Into the Bronze Age: December 1970 (Part 5)

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

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

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

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

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


Superman’s Pal, Jimmy Olsen #134


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

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

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

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

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

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

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

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

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

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Only Kirby could design this gloriously mad vehicle.

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

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

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

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

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

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

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

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Teen Titans #31


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

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

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

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

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

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

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

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

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

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

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

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


“Some Call it Noise”


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

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

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It does give us a charming image, though.

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

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

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

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

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

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

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World’s Finest #199


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

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

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

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

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

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

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

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

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

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

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

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

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

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Final Thoughts:


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

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

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

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

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


The Head-Blow Headcount:

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

Into the Bronze Age: October 1970 (Part 6)

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

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

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

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

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


Superman #230


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

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

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

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

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I am become Jor-El, destroyer of worlds…

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

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

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

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

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

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

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


Teen Titans #29


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

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

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

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

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

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

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

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

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

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

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Final Thoughts:


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


The Head-Blow Headcount:

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

Into the Bronze Age: August 1970 (Part 2)

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

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

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

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

Batman #224

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

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

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

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

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

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

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

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

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

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

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

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Teen Titans #28

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

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

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

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

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

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

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Cardy certainly draws lovely, soulful-eyed ladies

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

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

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

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

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

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

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Handsome fellow, isn’t he?

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

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

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

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

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

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

 

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

The Head-Blow Headcount:

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

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

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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!

 

 

 

Into the Bronze Age: February 1970 (Part 2)

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We’ve covered the first half of February, now for the second.

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

  • Action Comics #385
  • Aquaman #49
  • Batman #218 (Reprints, won’t be covered)
  • Batman #219
  • Detective Comics #396
  • Flash #194
  • Justice League of America #78
  • Phantom Stranger #5
  • Showcase #88
  • Strange Adventures #222
  • Superman #223
  • Superman #224
  • Teen Titans #25
  • World’s Finest #191

Bonus!: Atomic Knights

Bolded entries are covered in this post, the others you’ll find in the previous post.

Phantom Stranger #5

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Executive Editor: Joe Orlando
Cover Artist: Neal Adams
Writer: Robert Kanigher
Penciler: Mike Sekowsky
Inker: Murphy Anderson
Editor: Joe Orlando

“The Devil’s Footprints”
Writer: Robert Kanigher
Penciler: Curt Swan
Inker: Nick Cardy
Editor: Joe Orlando

The Phantom Stranger is a wonderfully mysterious character, and one that I really love the concept of, though I haven’t had the chance to read many of his books.  His is actually one of the series I set out to read in the little reading project that spun out of control into “Into the Bronze Age. ”  He’s a favorite of AquamanShrine.net head-honcho, Rob Kelly, and I actually first started learning about him through Rob’s blog, linked above.  I am looking forward to learning more about this enigmatic hero, and I am glad to be starting here at the beginning of what are supposed to be some of his best stories.

One of the things I most like about the concept of the Phantom Stranger is that he remains almost entirely mysterious, and yet is able to be an interesting and compelling character.  That is an extremely difficult balancing act to pull off, much less maintain.  Theories about who and what he is have abounded, and I will steadfastly ignore any attempts that DC has made to answer such questions too definitively.  For my money, I’ve always liked the idea that he is the Wandering Jew, condemned to eternal life for mocking Christ.  That’s got mileage, and it could totally work for the character.

This is the second solo title for the Stranger, and this one is very much a product of the 70s.  It represents the increased variety of stories and genres that comics began to employ in this decade, especially the resurgence of the horror and mystery books of earlier years.  While this comics, like many of the DC books at this point, is as much 60s as 70s, my guess is that we’ll see this book pull ahead of some of its cohorts in terms of sophistication and maturity.  I’ll have to wait and see, but that’s what I’m expecting.

This issue sees the Stranger having recently taken on his iconic, most long lasting “mod” look.  It’s a wonderful character design, simple, yet evocative and mysterious.  That effect of having his eyes always in shadow is one of my favorite parts of the look.  The plot of the book is indicative of what I’ve come to expect from the Phantom Stranger from the first few issues of his book, a sinister or strange occult mystery threatens innocents, and our enigmatic hero intervenes.

In this case, we join a set of four teenagers, return players from the previous issue who seem positioned to become a supporting cast for the Stranger, as they stroll along the beach at night.  I’m not crazy about these kids, as they’ve got way too much of that “desperate appeal to youth culture” vibe about them.  Nonetheless, they see an eerie figure emerges from the waves, screaming “Wait!”  He collapses in their arms, and the kids realize he’s dead!  The body disappears when a watchman appears, leaving the kids to ponder what they saw.  We get a few quick scenes with the other players in our little drama, Dr. Thirteen (endearing sourpuss that he is, swearing to expose the Stranger as a huckster), the Phantom Stranger, and the “monumental mistress of the macabre, Tala!”

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Tala is an interesting character.  I first encountered her in the Justice League ‘toon, like most folks, I imagine.  There she got a fairly major makeover, and is really an entirely different character.  That one is a great character, a good addition to the series, and a nice mystical adversary for the League.  This one is also a good character, and she serves as a very effective counterpart to the Phantom, taking these stories to a whole new level.  Previous tales have focused on the Stranger and Dr. Thirteen exposing various hoaxes and fakes, but now we have a creature of incredible power, dark and dangerous, a fitting foe for the Stranger.  Plus, she’s got the femme fatale thing going for her in spades, seeing as she seems to be a living avatar of chaos and evil.  That is always a good feature for a female villain.

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We get a very weird and wild scene in a dance club, and though it is a bit bizarre, I will say that the last panel of Tala in that image is pretty effective.  She seems untamed, uncontrollable, and dangerous, almost mad.  It reminds me of seeing a witch-doctor dance, which makes sense given her voodoo-origins last issue.

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Following that scene, we start to get an impression of what is actually going on.  Apparently rich playboy Earl Winthrop has been quite the cad all of his life, using and abusing women, never actually loving anyone other than himself.  He died when his private plane went down in the ocean, and it was his returning spirit that the kids saw on the beach.  Now that his ghost has returned, it seems that his fate will be determined by whether or not this selfish soul can find one person to shed a tear for him before the night is over.

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phst5_28.jpgAll of that is revealed piecemeal through a twisting and turning story wherein Tala and the Stranger pit their powers against one another for lives and souls.  We see the Stranger putting  out a fire Tala causes in a club, rescuing a drowning girl, and finally stopping a tidal wave from sweeping a house full of innocent party-goers.  It’s a busy night for both beings.  Winthrop is saved by the stupidly named girl of the teenage foursome, Wild Rose, weeping for him, and Tala is repulsed, though she swears ominously that “Darkness always returns to Earth!  And so do I!”

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This issue contains a weird little backup that is a two-page folkloric account of an encounter with a demon in 19th Century England.  It’s a neat little dose of real-world mystery to add to the main adventure.

So, what do I make of this Phantom Stranger Story?  It isn’t as good as the previous issue, which sadly falls outside of the purview of this project, but it is an enjoyable enough tale.  I think that the team haven’t quite hit their stride yet.  They seem to still be figuring out just what this book is going to be, but it has some nice moments, with lots of brooding atmosphere throughout.  I’ll give it 3.5 Minutemen out of 5.

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Showcase #88

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Cover Artist: Mike Sekowsky
Writer: Mike Sekowsky
Penciler: Mike Sekowsky
Inker: Dick Giordano
Editor: Mike Sekowsky

I’ve been really enjoying the wide variety of genres, characters, and themes that have been parading through Showcase as I’ve been reading, and I have recently traced this one since the beginning.  As I imagine most folks familiar with DC comics know, Showcase was, well, just what it says, a tryout book for DC.  They would give various characters or concept a try here and, depending on sales and letters, they might spin them off into their own book, or at least give them a shot as a backup.  Over the last 87 issues, I’ve been able to follow along as a lot of the Silver Age heroes got their start here.  I’ve also seen a number of concepts that made it…and a number that didn’t.  Sadly, we aren’t starting with the neatest offering that I’ve encountered so far.  The previous three issues (JUST missed it!) featured the tryout of Nightmaster, a sword and sorcery book that didn’t quite make it.  Still, it was a neat change of pace, and an intriguing, though bizarre and derivative read.  Perhaps I’ll cover it in one of my spotlights later on.

If Nightmaster was a change of pace, so was Jason’s Quest, and that represents one of the really cool things about this era of Showcase issues.  It offered a pretty wide range of content.  You got straight fantasy one month, espionage the next, then western adventure, and science fiction the month after.  The variety is nice in this flood of superhero books I’m reading.

Jason’s Quest, however, is not one of the standouts from these years, though it is certainly unique.  It’s a story about a young man trying to find a sister he didn’t know he had and bring down the man who killed his father.  In a convoluted first issue we meet young Jason Quest (Johnny should sue!) in a hospital room, anxiously awaiting news of his father…or rather, the man he THINKS is his father!  Dun dun DUN!  On his deathbed, Jason’s “Dad” confesses that he was a commando in “the war,” (at this point, I think we can assume…WWII?  Korea?  I’m not quite sure.) where Jason’s father, ‘Mr. Grant,’ saved his life.

When the war ended, he became a servant for Grant, who was a wealthy inventor.  Grant was threatened by a…mob boss?  Spy?  Really aggressive meter-maid? named Tuborg, who wants one of his inventions.  Tuborg killed Grant, who had the foresight to prepare the servant, Davis, to take Jason and his sister (his TWIN sister, shades of Star Wars!) and flee.

Long story short, they’ve been on the run from this Tuborg guy all these years, during which Davis has taught Jason everything from his own commando training.  After this confession, Davis dies, with his last breath adding that the heretofore unknown sister somehow has evidence that could bring down Tuborg.  One wonders why the father, Grant, didn’t use that evidence to begin with,  but I suppose that’s neither here nor there at this point.  Sheesh, we’re only on page 7!  Sekowsky is really packing it in here.

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Cut to the portly Tuborg, who is getting a really creepy back rub from one of his men.  The way everyone else in the room is looking at him just makes it all the weirder.

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Anyway, Tuborg has a cop on his payroll who taped the confession, so he sics his goons on Jason and his missing sister.  Jason, meanwhile, heads to London to track down that very sister, but his search meets a seemingly dead-end in a burned out building.  A helpful font of walking exposition happens by and lets him know that his sister survived and is on her way to the Continent that very day!  He even very conveniently provides the young man with a picture.

dc showcase 088-15.jpgJason sets out on a motorcycle, but is bushwhacked by some thugs who sap him and steal that photo.  Once again, conveniently, the thugs think the blow to the head killed him.  Hey, wait, there’s another one to add to our Head-Blow Headcount!  Jason isn’t a super hero, but I suppose I’d better count him nonetheless.

Cut to the ferry, where the two grooviest thugs in the history of crime are planning on killing Jason’s sister.  By-the-by, apparently the price for a hit in 1970s England is an extremely reasonable 100 quid (bucks, for those of us across the Pond), and even that is split between two hired guns!  Wow, how very affordable murder used to be!

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So, these two brain surgeons try to jump the girl, but she fights back, attracting the attention of her missing brother.  He takes them out in a rather poorly drawn sequence, and is saved from being shot in the face by a gun jamming.  Man, Jason should give up this whole quest thing and go to Vegas.  This guy’s luck just won’t stop!

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Well, the two assailants die in the attack in the classic ‘hoisted by their own petard’ style, where the hero isn’t directly responsible, but Jason still feels bad about it…for a few seconds.  Then we get another of these strange little beats, where his sister (who he doesn’t recognize thanks to a wig), effectively says, “ohh, yeah, we totally shouldn’t report their deaths or anything because the authorities might not find them and then they’d think we were making things up.”  Wait, what?  One of these guys just fell overboard, and it isn’t exactly like the Atlantic is full of piranha or anything.  He might still be alive.  Nope, nope, he’s totally dead, don’t bother with him.  It reminds me of the “Bring Out Your Dead” bit from Monty Python.

“I’m not dead yet!”
“You’ll be stone dead in a moment!”

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The issue ends with Jason and his sister unwittingly going their separate ways.  There’s a rather nice full-page add for the next issue that is reminiscent of a Bond movie or the like.  It also includes a short three page backup about a ghost rider (not to be confused with Ghost Rider) who drives the biker gang that killed him to their deaths.  There’s not too much to it, but it’s alright for what it is.

So, what to make of Jason’s Quest?  It’s interesting, and this is really not that bad of a beginning.  It’s got that classic 60s spy movie feel to it in a lot of ways, but there is also an effort to blend in a little youth culture on the part of Mr. Sekowsky.  The end result is a bit uneven, in both the art and writing.  There are some cool bits, but the entire plot relies on lots and lots of coincidence, and Jason doesn’t really have much personality.  For all that he looks like Luke Skywalker from those old Marvel Star Wars comics, he’s not nearly as interesting.  Sekowsky is so busy packing plot into this issue that he doesn’t really leave us any room for anything else, and as you can tell by the credits, this is definitely Sekowsky’s baby.  It’s a noble effort, trying to mix up the field of comics a bit, but the quality just isn’t really enough to make it last.  I’ll give it 3 Minutemen out of 5, as it was an enjoyable enough read, if entirely forgettable.

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Strange Adventures #222

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Cover Artist: Murphy Anderson
Writer: Dennis O’Neil
Penciler: Gil Kane
Inker: Murphy Anderson

Now this is a good one, but before I get to the issue itself, let me offer some thoughts on the character and the book.  I like Adam Strange, I have since I first discovered him.  He’s got this wonderful pulp-hero feel to him, and he could have been at home zipping around with Flash Gordon or Buck Rogers.  After all, I suppose he is something of a Buck Rogers rip-off, the rough and tumble Earth man who gets brought far from home to show some milquetoast folks how to fight and proceeds to protect them from many crazy dangers.  He even meets a brave-hearted woman in this distant world, just like his pulp predecessors.  Still, as Solomon said, there is nothing new under the sun, and I don’t mind a concept that renews old archetypes, provided it does so in style.  That is what comics are all about, really.  The concept of Adam Strange works well.

Rann is an interesting, wild place, much like Flash Gordon’s Mongo, and Adam himself is a great, heroic adventurer with a sound supporting cast in Alanna and Sardath.  I also really love the depth he adds to the DC Universe.  You really get a better sense of scope with him out there having his own interstellar adventures, occasionally overlapping with the League or the Corps.  It’s a nice way to make the DCU feel more fleshed-out.  Yet, despite the fact that the character is perfectly positioned to be one I liked, I have often had a hard time getting into his stories.

His Silver Age tales were often EXTREMELY…well…Silver Age-ish, with really ridiculous and silly threats, rather than cool sci-fi challenges.  That changed over the years, but unfortunately, Adam’s series Mystery in Space, gets cancelled, and he never really found his feet again.  I haven’t gotten to read all of those old tales yet, but I plan on it eventually.  At this point, Adam has taken over Strange Adventures, which has been oh-so-cleverly renamed (Adam) Strange Adventures.  It’s a good fit, especially since just about all of the cool stuff in this book has already been dropped by this point.  Sadly, his tenure here doesn’t last long, and the new tales are quickly replaced by reprints.  This is a real shame, because the few new stories that saw the light of day in this book are really of a good quality.  I have to think that if he had been given more of a chance, Adam Strange could really have seen a resurgence in the sci-fi happy years of the late 70s.

But, let’s not mourn our hero before he’s gone.  After all, we have a pretty cool story before us.  Our tale begins with our interstellar adventurer riding in a parade of all things.  It seems that the Zeta Beam is going to strike right in the middle of Carnival in Rio De Janeiro!  Fortunately, Adam blends in rather well in his space duds.  Apparently he’s concerned about his secret identity (which I didn’t even realize he actually had), and has rigged a magnesium flare into his costume to blind folks before he disappears.  Don’t worry little Jimmy, I know your retinas are scarred, but at least Adam Strange’s non-existent secret identity is still safe!

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Our stalwart stellar traveler finds himself back on Rann a moment later, right in the midst of a bizarre battle!  It seems cool, mecanized barbarians are fighting with Rannian soldiers.  Alanna, there to greet Adam, is scooped up and carried off by one of the barbarians.  Adam tries to stop them, but their robotic steeds (!) are too fast, as are the men themselves.  He finally manages to land a punch, and then he really lays into the marauders.  Unfortunately, the Champion of Rann is knocked unconscious, and the barbarians escape!

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He awakens in the care of the brilliant Sardath, who fills him in.  Apparently, these barbariansk, the Reekans, are from a remote and war-like city-state to the north.  They raided Ranagar to seize hostages, and now they are holding them for ransom, threatening to kill one every hour until Alanna’s people hand over their stock of weapons and vehicles.  Adam is not one to take such things lying down, and he volunteers to lead the charge to rescue their people.  Yet, the Reekans’ city is an impregnable fortress.  Something about the situation brings a certain epic poem to Adam’s mind, however, and he thinks he may have found an answer in the “story about a place called Troy and a wooden horse”!

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Then we get a nice twist, as the Ranagarians offer the barbarians a spaceship, presumably packed full of troops.  There are lights moving inside the craft, and the Reekans grow suspicious, destroying the craft.  This is just what our cosmic crusader had counted on, however, and the burning craft emits a pungent, disabling smoke, knocking the Reekans out and giving Adam and the Ranagarians cover to scale the fortress in jetpacks.  The action is covered in a nice series of pages, brief but effective.

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Unfortunately, the Reekan Lord is not so easily taken, and he recovers quickly enough to rush to the dungeon, murder on his mind!  As quick as he is, however, he’s no match for a fighting-mad Adam Strange protecting the woman he loves!  Alanna is rescued, and the two have just enough time for an embrace before the earthman is once again whisked between the stars.

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This is a brisk ten-page tale, with the rest of the book being taken up with reprints from the earlier years of this title, complete with awesome 50s sci-fi art!  It features two sci-fi tales, including the far too short-lived Atomic Knights, who I’ll be discussing at the end of this post.

The Adam strange story may be short, but O’Neil turns in a really great, quick-moving adventure in the space he has.  Not a moment is wasted, and yet a complete story is told.  I’d happily read this if it were expanded into a book-length tale, but I think it is just about perfect for what it is.  The only real problem with this issue’s outing for our far-flung friend, Adam Strange, is that his lady love is given too little to do.  She’s purely a damsel in distress, and Alanna really deserves better than that.  She’s Adam’s partner in peril, and she has always been one of the bravest souls on her world, so seeing her only fulfilling that tired old role is a bit demeaning for the character.  Yet, O’Neil only had ten pages to work with, and I’ll be darned if I know how he could have accomplished any more with that space, so this is a criticism that I’m mostly willing to forgive.

This super-efficient little yarn really highlights how bloated modern-media storytelling is.  In ten pages we get a complete story, an interesting concept introduced (the robotic horse riding barbarians, who fit perfectly into the wild world of Rann), we get a clear threat, and we get a clever solution, backed up by good action.  While I’m sad we won’t get to see (as far as I know) these Reekans return, as I love the concept, you can’t fault the results.  A modern book would probably drag the story out for five issues at the least, yet O’Neil manages not to leave a single plot-thread dangling!  This is an example modern movies could well benefit from!  So, in honor of this master class in storytelling efficiency, I’m giving this classic adventure 4.5 Minutemen out of 5.  I’m subtracting .5 for the short-shrift given Alanna.

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Superman #223

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Cover Artist: Curt Swan
Writer: Cary Bates
Penciler: Curt Swan
Inker: George Roussos

My guess is that Superman is going to be the title that holds on to the Silver Age tropes and the general feel of that era the longest.  At the moment, it certainly shows absolutely none of the forward momentum of many of the other books, especially in comparison to some of the more progressive books on our list.  We’re already starting to see Batman morph from the grinning Caped Crusader of Adam West TV fame into the grim Dark Knight Detective, yet Superman is still getting stories like this.  I’ll keep track as we move along, and try to note when different books begin to evolve, but I’d be willing to bet that the Superman book is going to be tail-end Charlie on that particular parade.  It makes sense, as DC’s flagship character, Superman would be naturally conservative and resistant to change.  If you’d had steady success for around three decades, why rock the boat?

This particular offering certainly doesn’t.  It is a perfect example of contrived, convoluted Silver Age Superman.  It begins with Clark Kent going about his day, but at three different instances, in a cafe, in a crowd, and in a theater, he is addressed as Superman by three different women!  What is Clark’s brilliant response to these mysterious ladies’ portentous greetings?  He…ignores them.  Yep, he may as well stick his fingers in his ears and hum.  The last one he tries to chase down, but she vanishes.  Next thing he knows, he’s whisked up into an orbiting spaceship and greeted by three super-powered ladies in costumes that look like something out of I Dream of Jeanie.  Apparently that show was still on the air in 1970, so my guess is that the resemblance is no accident.

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Anyway, these three space babes claim to be superheroes from another world, and they had scanned Superman’s mind, learning his secret identity.  They popped down to Earth just to screw with him before “inviting” him up to their ship.  They have come to offer him an invitation to join their team, the “Galactons.”  Yet, first, he has to pass a test.  Superman is suspicious, but decides to play along to see what they have in store.

They head to another world, where he is supposed to defeat an alien creature.  The beast proves too much for the Man of Steel, knocking him out with poisoned breath.  He awakens, hooked up to a strange device, and the “Galactons” tell him that he’s been handicapped and can never leave his solar system again or he’ll die…for reasons.

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Superman is pretty upset by this, as his being so limited could lead to terrible tragedies that he might otherwise have prevented.  There’s a nice moment of characterization here, and I really wish more had been done with it.  Instead, the plot immediately moves along because this is only page nine and we have a whole bunch more crazy nonsense to get out of the way here.  This is a Superman story, after all!

The seemingly completely recovered Man of Tomorrow returns to his secret identity, but is soon interrupted by a Super Robot, that pretends to be a shoe-shine man in order to pass a message to Clark, who is accompanied by Perry White.  There’s a funny little bit where the robot, an inexperienced model (because apparently Superman built learning machines!), botches its undercover efforts and sets Perry’s shoe on fire with friction from super speed shinning.  Great Caesar’s Ghost!

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But the message is delivered, and Superman discovers a gigantic hypodermic needle full of alien minerals.  Before he can stop it, the needle “injects” the Earth, and a cancer-like growth of crystals begins to grow in its core. In time, it will grow so large it will crack the Earth apart from the inside!

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Superman decides to shrink it with X-Rays, just like doctors do with real cancer cells, and he calls on the Galactons to help.  They succeed, and…good heavens, we’re only on page 15!  Anyway, they are revealed to actually be Supergirl and two Kandorians who have put this ridiculously circuitous and contrived plot in place so that Superman would solve a similar problem that is threatening the Bottle City of Kandor.  There’s some nonsense about how they didn’t want to just tell him about the problem because they knew he’d refuse to leave, but it makes about as much sense as anything else in this issue.

I like the concept of Kandor, though I’ve read very few stories about it, but this one doesn’t do it any favors.  It’s a nice way to keep a little piece of Krypton alive after its destruction.  I’ll say this, though, I didn’t know Superman had the ability to enlarge Kandorians.  Doesn’t that make this whole dilemma of the city completely unnecessary?  Couldn’t he just enlarge them a few at a time and, you know, FREE them all?  He’s kind of a colossal jerk for keeping them in his own Kryptonian ant farm when he apparently totally has the ability to free them.

Anyway, back to the story, such as it is.  Superman gets help from a criminal scientist in the Phantom Zone, who is due to be released, despite the fact that he begs to stay so that he isn’t killed when Kandor explodes.  That’s sort of another jerk move, there, Supes, bit of a letter of the law / spirit of the law thing, ehh?  The scientist, Gor-Nu agrees to help, but only if Superman will agree to switch bodies with him, using a device he just happened to have already invented and secreted away when he was arrested.  Natch.  They win, and Supes pulls a clever though predictable double cross where he goes along with the switch, but reveals that he poisoned himself after it is done.  Of course, Gor-Nu switches back, and all is well, with the traitorous scientist returned to the Phantom Zone.  If the poor jerk had just saved the city, he could have been free AND hailed as a hero.

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Urg.  That one was a bit painful to summarize.  It is probably even more ridiculous and incoherent than it seemed in my synopsis, and despite one or two relatively nice or clever moments, it is a pretty annoying example of the excesses of Silver Age stories.  Still, there is more fun and adventure in this story than the next.  I’ll give it 2 Minuteman.

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Superman #224

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Cover Artist: Curt Swan
Writer: Robert Kanigher
Penciler: Curt Swan
Inker: George Roussos

So, we’ve got a weird scheduling thing going on this month that leaves us with two issues of Superman to examine.

Ohh man, if the cover is anything to judge by, this one is going to be rough.  We’re looking at a family-farce for the Man of Steel, it seems.  Why did Silver Age creators think this kind of stuff was storytelling gold?  That’s a question that is beyond me, but I’m sure you’re just dying to know if the story inside is as bat-guano insane as that cover.  I won’t keep you in suspense, this is definitely the worst issue of the month, hands down.  It is actually less incoherent than the previous issue, but the plot is just so bizarre and ridiculous that it makes that nonsense about fake superhero teams and exploding planets look positively sober and well-considered.

I’m going to keep this synopsis brief in a futile attempt to preserve my sanity.  This is one of those “imaginary tales” that show a possible future for Superman and his supporting cast.  In this case, he and Lois have gotten married, and a car accident reveals that the intrepid girl reporter has become invulnerable thanks to a serum Superman brought back from planet plot-device, err, I mean “Star Gamma-X.”  They go to a whole lot of effort to explain how that was the only way Supes would agree to marry her.  It seems like the whole secret identity thing would have been a simpler solution, but maybe that’s just me.

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After all, keeping his identity secret would have robbed us of the opportunity to see Superman just…hanging out, living in the suburbs like any normal schlub.  After all, what could possibly go wrong with letting the whole world know exactly where you live?  Anyway, there are some generic mad scientist types, so generic I don’t even recall their names moments after having read the book.  They focus a ray of some sort on the home of the Supermans….the Supers…the…uhh…Kents?

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Superman and Lois (NOT Clark and Lois) have a kid, and it is a creepy, deformed little bundle of nightmares.  Their little abomination is a super genius, able to speak and think in complex ways and move on his own at only a week old.  The minuscule monster demonstrates ridiculous levels of brilliance, and immediately takes to mad-style science, denigrating his Super-dad for being a moron, something that Batman won’t start doing for sometime around fifteen more years.

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The fresh-faced freak of nature is entirely insufferable and pretty much immediately decides to take over the world, and Superman beats him with super plot-device powers.  The demon in diapers is turned back into a normal baby, and we’re expected to accept that as a happy ending.  Yay?  Whether smart or not, I bet that kid is just plain bad.

Wow, I didn’t know how good I had it with that previous issue of the book.  This one is definitely the worst book I’ve read in a while.  It’s just so stupid, so colossally uninteresting, that it was a real chore to read.  Part of that is just my proclivities, I suppose.  As I’ve said before, the Silver Age obsession with putting Superman, the Man of freaking Tomorrow in all these strained domestic situations just leaves me absolutely cold.  Add to that this plot, the super child that goes bad, that’s been recycled so many times, and I just checked out from the beginning.  I give this one an abysmal 1 Minuteman out of 5, though I’ve debated whether 0 might be more appropriate.

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Teen Titans #25

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Executive Editor: Carmine Infantino
Cover Artist: Nick Cardy
Writer: Robert Kanigher
Penciler: Nick Cardy
Inker: Nick Cardy
Letterer: John Costanza
Editor: Dick Giordano

The Teen Titans are a great feature of the DC Universe, and one that is pretty unique to it.  It was a stroke of brilliance on the part of Bob Haney (yes, old Zaney Haney) to do for the sidekicks what Gardner Fox had done for the headliners, and this junior Justice League has really endured and thrived over the years.  Their membership has changed and their members have evolved, much like the League itself, but the central concept, the Titans being made up of the next generation of heroes, has endured and worked in a number of incarnations.  We are joining this, the first volume of the Titans, right at the moment of a big shift in direction.  Here again we see the accuracy of placing the beginning of the Bronze Age in 1970.  This book is certainly not fully Bronze Age in tone and style right from the beginning, but major changes are underway that will make it much more like that era than the previous one.

Bob Haney created the Titans in Brave and the Bold, and then spun them into their own book where they were definitively his creations.  That means they had that bizarre marriage of swinging 60s youth culture pandering and over the top (even by Silver Age standards) stories.  This made the Titans an unintentionally hilarious, but also rather tiring, read from my latter day perspective.  I’m pretty certain that there has never been a more ludicrous or goofy sounding era of slang than the 60s, and Haney LOVED to employ “authentic” teenage talk.

Fortunately, we’re coming on board after Haney has mostly handed over the reins, and the Titans are being taken in a new, more serious, though also quite bizarre, direction.  This issue is one based in an intriguing premise, one that is definitely a sign of the growing maturity of this era.  It is an idea that has been explored many times over the years, but this is one of the earlier treatments I’ve read, at least from DC.  The story centers around our young heroes making a mistake, a terribly costly mistake.  They fail to stop a gunman, and a great man dies as a result.  The issue, and those that follow, are really about the Titans trying to deal with that reality.  It sounds pretty promising, right?  Well, it certainly has miles of potential.  Unfortunately, what Kanigher makes of it is just plain weird in places and more than a little nonsensical.

There is a good story in this book, but it’s a bit buried under disjointed, incongruous, and just plain odd elements.  We begin with the Titans gathered around a hospital bed, anxiously watching the last moments of an older man who tells them not to blame themselves.  Here we see one of the undeniable strengths of this issue, Nick Cardy’s BEAUTIFUL art.  It’s got that softer, 60s feel to it, but it is really quite excellent throughout.  I would say that his work is really responsible for most of the emotional impact and gravitas that the story actually manages to achieve, as when we see the desperation and loss in Wonder Girl’s tear-filled eyes as the man, Dr. Arthur Swenson, slips away.

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It’s a fairly powerful scene for a book like this.  It is followed by the Titans wandering around, mostly numb and shell-shocked, for a few pages, blaming themselves for his death.  Then we get a flashback that finds our young adventurers in their civilian identities at the “Canary Cottage Discotheque,” complete with a ravishing red-headed cage dancer.  The Titans are having a good time, and the male members are drooling over the fire-tressed female when she surprises them all by coming over to their table and calling them by their superhero names, saying she wants to be a Teen Titan!  Here we get one of the first strange, somewhat discordant notes of the issue.  This is Lilith, who is apparently…psychic…or…something?  Her answers are cryptic in the extreme, and things don’t get much clearer over the course of the story.

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I was only very vaguely aware of this character, and I know almost nothing about her.  I have to say, after having read a few issues with her, I’m not exactly a fan.  Even if you don’t know much about your powers, you could be a little more forthcoming.  Come on!  Well, much like Cassandra, Lilith seems cursed to have her predictions ignored, and her warning to the Titans that they will “Open the door for death” tonight is promptly forgotten as they decide to go to a “peace rally” and hear our dear, doomed Dr. Swenson from the opening pages.

Apparently this place is packed with both hawks and doves, inducing both Hawk and Dove.  The hot-heads in the audience start causing problems, call Swenson a traitor, and a riot threatens to break out.  The Titans, accompanied by the two other young heroes, race into action.  The combined might of the Titans and Hawk and Dove make short work of most of the troublemakers, but then one of them draws a gun, and in a really excellent set of panels, it goes off and strikes Dr. Swenson in the head.  There’s some heavy-handed talk about peace and violence throughout, which is undercut by the fact that the violence the Titans employ is the only thing that prevents this whole situation from turning out much, much worse.  Shades of Altamont!

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The Titans race the good doctor to the hospital, but they are too late, and he dies in recovery.  Afterwards, the young heroes are confronted by their mentors, the Justice League!  The League give them a rather serious tongue-lashing, and tell their pupils that they must become their own judges and decide on a fitting punishment for their failure.  I bet Aquaman is thinking to himself how thankful he is that Aqualad wasn’t hanging out with these losers tonight.

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Our young heroes wander down to the docks as it starts to rain, and there they are greeted by Lilith once again.  She cryptically says more cryptic things and then leaves, cryptically, after introducing them to a man named Mr. Jupiter, the richest man in the world.  He claims he has an urgent government mission for them that will change them forever.  Jupiter wants to create a secret program to train the youth of today to face the challenges of tomorrow, “the unknown in man himself […] the mystery of riots, prejudice, greed.”  Apparently, this involves a secret headquarters and missions, which sounds less like training kids to “cope with the world they will inherit” and more like a black ops team.  You might think I’m leaving something out that might make this make a bit more sense, but I promise you, I’m not.

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Well, the Titans hop on board this vague train, all except Robin, who says he’s committed to getting his education and can’t do…whatever it is they’re going to do.  The Titans accept, but insist on doing…the thing…without their powers, claiming that this will help them figure out who they are.  They are joined by Lilith, cryptically, and guided by a robot servant into a strangely lit tunnel, sealed by a massive door.

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And there ends the first chapter of the new Titans direction.  I have to say, it is quite uneven.  It is half of a really interesting book, but the second half, full of vague and confusing new elements falls flat.  It is never really established why the Titans are going to be any better off working for Jupiter than on their own, and Lilith is annoying with her mysterious act.  Still, it’s nice to look at and has a thought-provoking premise, so I’ll give it 3 Minutemen.

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World’s Finest #191

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Cover Artist: Curt Swan
Writer: Cary Bates
Penciler: Ross Andru
Inker: Mike Esposito

I love the friendship between Batman and Superman, especially when it gets more developed and we get the whole odd-couple vibe to their relationship.  It’s a great idea, these two incongruous figures somehow making an unbeatable team.  It seems like Batman should be superfluous, but good stories really show how they can benefit each other.  I also love this archetypal element of heroic friendship.  It’s like Gilgamesh and Enkidu, the civilized and savage halves of the soul of man, the light and the dark.  It seems like they shouldn’t be friends, which makes it all the more perfect that they are.  That is a significant part of the reason I have zero interest for the upcoming Batman V Superman movie.  I just don’t really want to see these characters try to out ‘grim’ each other for two hours.  I’d rather read stories with more joy and heroism, after all, THIS is one of my favorite comic covers from recent years.  And despite how unlikely it may seem, there really is something truly good in the World’s Finest partnership, the idea that even the greatest among us are better when we work together and even the most independent of us need someone.

We, all of us, need friendship and support, and superhero books can explore that theme as well as, if not better than, many other genres.  Unfortunately, at this point, the gravitas and interest of the Superman/Batman friendship hasn’t really developed, and we’re going to be getting some very Silver Age-ish tales for a while.  So, all that stuff I just said?  Forget it about it for the nonce.

This issue begins with both Batman and Superman being summoned urgently to speak with a U.S. general, but on their way, they see a fleeting image of Jor-El and Lara, Superman’s Kryptonian parents!  Jor-El says something about training criminals, then they fade into mist before the eyes of our startled heroes.  Ohh, and as an aside, apparently Batman speaks “Kryptonese” because Superman taught him.  I can’t imagine that’s the most useful language to have picked up, though with all the threats that end up coming from that supposedly destroyed planet in the Silver Age, maybe I’m wrong…

Continuing to their rendezvous, they discover the general was in an accident and has slipped into a comma from which he won’t awaken for days.  Superman decides he has to solve the mystery of his parent’s appearance, and decides to do the only logical thing, just jaunt back in time and check out the situation on Krypton.  Batman volunteers to come with him, since ‘the Man of Might’ will just be ‘the Man’ under Krypton’s red sun.

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The World’s Finest duo arrives in a very 60s style version of Krypton, complete with angry college students marching in protest.  Batman and Superman immediately side with The Man and set about trying to break up the crowd.  The Caped Crusader does some acrobatic tricks to distract them (apparently they aren’t all that focused on their whole protest thing), while Superman scales a weather control station and turns on the rain, washing out the march.  “Have you ever seen the rain,” punks?

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This attracts the attention of Jor-El, and our heroes claim to be hunters visiting from another world.  The famous Kryptonian scientist invites them to stay with him and then takes them on a nice little tour of the wonders of Krypton.  We see an alien zoo, cinema, and ‘feast trees’ that can always feed the hungry.  Pre-Crisis Krypton is charming, but I have to say, while there are a lot of changes after the Crisis that I’m not crazy about, I think the updates to Superman are almost 100% improvements, and that includes the austere, crystalline version of his home planet.  It just makes for a wonderful contrast with Earth.

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Superman and Batman spy upon their hosts and discover them entering a secret cavern behind a “fire fall,” which is exactly what it sounds like.  Here we see more of the glories of this doomed world.  Ross Andru really did a good job designing Krypton and its inhabitants.  I think the art is probably the best part of this issue.  At any rate, our heroes manage to find a way into the cavern, and find Jor-El and Lara running a crime school!  The Dark Knight and the Man of Tomorrow are captured and put through a series of tests, outwitting a false death trap and earning the trust of their hosts-turned captors.

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Jor-El explains what’s going on, telling the powerful pair that an ancient progenitor of Kryptonian civilization has just been discovered in the distant city of Bokos.  They want to retrieve him because they are convinced he is only in suspended animation, not fossilized, but the Bokosians are having none of it.  They were training operatives to think like criminals because, and here’s the most Silver Age bit of the story, in Bokos, crime is the law!  Of course, Batman and Superman get dragooned into retrieving the Kryptonian Prometheus (no, not THAT Prometheus!), and they make their way to Bokos, committing crimes to blend in.

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WorldsFinest191-21.jpgThey concot a rather clever scheme to smuggle this fellow, Calox, out of the city.  Apparently, offenders guilty of being honest, are banished from Bokos by jetpack, so with Batman once again playing the part of the distraction, Superman gets himself banished and snags the disguised Calox along the way.  They return him to Jor-El and Lara just in time to be pulled back through time to 1970.  Apparently this time vortex was what the general wanted to see them about.  I wonder if this is the same experiment from Action Comics that totally wasn’t going to destroy the universe…totally.  If so, it’s actually an interesting little piece of continuity across the line.  If not, it speaks volumes about the bonkers state of Silver Age superhero comics that there were two stories about government run time-travel machines in one month!

Either way, apparently this device is what pulled Jor-El and Lara into the present day, but it has a flaw that returns all subjects to their original times twenty minutes later.  One of the assembled generals panics and destroys the device, rather than risk losing Batman and Superman by having them stranded in the past on Krypton…despite the fact that Superman can clearly time travel all by himself…and that was how he got there in the first place.

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“There goes 22 million dollars up in smoke!” proclaims one of the officials.  They’re really rather blase about this guy destroying years of work.  Also, 22 million dollars?  Your super-secret government projects, just like your murders-for-hire, were apparently much cheaper in the 70s.  “It was the only way” claims the panicky general, despite clear logical evidence that it wasn’t.  I hope you enjoy being stationed in Alaska for the rest of your life, general nincompoop.

Our tale ends with Jor-El and Lara wondering what happened to our heroes, never knowing that they have gotten to meet their own future son!  Despite the goofy bits, this is a really fun story, and the Kryptonian sections are quite creative and interesting. I wonder if any of these elements ever returned in future trips to Krypton.  If so, I suppose I’ll find out!

I’ll give this time traveling adventure (see, I don’t hate ALL time travel), 3.5 Minutemen out of 5!

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Bonus Feature: Atomic Knights

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Writer: John Broome
Artist: Murphy Anderson

Every once in a while, at most once a comic-month, I’m going to include a little bonus featurette on a book, character, team, or run from outside of the purview of my project.  You see, I’ve been reading through a wide range of Silver, Bronze, and even Iron Age DC comics over the last few years, and I’ve encountered a lot of really neat hidden treasures, largely forgotten, that deserve to be shared.  These guys, the Atomic Knights, are one such team.  The Atomic Knights were one of a set of rotating features in the early Silver Age Strange Adventures comic, starting in #117 and returning in every third issue.  There were a number of other features they shared the book with, and many of them were actually quite good.  I’ll be covering some of the others eventually, but today we’re going to start with my favorite!

The Atomic Knights lived in a world that had just been utterly devastated by an all-out nuclear war.  Interestingly enough, this war destroyed absolutely all plant life and almsot all animal life.  Humans who had been in deep shelters or were just plain lucky survived.  A rag-tag group of survivors found suits of armor in a ruined museum that were, thanks to a quirk of the radiation to which they had been exposed, amazingly altered.  They were now radiation and laser proof, and thus incredibly useful defenses in a wild and savage new world.

These survivors formed the Atomic Knights, lead by a former soldier named Gardner Grayle and patterning themselves after the Knights of the Round Table, they set out to right wrongs and restore and protect the fragile remnants of civilization left in the atomic wasteland.  Their adventures saw them facing mutant creatures, changed by the apocalypse, as well as other survivors, tyrants trying to carve out their own little kingdoms or just desperate folks trying to stay alive.  It was a remarkably interesting premise, and much more original then, in 1960, than it seems today.  This has got to be one of the first post-apocalyptic comic stories, and especially one of the first with such thought and detail put into the world of the aftermath.

While most stories in Strange Adventures during this era (and the bulk of its run) were standard, run-of-the-mill sci-fi yarns, for a while, each issue would carry a recurring feature.  I found most of the general purpose stories to be really weak, silly, goofy, or just plain uninteresting, though the art was often quite lovely.  I suppose it isn’t surprising that the features that were allowed room to develop quickly became the most interesting stories to be found in this book.  Judging from the letter columns, this was recognized by the fans of the time as well, which really makes you wonder why none of these recurring features, Atomic Knights, Star Hawkins, or the Space Museum ever got spun off into their own book, or at least given more real-estate in this one.  Nevertheless, they didn’t, and they were all relatively short lived.

This is a particular shame in the case of the Atomic Knights, which was a rather ambitious undertaking for that period.  The series began to employed direct continuity, an unusual device for an age where every adventure was one-and-done.  The stories weren’t directly linked, but they built on one-another, and they caused real growth and change in the Knights and their world.

When the Knights rescued a group of survivors or founded a new colony, they would feature in future stories.  When they restored a piece of technology or established some new bastion of civilization, it would demonstrably change the setting.  This is no superhero tale with the perpetual status-quo, instead, every issue brought the Knights closer or sent them further from their goal of restoring civilization.

The writing was still a product of its time, and the ridiculous levels of sexism that met the female Knight, Marene Herald, despite proving herself many times, is really rather galling.  So, read these stories for what they are: a really interesting concept that was just starting to grow into something truly great when it was unceremoniously cancelled without so much as a by-your-leave.  I heartily recommend these cool, old-school science fiction books.  Apparently the Knights were resurrected a few times, but only once in their original incarnation, in the post-apocalyptic Hercules series from the mid 70s, which I’m looking forward to covering.

 

Final Reflections:

Well, we’ve reached the end of February 1970, and it was a mixed bag.  It featured a number of issues I really enjoyed, but it also had those two Superman books which were downright tortuous to cover.  Still, I think we’re starting to see some of the more interesting elements of Bronze Age storytelling starting to emerge.  We get a very weighty concept dealt with in TT, even if the execution leaves plenty to be desired, and we see the beginnings of social consciousness starting to take shape in Justice League.  Even though Ollie’s protests are not particularly radical, it was still rare to see such real-world matters addressed in comics.  The influence of the Silver Age is still very strong, but I think that the tide is already beginning to turn, which is encouraging.  So, we’re off to a good start.  Let’s see where the future (or rather, the past) takes us next!  I hope you’ll join me again when I cover the first part of March, 1970!

 

The Head-Blow Headcount:

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