training, or special skills, join their superhero team.  Once again, this is absolutely necessary…for reasons.  They put Mal through the totally-not-really-death-traps-I-promise, and he survives, rather amazingly, though by the skin of his teeth.  ‘Are you guys sure I don’t need any training or anything before I start dodging laser beams and blazing floors?’  ‘Nah, you’ll be fine.  You’re can box!’

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Feeling understandably a bit outclassed and undeserving of a spot on a FREAKING SUPERHERO TEAM, Average Boy faces sleepless nights and self doubt, so he decides he must prove himself.  How will he do so?  Will he fight a villain, stop a crime, or maybe just overcome a training challenge?  No, don’t be silly, those obstacles are far too insignificant for mighty Average Boy!

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No, instead, Mal decides to hitch a ride on a space rocket not designed to actually have a human pilot, because apparently it is super vital that NASA get human reactions from this space flight, and it isn’t like they have any trained astronauts whose job that is or anything.  The team is stunned to discover that Average Boy has done something so colossally stupid and so utterly necessary…for reasons once again, but Mal is happy.  He declares, in what would actually be a sort of cool moment if the story warranted it in even the tiniest fraction, “I’m in my own groove at last!  Doing MY thing!  And I’m a first!  A cat from Hell’s Corner reaching for a star!”  While the 60s slang is painful as always, the thought of a black astronaut, especially one from an impoverished background, breaking down barriers is actually really cool.

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And that’s the problem with this issue, and this arc, in general.  There are some cool elements here, most notably Mal and the racial undercurrent he represents.  I like the character, especially as I’ve gotten to know him in other mediums, like Young Justice.  I think he’s got great potential, but this story makes no freaking sense.  There is not one thing about this plot that works logically.  Everything is happening because the plot requires it to do so.  I can’t stand that kind of silliness.  I’ll be quite happy when Aqualad shows up in a few issues to knock some sense into the Titans…at least, I hope that is what is going to happen, judging from the cover.  So, I give this irrational issue 1 Minutemen.

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Final Thoughts:

Sheesh, this was an extremely dichotomous month.  We had three fairly enjoyable stories in the first half and three mediocre to detestable stories in the second.  I admit, part of the reason this post took so long to put together, aside from my being insanely busy, was that it was such a poor lot of stories that I had a hard time working up the energy to discuss them.  Still, we stand at an important moment, with the Bronze Age taking a big step forward with the start of the Green Lantern / Green Arrow run.  As much as that book gets on my nerves, I do believe it is going to lead us to bigger and better things…eventually.  One thing is certain, this month, short on books as it was through the vagaries of publication schedules, was certainly long on innovation!  We have the brilliant SAG team doing fascinating things in Aquaman with both story and art, we have Adams’ setting the comic world on fire with his beautiful, realistic pencils, and we had several plot elements that, however lacking they may be in logic or enjoyability, are certainly creative.  I suppose I can endure three bad books for three entertaining ones.  That still beats the proportions on student papers!

Well, that does it for this month!  I hope the next month has some better stories in store for us!  In an attempt to go ahead and get this post up, I’m going to cut out the bonus feature for this month and add it on to the coverage of the next.

The Head-Blow Headcount:

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I somehow missed two new head-blows, but I’ve added them in.  Welcome Robin and the Phantom Stranger to the wall of shame!